1 50 160 http://moremuseum.org/omeka/files/original/3dd6a69b6a496c6e418133dd9ae4dad1.jpg 01ab3809f91a168c8de4ba9cd7fde097 http://moremuseum.org/omeka/files/original/4693d1ce6614531f69b88215b8eb54e4.jpg 6e13e6d7431062282fe9476048190358 http://moremuseum.org/omeka/files/original/4830d6f5c7bfeb6b32f7a6084dfabdae.m4a eba332e88e7a76db7b65a5f7310bba7f http://moremuseum.org/omeka/files/original/cfacf4d01608f7cd14eb3c4097b1e32a.pdf 05f7609bf79552c38278aadbeebe2cb4 Dublin Core The Dublin Core metadata element set is common to 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 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of the Artist in a Building Description An account of the resource This project consists of a series of portraits of the artist, made exclusively from photographs of buildings taken while Jonathan Monk was inside them. The artist was not meant to be the only person in the building, but the only one involved in the project. The selected buildings were the Eiffel Tower in Paris, the TV Tower in Berlin, the BT Tower in London, the CN Tower in Toronto, and the Empire State Building in New York. The result would have been a series of photographs of these buildings, with the artist invisible in the image yet actually portrayed at the top of each structure, looking directly into the camera lens. The project was ultimately abandoned by the artist. <a href="http://moremuseum.org/omeka/files/original/cfacf4d01608f7cd14eb3c4097b1e32a.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 2002 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource audio/mpeg Language A language of the resource English Type The nature or genre of the resource Oral History Rights Holder A person or organization owning or managing rights over the resource. Jonathan Monk MoRE Museum http://moremuseum.org/omeka/files/original/7e615cd85ab3d8142bae8548dad1645b.pdf 9dc47764acb5727b407cf9e5848dc50a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marta Pierobon Description An account of the resource Marta Pierobon (Brescia,1979) vive e lavora a Milano. Si laurea in belle arti nel 2006 all’accademia di Firenze. Ha lavorato come assistente di Urs Fisher e di Anna Glatarossa nel 2006-07, nel 2010 e’ stata co-fondatrice di Spazio Morris a Milano. È rappresentata dalla galleria Apalazzo Gallery di Brescia (IT). Tra il 2007 e il 2023 il suo lavoro e’ stato esposto in svariati spazi di ricerca e istituzioni tra i quali: il Mambo (Bologna), ICA a Milano, Duet space (St. Louis, USA), Espirit Nouveau di Bologna, Viafarini (Milano), Soloway ( New York), Welcome to New York ad Art in general (New York), Neon fdv (Milano), Edicola Radetzky (Milano), Localedue (Bologna) e al Museo di Santa Giulia (Brescia); ed in svariate gallerie tra le quali: Nathalie Karg (New York) Galleria Daniele Agostini (Lugano), Kate Macgarry (Londra) Marian Boesky con il progetto di Lucie Fontaine (New York ), Plutschow gallery (Zurigo), 78 Lyndhurst way (Londra) e A Palazzo gallery (Brescia). Partecipa a diverse residenze tra le quali LMCC New York, Cars Omegna e Fonderia Battaglia artist in residence. Nel 2020 è finalista per il Premio Michetti a cura di Guido Molinari. Nel 2012 vince la prima edizione del premio Lombardia a Miart, nello stesso anno viene selezionata da Ilaria Bonaccossa per partecipare al Premio Cairo. Il suo lavoro è stato recensito da varie testate tra cui: “Flash art”, “Espoarte”, “Il Corriere della sera” e “artecritica”, “art*text*pics*”, “Art Blog”, “Fruit of the Forest” e “Forme Uniche”. È attualmente docente presso l’accademia di belle arti di Santa Giulia a Brescia. Creator An entity primarily responsible for making the resource Pierobon, Marta Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CLAYING A long-term relationship Description An account of the resource The unrealized work by Marta Pierobon, born in Brescia in 1979, unfolds as a ten-day artistic performance where clay plays a central role in delving into the concept of space through "performative sculpture." Utilizing clay as her primary medium, Pierobon sculpts not just the space but also a series of metamorphosed characters and objects that enliven an environment teeming with symbolism and evocation. Through deliberate gestures and adept handling of the clay, the artist weaves a narrative that prompts viewers to engage actively, reshaping segments of the performative space by employing clay to craft fleeting figures, images, and sculptures that both materialize and disintegrate, thus molding and reshaping the space. The performance appears to evolve into a ritual, enhanced by a collection of costumes conceived by the artist herself, actively engaging the audience. This transformation turns the setting into a dynamic tableau vivant, a continually shifting scene where artist and audience coalesce as co-authors of the artistic endeavor. Within this context, space unveils its dynamic and active essence, assuming a pivotal role in the transformative journey of the artwork. The piece encourages a multifaceted reflection on space as a physical, mental, and emotional realm, spotlighting the intricate interplay between the individual, art, and spatial environment. Moreover, it seeks to exalt clay as a natural element intimately connected to the artist's sculptural practice and to the earth itself. <a href="https://www.repository.unipr.it/bitstream/1889/5589/1/Marta%20Pierobon_claying%20a%20long%20term%20relationship.pdf">Read more</a>. Creator An entity primarily responsible for making the resource Pierobon, Marta Date A point or period of time associated with an event in the lifecycle of the resource 2020 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Marta Pierobon MoRE museum Cancelled due to the COVID-19 pandemic http://moremuseum.org/omeka/files/original/f488d3e3cf2d793715f602e7d43e140f.jpg b3240269c7a1344562f4c2cf851a8094 http://moremuseum.org/omeka/files/original/504f02342df7e8569e4a824e9074acff.jpg 16b1a20c2b454522a591cd0ed8591e22 http://moremuseum.org/omeka/files/original/1084aaf5d00f696eb721383e1a45cf2a.pdf 053654823b8d152be0e71a9debb2b47d http://moremuseum.org/omeka/files/original/56c7f8a23803b208a06b11d022492c1a.m4a 5972195f8dbd95730b52abb1d5b5a2f7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Brognon Rollin Description An account of the resource David Brognon, born in Messancy (Belgium) in 1978 and Stéphanie Rollin, born in Luxembourg City (Luxembourg) in 1980, live and work in Paris and Luxembourg. Winners of the Best Solo Show at Art Brussels 2013 and 2015 finalists of the Prix Fondation Entreprise Ricard in Paris, Brognon Rollin work with raw, often marginal social material where the recurrent themes are confinement, expectation and control. Their work has been the subject of numerous exhibitions around the world, recently: The Penultimate Version of Reality at the MAC VAL - Musée d'Art Contemporain du Val-de-Marne in 2020 and Maybe Some of Us Will Change This at ICA, LA Institute of Contemporary Art in Los Angeles in 2019. The director of MAMAC in Nice, Hélène Guénin, defines Brognon Rollin as “explorers of the abyss” attentive to the “small epiphanies of life”. With a strange poetry, their universe moves the lines, the gaze, the certainties, like an invitation to a mental journey. Their works are part of various public collections, including: Le Centre Pompidou, Musée National d’Art Moderne, Paris, France / MAC VAL, Musée d’Art Contemporain du Val de Marne, France / Collection MUDAM, Luxembourg / Centre National des Arts Plastiques (CNAP), France / MAC’S - Grand Hornu, Belgique / FRAC Alsace, FRAC Poitou-Charentes, FRAC Lorraine, France… Creator An entity primarily responsible for making the resource Brognon Rollin 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 Ciel illuminé / Cielo non illuminato Description An account of the resource Ciel illuminé / Cielo non illuminato consists of the faithful reproduction of Horace-Bénédict de Saussure’s cyanometer on the internal walls of the Mont Blanc Tunnel. Brognon Rollin’s project originates from the idea of making the mountain disappear, while at the same time offering a visual reference to drivers passing through the tunnel by indicating the approaching end of it. The work stems from an actual fact: Stéphanie Rollin suffers from claustrophobia, and every crossing of the tunnel is a painful experience for her—made a little more bearable thanks to long conversations with David Brognon. Ciel illuminé / Cielo non illuminato is an exact translation of a historical fact, filtered through a personal experience that transforms it into a poetic gesture. <a href="https://www.repository.unipr.it/bitstream/1889/5590/1/Brognon%20Rollin_Ciel%20illumine%cc%81%20%20Cielo%20non%20illuminato.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Brognon Rollin Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource image/tiff application/pdf Language A language of the resource English French Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Brognon Rollin MoRE museum project abandoned by the artist http://moremuseum.org/omeka/files/original/aed1e134c1134f8c75d1cdbfae1c148c.jpg 46e339fe0120afe81a875ea36795c047 http://moremuseum.org/omeka/files/original/5d83dd5eb53541d4382c62597e3c2302.pdf 16b64667c13faf3891b856bc6e2a547e http://moremuseum.org/omeka/files/original/ecd4126b6d14d6d6ed27fa8460e77991.pdf 71099e61342357f1f044c1e2f7ed5633 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ettore Favini Description An account of the resource Born in Cremona in 1974, Ettore Favini teaches Visual Arts at the Nuova Accademia Belle Arti NABA in Milan and Painting at the Accademia di Belle Arti G. Carrara in Bergamo. His works are characterized by a narrative dimension and a relationship with the context and history of places; they often spring from personally lived experiences and individual memory, which is useful for proposing general reflections. Also central is the question of identity, probed through participatory and public art projects. He was recently awarded by the Pollock Krasner Foundation in New York and the General Directorate for Contemporary Creativity of the Italian Ministry of Cultural Heritage and Activities and Tourism (MiBACT - DGCC) as part of the Italian Council project. His works have been exhibited in prestigious Italian and international institutions, including: Kunst Meran Arte, Merano; Carré d'Art Contemporaine, Nîmes (F); PAC, Milan; Museo del Novecento, Milan; GAMeC, Bergamo; Museo MAN, Nuoro; Museo di Villa Croce, Genoa; Autostrada Biennale, Prizren (K); OCAT, Shanghai (RC); SongEun Art Space, Seoul (ROK); Najing International Art Festival, Nanjing (RC); Italian Academy, New York (USA); Fondazione Sandretto, Turin; Villa Medici, Rome. Creator An entity primarily responsible for making the resource Favini, Ettore Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La vera rivoluzione è non cambiare il mondo(?) Description An account of the resource The project involved the creation of a huge sign – La vera rivoluzione è non cambiare il mondo(?) – in every way equal to a claim launched by ENEL, but lacking the question mark and immediately withdrawn due to Greenpeace's denunciation. At least fifteen meters long and composed of green-painted aluminium box letters about eighty centimeters high and six hundred incandescent light bulbs, the lighted work would have involved an energy consumption of three kilowatt-hours, equal to that supplied for the utility of any Italian home. Designed by the artist to denounce the company's false ecological message, the work would remain off until ENEL produced more than 60% clean energy from renewable sources. In 2007, Favini proposed its creation for the Greenwashing exhibition, which was to be held at the Fondazione Sandretto Re Rebaudengo the following year. It was not realized for budget reasons. <a href="https://www.repository.unipr.it/bitstream/1889/5203/1/Ettore%20Favini_La%20vera%20rivoluzione.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Favini, Ettore 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 Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Ettore Favini MoRE museum Financial reasons http://moremuseum.org/omeka/files/original/f553b7d31cde6e0b2f32aee6fd5da0af.jpg c590770a078bf23b187b1a42195ed2d9 http://moremuseum.org/omeka/files/original/fa6bfc404f16a66c495134a86a10267c.jpg 8301b48e99a5113cd0eeb1256e031d75 http://moremuseum.org/omeka/files/original/b79c9359bd61a799e35a6aea08f658b1.jpg fba5f224e5b4e89fc75d7f3dfd8bbfa8 http://moremuseum.org/omeka/files/original/c0d3e8bd3fa43987af8fa1ba736bf9dd.jpg 89973f099b342dc07f0a6b829b3ddf77 http://moremuseum.org/omeka/files/original/c96905bc07411c0403551faf1cd1795e.jpg 07da7a5d2ea6ec1e500cfe329292c3e5 Dublin Core The Dublin Core metadata element set is common to 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 Narvik Superstars Description An account of the resource This project, commissioned by the Narvik City Council and Artscape Nordland, proposed to realise a star in the pavement for every child born in during the next 5-7 years in Narvik. This Norwegian city threatened to become vacated, with this work the harborfront would have been covered in stars, made by the same company that provides those for Hollywood's Walk of Fame, and every year a ceremony would have been held to reveal the new ones. The goal of the project is to turn the exclusive into the popular through a local recycling of the "star culture", where every newborn baby will become a star in its own life. Simultaneously the project represented a local mobilization to increase the population of Narvik. Due to budget cuts, the project was cancelled in 2006. <o:p></o:p><a href="https://www.repository.unipr.it/bitstream/1889/5199/1/Aleksandra%20Mir_Narvik%20Superstars.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 2004 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 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 Financial reasons http://moremuseum.org/omeka/files/original/393de1a2bea0f071186dede8f2885b1d.jpg 4aad82feae29dba5b055f0e92ff99318 Dublin Core The Dublin Core metadata element set is common to 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 CityForest Description An account of the resource In 1997, Aleksandra Mir proposed to the Public Art Fund to collect trees thrown away from the streets of New York City after the Christmas holidays and replant them in a common area until they had dried out completely. The project, while welcomed, was blocked by the city's fire department. <a href="https://www.repository.unipr.it/bitstream/1889/5198/1/Aleksandra%20Mir_CityForest.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 1997 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 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/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. Aleksandra Mir MoRe museum Theoretical exercise 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/8311f6d30692d48409904d90357f1144.jpg 168e2b21c7b2caad120841fa6543d356 Dublin Core The Dublin Core metadata element set is common to 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 Looking for a Rembrandt Description An account of the resource This work by Echaurren also reflects some Duchampian elements and echoes. The unrealized project depicts a bronze sculpture of a monkey holding an iron with its right hand: if the animal is adherent to all the artist's work declined to the universe of primitives (such as the last film Pablo di Neanderthal, released in 2022 and directed by Antonello Matarazzo), the iron recalls in a veiled way Marcel Duchamp's famous phrase "Using a Rembrandt as an ironing board". As with the other works donated to MoRE, this project has no specific commission. The reasons for its not being realized are logistical and appear as theoretical exercises on which the artist continues to question himself. <a href="https://www.repository.unipr.it/bitstream/1889/5205/1/Pablo%20Echaurren_Looking%20for%20a%20Rembrandt.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 2018 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/jpeg 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/0c21042ad8441a1357cc1b858b3a4d16.jpg defb3d0e5264a15c1196d8fcb713c5cd Dublin Core The Dublin Core metadata element set is common to 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 Mon Alice Description An account of the resource Mon Alice is a small plastic sculpture measuring a few centimeters (8 x 4 x 3 cm); it is a maquette for a larger sculpture designed by Echaurren in 2018. The sculpture represents Alice in Wonderland in the Disney version, the one now ingrained in the collective imagination of adults and children alike. To this small sculpture, the artist has painted in ink on the face two mustaches and a slight stubble. Right from the start the work recalls the famous L.H.O.O.Q. the rectified ready-made made in 1919 by Duchamp that depicts Leonardo da Vinci's Mona Lisa with a fine mustache and a goatee drawn on her face by the French artist. A game of ambiguity is hidden in both works. Indeed, both Mona Lisa and Alice change identities by adopting elements typical of the male sphere, Echaurren as Duchamp adopts a well-known figure, an icon of contemporaneity to make changes dictated by a simple and essential gesture. If Duchamp works on language through the play on words in the title (L.H.O.O.Q. pronounced in French sounds like Elle a chaud au cul - She is hot in the ass), Echaurren always works through a written part but only mentioning Leonardo's work in the title of the work, Mon Alice instead of Mona Lisa. The medium clearly changes from two-dimensional to three-dimensional, but Echaurren's intentions would seem to be the same as those that moved the French artist. <a href="https://www.repository.unipr.it/bitstream/1889/5206/1/Pablo%20Echaurren_Mon%20Alice.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 2018 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/jpeg Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Pablo Echaurren MoRE museum http://moremuseum.org/omeka/files/original/3d808ff6d4ced25252343e688274562b.jpg 3315f2bc6f3b678aea41d5f2c23395ca http://moremuseum.org/omeka/files/original/8df64e4ca7d7da54fa7fedeebbffc55a.jpg 6380d733daa7bc1acfa9e876000d04e8 http://moremuseum.org/omeka/files/original/4c33bcb1a2cfe0fd4dd680cf36aedc57.jpg 0f04378aafc9d57918baaf2eda1a0fd5 Dublin Core The Dublin Core metadata element set is common to 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 Monumento Fortuito Description An account of the resource Pablo Echaurren's project, like many others, is elaborated through notes written in blue pen on a page of a squared notebook. The artist's intent is already clear from the title "Monumento Fortuito". In fact, in 2015 the artist plans to create a monument dedicated to Marcel Duchamp, an artistic operation that is rooted in the intentions and artistic methods typical of the French artist. For this work Echaurren thinks of the concept of “chance”, wanting to create the monument through the action of "picking up a leftover, a human waste from the street and electing it as an urban monument. The words "rectify it" and "place it on a pedestal" also emerges from the short text, all definitions come to Duchamp's work. With this operation, Echaurren works in the conceptual framework of the French artist, dedicating a work to him with his own design methods. <a href="https://www.repository.unipr.it/bitstream/1889/5207/1/Pablo%20Echaurren_Monumento%20Fortuito.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 2015 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 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/ffe805faf317568baba281498e2e2c96.jpg 62616ff70aebf16918bbc6b713ab1f34 Dublin Core The Dublin Core metadata element set is common to 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 En attendant la mariée Description An account of the resource The project consists of a combined installation of two spinning wheels that move a system of threads, the threads descend from a chrysalis attached to the ceiling. The quote is clear and obvious. In fact, Echaurren mentions the famous ready-made of 1912 but also the International Surrealist Exhibition held in 1942 at the Whitelaw Reid mansion in New York, organized by André Breton with the collaboration of Marcel Duchamp. This exhibition, in addition to being considered a "landmark exhibition" (Tate Papers, 2009; Stedelijk Studies Issue, 2015), presents an installation curated by Marcel Duchamp and created through a complex system of ropes woven throughout the exhibition space. This system allowed the visitor a partial and complicated view of the pictorial works set up on the wall. The French artist's operation was entitled “Sixteen Miles of String”. Echaurren's work combines the two Duchampian operations through the creation of an installation that, like the original design, wanted to occupy the entire exhibition space. In addition to the combination of these two famous works by Duchamp, Echaurren also mentions “The Large Glass”, not directly but by elaborating an installation in which the string came out of the chrysalis that define the sex of the insects. In fact, the threads would have started from the chrysalis to be subsequently taken from the two spinning wheels placed in the center of the room. Echaurren writes a handwritten note: “The insect bride Þ the male molds Þ females with wings”. This reference to the chrysalis also brings out the artist's attention to entomology. In fact, Echaurren has stated several times that as a young man he wanted to be an entomologist. <a href="https://www.repository.unipr.it/bitstream/1889/5204/1/Pablo%20Echaurren_En%20attendant%20la%20mariée.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 2012 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/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/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/ca54c9a635d64666b2f41ebcb5d0c96b.pdf 794ab998fd164998d78e27af9da9b6fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helen Mirra Description An account of the resource Helen Mirra’s art practice is based in walking, primarily in the mountains, in nature. But also cities could be a place for her walks – as for example in the exhibition series „gehend, Field Recordings (1-3)“ Mirra did in 2011 in Kunst Werke Berlin, Bonner Kunstverein and Haus Konstruktiv in Zurich. Her works are generated from making these walks – her perceptive experiences in the landscape, and the activity of her body. They develop in parallel. Not only is moving, walking, fundamental to Mirra’s work, but the places where the walks happen are essential elements.  Helen Mirra work was shown in solo exhibitions at Renaissance Society, Chicago, Kunst Werken, Berlin, Haus Konstruktiv, Zürich and Berkley Art Museum. Mirra participated in the 50th Venice Biennial, the 20th Sao Paulo Art Biennial and the 12th Havana Biennial. Creator An entity primarily responsible for making the resource Mirra, Helen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Die Kristallader Description An account of the resource Die Kristallader (The Crystal Vein) is a project in public space that Helen Mirra developed in 2014 as part of a competition for the city of St. Gallen in Switzerland. The assignment of the competition was that the artistic intervention should connect the newly built Natural History Museum, which is located in the periphery, with the city center. Helen Mirra's project proposal was an irregular "line", a crack in the asphalt filled with a shiny metal that leads from the city center to the Natural History Museum on a path carefully defined by the artist. The shiny crystal vein guides the visitors on a 3 km long walk through St. Gallen, allowing them to perceive the surroundings, time and movement in a different way. The jury ultimately chose another submitted project, so that the Crystal Vein was never realised. <a href="https://www.repository.unipr.it/bitstream/1889/3843/1/rekade_mirra.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Mirra, Helen 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 Rekade, Christiane 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. Helen Mirra MoRE Museum Project which wasn’t selected in a prize or competition 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/ff86acfca77f865f058c9840f2fa4263.pdf a61f57a3b349ecdeae2decddf9aca5d3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wendy White Description An account of the resource Deep River, CT, 1971. Lives and work in New York<o:p></o:p> Selected and Recent Solo Exhibitions: 2017 Wendy White, VAN HORN, Düsseldorf, Brian Calvin - Wendy White, Cabinet, Milan; 2016 Santa Cruz, Eric Firestone Loft, New York; 2015 Skiing, Galerie Jérôme Pauchant, Paris, Double Vanity, Sherrick & Paul, Nashville, 12th Man, David Castillo Gallery, Miami; 2014 El Campo, VAN HORN, Düsseldorf; 2013 Pick Up a Knock, Andrew Rafacz, Chicago, Sports Moment, Makebish, New York, Wendy White, Maruani and Noirhomme, Brussels; 2012 Pix Vää, Leo Koenig, Inc, New York, Radio Lampor, VAN HORN, Düsseldorf; 2010 Up w/Briquette, Leo Koenig, Inc, New York; 2009 Autokennel, Leo Koenig, Inc, New York.<o:p></o:p> Selected and Recent Group Exhibitions: 2017 Vatic Utterance, Trestle Gallery, Brooklyn, Lob des Schattens, Marc Straus Gallery, New York, Small Painting, County Gallery, Palm Beach, Man Alive, Maruani Mercier Gallery, Brussels; 2016 Mount Analogue, Performance Ski, Aspen, Temporary Highs, bitforms, New York, Whatspace, Halsey McKay Gallery, East Hampton; 2015 Painting is Not Doomed to Repeat Itself, Hollis Taggart, New York, All Killer No Filler, Eric Firestone Gallery, East Hampton, Black/White, Ameringer McEnery Yohe, New York; 2014 Sha Boogie Bop, Anonymous Gallery, New York.<o:p></o:p> Creator An entity primarily responsible for making the resource White, Wendy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rolls Royce Description An account of the resource The Rolls Royce project, proposed and never realized by the artist, comes from the need to create an exhibition for the Rolls Royce Art Programme, an initiative related to the famous brand of automobiles, which was created to support bold and innovative ideas related to contemporary art. <a href="https://www.repository.unipr.it/bitstream/1889/3848/1/white_valacchi.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource White, Wendy Date A point or period of time associated with an event in the lifecycle of the resource 2019 Contributor An entity responsible for making contributions to the resource Valacchi, Maria Chiara 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. Wendy White MoRE Museum Failure to reach an institutional agreement Project which wasn’t selected in a prize or competition 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/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/8e73550559a3942846930ecf1ec87325.jpg 5fde344e62f4d8b294944beaf886a48e Dublin Core The Dublin Core metadata element set is common to 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 Artisti coraggiosi. Natura morta - 2 Description An account of the resource The unrealised project Artisti coraggiosi proposed by Pablo Echaurren in 1974 to Galleria La Margherita in Rome, involved the participation of the artist who, seating at a table inside the bare spaces of the gallery, equipped with papers, scissors and glue, would have asked the audience to join him in a performance: the visitors were asked to buy one of his work, deciding the price in advance, without knowing what they were going to buy. The hypothetical buyer was supposed to pay the artist in cash, with one or more notes, depending on his choice. The banknotes would become the artwork: cut, torn or intact, they would have been glued to sheets of paper and signed, as if they were traditional still lifes. <a href="https://www.repository.unipr.it/bitstream/1889/3842/1/echaurren_perna.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 1971-1974 Contributor An entity responsible for making contributions to the resource Perna, Raffaella 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. Pablo Echaurren MoRE Museum Financial reasons Logistical reasons http://moremuseum.org/omeka/files/original/f5d77c055d2b9ab01b4f22391a4c9014.tiff 7b5bfc3be98c73d3b0d281610111d587 http://moremuseum.org/omeka/files/original/fe5460fe8d27e8abd3e9136591e786f3.tiff a4cb3a7ee738c6e72841f402cb81894b http://moremuseum.org/omeka/files/original/d46576222d1ca1dcacdcc99dda5f8a6d.pdf 97809fa230b5ad61dfa5a05cb8e07b9b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gianfranco Baruchello Description An account of the resource <div>Gianfranco Baruchello’s name is related to an artistic universe that presents multiple gravitational centers. Born in Livorno in 1924, the artist has passed through several seasons in the second half of the twentieth century until today, when his activity continues within the framework of his Foundation. His production, which touches all mediums of expressions and is animated by an encyclopedic approach, puts him in an autonomous position with respect to the main art movements of the time. </div> <div>The son of a lawyer and a teacher, at the age of seven he moved to Rome. The war interrupted his studies, which ended with a law degree (with a thesis on economics). He got a job in the Bombrini Parodi Delfino Company, before moving – on the advice of his father - to the direction of the Institute of Research and Biological Applications (IRAB) in 1947. Two years later, he founded the Biomedical Society, a chemical-biological research and production company. 1959 marks the turning point in his life, with the decision to leave the business world to devote himself to artistic activity.</div> His early experiments in the late fifties follow a number of directions - the word, the object, the painting – in the context of informal and neo-dada trends. He moves between Rome, Paris and New York, in contact with intellectuals of different fields, especially literature (Balestrini, Calvino, Eco, Jouffroy, Manganelli, Sanguineti) and philosophical ones (Lyotard, Guattari). The meeting and friendship with Marcel Duchamp is fundamental. Baruchello develops a practice that is articulated around the techniques of assembly, editing and archive, happening (qualified by the author as "long distance"), cinema, writing. Once, describing his own research (in the third person), he writes: «The work or rather the life of B. consists in the use of a system (for example painting or cinema) to understand and illustrate other systems, that is, complex facts, and nothing is more complex than reality»<a href="applewebdata://FEA839F4-1CF7-4FA1-B755-C56BA891EBFE#_ftn1" name="_ftnref1" title="">[1]</a>. Among the most innovative operations, Artiflexis a fictitious company presented in 1968, based on the assumption that the artist does not have to lend his work to the industry but to simulate its methods (the slogan is "Artiflex commodifies everything"). A number of different activities are carried out under this title (Finanziaria Artiflex, Teatro Pacco, Grande Manifesto Artiflex, Piccolo capitale a fondo perduto, Prigione privata). In the Artiflexproject, issues relating to the market economy, to the world of production and commerce, are sabotaged and destroyed through the irony characteristic of the 1968 spirit. In 1973 Baruchello moved to a big house with a plot of land on the northern outskirts of Rome (at 6.5 km of Via di Santa Cornelia), where he established Agricola Cornelia SpA, a company whose corporate purpose was that of cultivating the land. This chapter of his artistic work occupies him for eight years, ending in 1981. Agricultural company and work of art at the same time, Agricola Cornelia is a complex experiment of practical, intellectual and imaginative nature, in which a series of themes converge that go beyond those strictly linked to the agricultural field - such as land and food - to affect fields such as economics, politics, art, and issues like feminism. Once ended the experience of Agricola Cornelia, the artist's interests shifted towards the themes of architecture and living, and later on to a reflection on the garden (since 1985) and the forest (since 1990). In 1998 he took the decision to donate all of his assets to a Foundation named after him and conceived together with Carla Subrizi, with the purpose to open up his research to a common dimension. In 2014, another space in the center of Rome is added to the spaces in Via Santa Cornelia. About a decade ago, when asked about the reasons of his artistic work, Baruchello replied: «To make sense of the useand maintenanceof concepts starting from the percepti, considering the error and the loss of quality as a motiffor the discovery of the diversity. Starting from a space that refers to uncertainty, I proposed a multiplicity of images, even of minimal dimensions, to start again, in the dissemination, the search for a possible painting»<a href="applewebdata://FEA839F4-1CF7-4FA1-B755-C56BA891EBFE#_ftn2" name="_ftnref2" title="">[2]</a>. <div> <hr align="left" size="1" width="33%" /> <div id="ftn1"> <a href="applewebdata://FEA839F4-1CF7-4FA1-B755-C56BA891EBFE#_ftnref1" name="_ftn1" title="">[1]</a>In the invitation of the exhibition Baruchello. Scorribande lontane, May 31 - June 22 1985, Roma, Circolo Culturale Sperandisole, pp. 3-4, Roma. </div> <div id="ftn2"> <a href="applewebdata://FEA839F4-1CF7-4FA1-B755-C56BA891EBFE#_ftnref2" name="_ftn2" title="">[2]</a>G. Baruchello, in ICE CREAM. Contemporary Art in Culture, Phaidon, London-New York 2007, pp. 36-39.  </div> </div> Creator An entity primarily responsible for making the resource Baruchello, Gianfranco Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Do it yourself confession Description An account of the resource Do it yourself confession is the idea of a confessional in which it is possible to self-administer the sacrament of confession. Conceived by Gianfranco Baruchello in 1967, the project is unrealised, like many others of the author, and it can be considered a theoretical exercise. In this proposal Baruchello borrowed the philosophy of DIY (Do it yourself), which at the end of the 1960s was growing in popularity, preaching self-sufficiency and opposition to consumerism: a complex of positions of libertarian and anti-capitalist orientation extended to various fields - from housework to cultural production - canonized after a few years by the punk movement. With a paradoxical approach, the artist extends this ethics to the spiritual sphere, implicitly moving a critique to the ecclesiastical institution to which he opposes the values of self-determination of the individual ("CHOOSE YOURSELF TO WHOM OR TO WHAT YOU CONFESS!" as stated in the text of the project). Do it yourself confession is a project created during the period of political militancy of the artist, close to the revolutionary left and to groups like Potere Operaio and Lotta Continua, which brings together the protesting forces that will culminate the following year in the 1968 season. The proposal is made of two drawings, which present different elaborations of the same project. <a href="http://moremuseum.org/omeka/files/original/d46576222d1ca1dcacdcc99dda5f8a6d.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Baruchello, Gianfranco Date A point or period of time associated with an event in the lifecycle of the resource 1967 Contributor An entity responsible for making contributions to the resource Ciglia, Simone Format The file format, physical medium, or dimensions of the resource image/tiff Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Gianfranco Baruchello MoRE Museum Theoretical exercise http://moremuseum.org/omeka/files/original/dcfabfdbc5a5ca844940d2678c3c6ce5.pdf 337acc1f4351ace62e58beaa44ce0623 http://moremuseum.org/omeka/files/original/4f7bf22b3d79e62d02e0977c5cc70731.pdf 7cc010c7a766c0db612f578d92460570 http://moremuseum.org/omeka/files/original/f4ca10e1ad64379060313ef7da4fa778.mov 26df352d6743e979c72b7fc4c791c428 http://moremuseum.org/omeka/files/original/ed03734a08971a41a8d6f681dc85b2e0.wav 1398004a3aaf7bc556836caf676b0fb2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veit Stratmann Creator An entity primarily responsible for making the resource Stratmann, Veit Description An account of the resource Born in Bochum, Germany, Veit Stratmann is a visual artist based in Paris. His work revolves around questioning: can an artistic gesture be based on the notions of choice and decision-making – the postures of those who encounter the work? Can this decision-making and the infinite suspension of time involved in doing so become constructive material (Morgan Marlet describes this in her MA thesis on Veit Stratmann's work in the urban space as “suspending space to suspend time”)? If political action originates in the act of decision making, can an encounter with art gener-ate a permanent oscillation between political and artistic gestures? Can an artistic gesture undo the coherence of a space without affecting its physical integrity? Or create a “paren-thesis” or construct a loophole in its meaning in order to create the blurring of status? Can this become creative matter? Can an artist's work be a deflector? Can art be the departure point of observation rather than that which is observed? Stratmann's work is often done in and for public space. The presence of an object in public space does not necessarily confer a particular status to that given object. The encounter with an object in public space does not impose any particular status or behavioural code upon the public. Both the viewer and the work viewed define the nature and the quality of this encounter. Public space thus presents an ideal place for posing questions - and a way of transforming its fragile status into creative material. Veit Stratmann's personal history is also at the root of his work in public space and it has undoubtedly conditioned the social issues that underline his line of questioning. Born in Germany, he moved to France in 1981. This displacement of his personal “territory” and focal point from a general sense of “belonging” (in Germany) to an acute awareness of “not belonging” (in France) reoriented his perception of space, territory, separation and be-longing. He began to explore the possibilities of influencing his space without actually modifying it. Becoming aware of the limits of his space brought about questioning: how can the limits be made permeable? How can the interstices be used? How can these territories be adjusted, modified, transformed? The range of Veit Stratmann's artistic preoccupations is anchored in this socio-cultural and spatial questioning. Yet his line of questioning enters the sphere of “art” only when there is exchange with others – as many others as possible. This naturally pulls his artistic action towards the « polis » – public space (not the political space but the space of politics). This is where decision and choice-making, negotiation, stance-taking, limitations and borders take form and make sense. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Lighting system Description An account of the resource The project A Lighting System attempts to bring together the discourse on security and the machinery for producing good conscience — and control — into a single structure, as the ecological discourse is often used for that purpose. <a href="https://www.repository.unipr.it/bitstream/1889/3715/1/Veit%20Stratmann_A%20lighting%20system.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Stratmann, Veit Date A point or period of time associated with an event in the lifecycle of the resource 2012 Contributor An entity responsible for making contributions to the resource Stratmann, Veit Format The file format, physical medium, or dimensions of the resource application/pdf video/quicktime Language A language of the resource French Type The nature or genre of the resource Text Still Image Moving Image Rights Holder A person or organization owning or managing rights over the resource. Veit Stratmann MoRE museum Theoretical exercise http://moremuseum.org/omeka/files/original/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/01e1543836646cb51fdd4dd9fb033acd.pdf a1767dd490a09a48405f9dbe2655c537 Dublin Core The Dublin Core metadata element set is common to 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 Eichhorn Description An account of the resource Maria Eichhorn was born in 1962 in Bamberg Germany. She currently lives and works in Berlin. She studied at the Berlin University of the Arts and has been teaching at the School of Art and Design in Zurich since 2003. She has had many solo exhibitions since 1986, including shows in Amsterdam, Berlin, Berne, Barcelona, Warsaw, Zurich and Tokyo. She has taken part in group exhibitions in London, Paris, Sydney, New York and Yokohama. She participated in Make Everything New – A Project on Communism, Book Works, London (2006), the International Istanbul Biennial (1995 and 2005), Documenta 11 in Kassel (2002), Skupltur Projekte in Munster (1997) and the Venice Biennial (1993). She also published Restitutionspolitik/Politics of Restitution, Munich/Cologne(2004); CAMPUS, Political Responsibility/Emancipazione Politica, Bozen/Cologne (2005); Publishing the fact that something will remain unpublished, Cork/Cologne (2006). Creator An entity primarily responsible for making the resource Eichhorn, Maria Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Aussichtsturm (Observation Tower) Description An account of the resource The project involves the construction of a 33-meter observation tower as an open construction (the construction method should have included a steel skeleton frame) at the highest point of a landscape. The tower should have been open to the public at all times. <a href="https://www.repository.unipr.it/bitstream/1889/3716/1/Maria%20Eichhorn_Aussichtsturm%20%28Observation%20Tower%29.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Eichhorn, Maria Date A point or period of time associated with an event in the lifecycle of the resource 1992-1994 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 Language A language of the resource Deutsch 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. Maria Eichhorn MoRE museum Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Daniel Maier-Reimer Description An account of the resource Journeys: Apennin 2017, Castelnuovo d'Elsa - Florenz 2017, Christchurch - Bluff 2016,Auckland - Christchurch 2015, Journey to Tbilisi 2014, Apuan Alps 2013, Vom Tyrrhenischen Meer zur Adria 2013, Arno 2013, Florence city boundary line 2012, Great Wall, China 2011, Schwäbische Alb 2011, Bialowieza, Poland 2011, Pamir 2010, Iran 2009, Iran 2008, Dessau 2007. Caucasus 2007, Tajikistan 2006, Yarlung Tsangpo 2006, Caucasus 2005, Yarlung Tsangpo 2004, Hamburg state boundary 2003, Moldova / Ukraine 2003, Japan 2002, Great Wall of China 2001, Russia 2001, Amur 2000, Great Wall of China 2000, Yellow River 1998, Yarlung Tsangpo 1997, Yangtze River 1996, Iceland 1995, Poland 1995, Mackenzie River 1994, Vorderrhein 1993, Colorado River 1993, Bay of Biscay 1992, Irish Sea 1992, Scandinavia – autumn 1991, Scandinavia – spring 1991, Scandinavia – winter 1991, Germany 1990, Lapland 1990. Creator An entity primarily responsible for making the resource Maier-Reimer, Daniel Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Journey from the Yellow Sea to the Sea of Japan Description An account of the resource Daniel Maier-Reimer's art is travel. Most journeys are summarized in a single photo, some in a small group of pictures. There is no picture of some journeys. Since 2013, Daniel Maier-Reimer leaves it to others to determine how his travels appear in exhibitions and publications. <a href="https://www.repository.unipr.it/bitstream/1889/3719/1/Daniel%20Maier-Reimer_Journey%20from%20the%20Yellow%20Sea%20to%20the%20Sea%20of%20Japan.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Maier-Reimer, Daniel 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 Krause, Till Rights Holder A person or organization owning or managing rights over the resource. Daniel Maier-Reimer MoRE museum http://moremuseum.org/omeka/files/original/58a3fd7a672f9a0effce8d49e34c340d.jpg 6462e9545443836c790f408435f9e14d http://moremuseum.org/omeka/files/original/0b712424e2eb149929cc2281b8866198.jpg 8df132d12934b75fb282bfa13b8de613 http://moremuseum.org/omeka/files/original/d12872418e353e118800edd5874b2ea9.jpg 5ca106940ee79ff5b4057d345bbc62e4 http://moremuseum.org/omeka/files/original/72b32ce1a6109e2cdf534cd1e2c79d2f.jpg 0b09f5c41282773a4f6439828305c6f7 http://moremuseum.org/omeka/files/original/1c15aca72ea9950a09259260b265cea3.jpg 630e4ca9659278e4f33e69320168362d http://moremuseum.org/omeka/files/original/be02faf08cc199aa73ed6473d4d75ca2.jpg 4e746c60d4b2aafb3f8848297d309fcb http://moremuseum.org/omeka/files/original/c3dad664fce2f9e241a6ba3abe3e3572.pdf 4187d7d0fd7cf7aacd952866c98ae5e6 http://moremuseum.org/omeka/files/original/0aaa8da56ece9bbdba402358dfd71250.pdf bea4f65a3123a75dcd99efddc654627b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mark Dion Description An account of the resource Mark Dion was born in 1961 in New Bedford, Massachusetts. He initially studied in 1981-2 at the Hartford Art School of the University of Hartford in Connecticut, which awarded him a BFA (1986) and honorary doctorate in 2002. From 1983 to 1984 he attended the School of Visual Arts in New York and then the prestigious Whitney Museum of American Art's Independent Study Program (1984-1985). He is an Honorary Fellow of Falmouth University in the UK (2014), and has an Honorary Doctor of Humane Letters (Ph.D.) from The Wagner Free Institute of Science in Philadelphia (2015).  Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. The job of the artist, he says, is to go against the grain of dominant culture, to challenge perception and convention. Appropriating archaeological, field ecology and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates works that question the distinctions between ‘objective’ (‘rational’) scientific methods and ‘subjective’ (‘irrational’) influences. The artist’s spectacular and often fantastical curiosity cabinets, modelled on Wunderkammerof the 16th and 17th Century, exalt atypical orderings of objects and specimens. Dion also frequently collaborates with museums of natural history, aquariums, zoos and other institutions mandated to produce public knowledge on the topic of nature. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Mark Dion questions the objectivity and authoritative role of the scientific voice in contemporary society, tracking how pseudo-science, social agendas and ideology creep into public discourse and knowledge production. Dion has received numerous awards, including the ninth annual Larry Aldrich Foundation Award (2001) The Joan Mitchell Foundation Award (2007) and the Smithsonian American Art Museum's Lucida Art Award (2008). He has had major exhibitions at the Miami Art Museum, Miami (2006); Museum of Modern Art, New York (2004); Aldrich Museum of Contemporary Art, Ridgefield, Connecticut (2003); Tate Gallery, London (1999), and the British Museum of Natural History, London (2007). “Neukom Vivarium” (2006), a permanent outdoor installation and learning lab for the Olympic Sculpture Park, was commissioned by the Seattle Art Museum. Dion produced a major permanent commission, ‘OCEANOMANIA: Souvenirs of Mysterious Seas’ for the Oceanographic Museum in Monaco. In 2016 Dion and his curatorial collaborator Sarina Basta produced the large scale exhibition, ExtraNaturel: Voyage initiatique dans la collection des Beaux-Arts de Paris, at the Palais des Beaux-Arts in Paris. Mark Dion is co-director of Mildred's Lane an innovative visual art education and residency program in Beach Lake, Pennsylvania. For over two decades Dion has worked in the public realm in a wide range of scales, from architecture projects to print interventions in newspapers. Some of his most recent large scale pubic project include "The Amateur Ornithologist Clubhouse" a Captain Nemo-like interior constructed in a vast gas tank in Essen, Germany, and "Den" a large scale folly in Norway's mountainous landscape which feature a massive sculpture of a sleeping bear in a cave, resting on a hill of material culture form the Neolithic to the present. Dion has also produced large scale permanent commissions for Documenta 13 in Kassel, Germany, the Montevideo Biennale in Uruguay, The Rose Art Museum, Johns Hopkins University and the Port of Los Angeles. In October 2017, The Institute of Contemporary Art, Boston will host "Mark Dion: Misadventures of a 21st Century Naturalist", the largest American Survey to date of the artist work.  Dion lives with his wife and frequent collaborator Dana Sherwood in New York City and works worldwide. Creator An entity primarily responsible for making the resource Dion, Mark Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Proposal for Balboa Park Centennial, San Diego Description An account of the resource The project proposed to mark the Centennial of the building of Balboa Park with a construction which bring aspects of the various cultural institutions under a single roof. <a href="https://www.repository.unipr.it/bitstream/1889/3718/1/Mark%20Dion_Proposal%20for%20Balboa%20Park%20Centennial%2c%20San%20Diego.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Dion, Mark 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 Dion, Mark Sherwood, Dana 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 Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Mark Dion MoRE museum Project which wasn’t selected in a prize or competition 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. 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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. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oreste Description An account of the resource Oreste represents a variable group of people - mainly Italian artists - who under this shared name have worked for four years at the creation of a free space for the expression and realization of different projects. Born in July 1997 with the meetings of the Oreste 0 (zero) project at the Municipal Forestry of Paliano (FR) and declared "dead" after participating at the exhibition Le Tribù dell'Arte in Rome (2001), Oreste has seen among the various activities a participation at the Venice Biennale (1999) following the invitation of the curator Harald Szeemann, the publication of three volumes, the organization of the conference Come spiegare a mia madre che ciò che faccio serve a qualcosa? at Link, Bologna (1997). Oreste had the goal of creating the conditions for artists, curators, other cultural professionals and the public to meet in a context that combined work and pleasure. The concepts of networking and sharing were at the basis of the project, which also used an online space inside undo.net and had intuited the future potential and develpoments of the web, the emails and the digital media. Creator An entity primarily responsible for making the resource Oreste Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Porto Rico Description An account of the resource The project was born upon request and on the initiative of Michy Marxuach, curator that in the summer 2000 invites Oreste to participate at PR ' 00 [intervenciones múltiples - múltiples intervenciones] in San Juan (Porto Rico). The one-week event provided a program of shows and activities dedicated to the affirmation of an alternative art scene, where local artists were joined by international artists, curators, critics and institutions. Oreste proposed an installation made of objects, texts, photocopies and images displayed on a wall, that would have interacted with the public like an analogical hypertext: after the selection of an element a member of Oreste would have told its story to the visitor. The curator never answered to this proposal and the project remained unrealised for reasons that have not been clarified. <a href="https://www.repository.unipr.it/bitstream/1889/3700/1/Oreste_Porto%20Rico.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Oreste Date A point or period of time associated with an event in the lifecycle of the resource 2000 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource image/jpeg text/html Language A language of the resource English Italian Type The nature or genre of the resource Text Still Image Website Rights Holder A person or organization owning or managing rights over the resource. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Maljković Description An account of the resource David Maljković is a Croatian artist known for his use of film, sculpture, collage, and installation. His work often explored themes related to time and the relationship between past and present through abstract structures and digital effects. He is most commonly associated with his video installation Out of Projection, which he describes various types of fissures, not only historical and generational, but narrative too. Therefore, he employs two projections to show two different cinema genres: science fiction and documentary. Through this he is able to generate both more interest in the viewer, and palpable frustration at not reaching an understanding of the historical message the leading characters are trying to portray. Born in 1973 in Rijeka, Croatia, he studied philosophy at the University of Rijeka and fine art at the University of Zagreb, before attending the Rijksakademie in Amsterdam. Since then, he has presented his work at number of exhibitions at major institutions around that world, including the Palais de Tokyo in Paris and the Museo Reina Sofía in Madrid. Today, his works are held in the collections of the Centre Georges Pompidou in Paris, the Stedelijk Museum in Amsterdam, The Museum of Modern Art in New York, and the Tate Gallery in London. Noticed to international attention as one of the most interesting contemporary artists, he is the protagonist of the 56th Venice Biennale, "All the World's Futures", directed by Okwui Enwezor. Maljković lives and works in Zagreb, Croatia. Creator An entity primarily responsible for making the resource Maljković, 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 Lost Pavillion Description An account of the resource David Maljković's unrealized work was a reconstruction of the American Pavilion designed and built by John Johansen for the 1956 Zagreb Fair. The pavilion was meant to represent American presence at the fair, which had for many years, symbolized a bridge of exchange between Yugoslavia, Europe, the USA, USSR, Eastern and Western Bloc and non-alligned countries. David Maljković decontextualized the pavilion and proposed rebuilding it as part of a public art project in the city of Lyon, GrandLyon Habitat. <a href="https://www.repository.unipr.it/bitstream/1889/3689/4/David%20Maljković_Lost%20Pavillion.%20def.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Maljković, David Date A point or period of time associated with an event in the lifecycle of the resource 2009 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/jpeg application/msword Language A language of the resource French Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. David Maljković MoRE museum Unknown 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/516bc194bdbba0ad03300dd9dcbb04a8.jpg 398b63cfef3bcf5634b193c8cba4f9b1 http://moremuseum.org/omeka/files/original/17e4a0edbae7160c4d4f9054ea49a03f.jpg ca79657df3682107591bab2f17af34ce http://moremuseum.org/omeka/files/original/4ca1e8d5398cf4e3e612a3bd513688e5.jpg a4beb1a89a1fc4cb4c2e581115917683 http://moremuseum.org/omeka/files/original/9d2bbfa0ca56b88ec8e5721d842f97d1.jpg 3a100acfad26b2c9940a868a22473230 http://moremuseum.org/omeka/files/original/a1cc6653858e5c46a0d5aef06d9678d9.jpg a336db62fe97d8e2427d2ca0c6ed51e2 http://moremuseum.org/omeka/files/original/db2a72f08620b84a1223373fa7e880fe.jpg abd5d2163e7331b6fc20eb0027913502 http://moremuseum.org/omeka/files/original/19e74a301100f4ccb6dc09b190b4ca58.jpg dd7beafa1423b31ae163f370db011596 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ivan Picelj Description An account of the resource Ivan Picelj (Okučani, 1924-Zagreb, 2011). A student at the Fine Arts Academy in Zagreb between 1943 and 1946, he abandoned his studies to begin experimental research that moved away from the impositions of the official art language. In 1951, together with architects Bernardo Bernardi, Zdravko Bregovac, Zvonimir Radić, Božidar Rašica, Vjenceslav Richter and Vladimir Zarahović, and painters Vlado Kristl and Aleksandar Srnec, Picelj founded the EXAT 51 group (Experimental Atelier 1951). This was the first Yugoslavian abstract art group, active during the first half of the fifties in the then-dominant climate of socialist realism. The group played an important role in Croatian art; its program advocated the synthesis of all visual art, an idea inspired by the legacy of Russian constructivist avant-garde and Bauhaus experiences. In 1959, Picelj began a successful collaboration with the Denise René Gallery in Paris, as well as with international galleries such as Howard Wise in New York, Baruch Gallery in Chicago and Galleria del Cavallino in Venice. In the early sixties, he was one of the founders of the New Tendencies movement, which shared several central themes with Picelj’s work, covering for the group as the role of editor of the BIT international magazine, and for the designers of posters and publications that were linked to it. Since that time, Picelj has produced several limited-edition artists’ books, collaborating with Richter, Vasarely and Alviani artists, amongst others. His works have been exhibited in many renowned local and international institutions and are included in several international museum collections, including the Museum of Modern Art in New York, Tate Modern and Victoria & Albert Museum in London, Centre Georges Pompidou in Paris and Boymans Museum in Rotterdam. Since 2011, the Museum of Contemporary Art in Zagreb has maintained a collection of Picelj’s work, as well as his archives and library. These formed an important gift from the artist to the institution, contemporary art scholars and the public. Creator An entity primarily responsible for making the resource Picelj, Ivan Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yugoslavian Pavilion in Paris Description An account of the resource The Yugoslav Pavilion designed for the Paris Exposition in 1950 reflected the social and cultural climate following the Second World War, when the country was distancing itself from Stalinism and embracing the ideology of real socialism. There was a strong cultural revival, and the abstract and concrete historical avant-gardes were being reclaimed and analysed, especially Constructivism and the Bauhaus method. The search for a synthesis in the visual arts and architecture characterised the EXAT 51 programme and related 1951 Manifesto, signed by the Pavilion’s authors. <a href="https://www.repository.unipr.it/bitstream/1889/3686/4/-Picelj%2c%20Radic%2c%20Richter%2c%20Srnec_Yugoslavian%20Pavilion%20in%20Paris.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Picelj, Ivan Radic, Zvonimir Richter, Vjenceslav Srnec, Aleksandar Date A point or period of time associated with an event in the lifecycle of the resource 1950 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Remondina, Camilla Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Ivan Picelj MoRE museum Financial reasons Technical reasons http://moremuseum.org/omeka/files/original/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/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/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/905eb9f7dc57e46539af28586768b1e7.jpg bf92012e24d5a684a06d3b752524eb42 http://moremuseum.org/omeka/files/original/367317d3c687672aa5ab07410e718ce4.jpg bd58e6db023f57ec7f61a2e2ca13b87f http://moremuseum.org/omeka/files/original/6aafe0b256c0535ba2e17cf6227b351d.pdf 6ac495188c5efaf65d023c605cb19528 http://moremuseum.org/omeka/files/original/584d87f744f095d258da1f7e71ecb237.pdf 5937cc9e38c21a80593ff462cb7cd8c8 http://moremuseum.org/omeka/files/original/c1890b103a8294e4e8e0d6f3fd8451b1.pdf 45ba093ba72ee314b7e63836f06e060c http://moremuseum.org/omeka/files/original/d33f3c45b124f8a4a72eb4997c8f6008.jpg 9f26d2819af03963036bd6694b7f23e7 http://moremuseum.org/omeka/files/original/381e3569c7d2db1d472f33e69c16c72d.jpg 9d91aa6c6ce534b03387b0325e8e96df http://moremuseum.org/omeka/files/original/9146872f8acb3fdb3b1b04091e4e5d68.jpg 3a14b9c96652ff97005d66341fb1faac http://moremuseum.org/omeka/files/original/df3e11df5eef554481c41ac6db09d471.jpg 50b7d5d2acd87b499deb65bcded88500 http://moremuseum.org/omeka/files/original/6a651c35fb153f9748d5023cf6067ecb.jpg 9216c1a2d60ac2d248d99ee2f921a6f9 http://moremuseum.org/omeka/files/original/b592f530420f246f8aef032824a3ade2.jpg cb993e62cf6eea8cb6c512375e062fae http://moremuseum.org/omeka/files/original/656018858f334b8eb80ba0f4f08994d1.jpg 4e9acec854cc939ac25d07d371ce140d http://moremuseum.org/omeka/files/original/620f28b0835dedff046c8a51ce1a05e1.jpg b42c421a6c6c31051b56df3dcdc825c8 http://moremuseum.org/omeka/files/original/0b8bbcf46d55336e9b12dd15d66f4da9.jpg 82fe79f5f1a45990b206f9743673c8e8 http://moremuseum.org/omeka/files/original/41345e39375f51e66dd96169b9f5f4bf.jpg e83dceba1cb7de0a755217a74333dc56 http://moremuseum.org/omeka/files/original/da388ec8166fc8699bb34e74b3533a91.jpg baf08d77c4c5d279728ec0d0c0c1d22e http://moremuseum.org/omeka/files/original/dc58be05f7ce5fb645da3add63a38141.jpg 8cccc51cfa384b4a7b799e444b36a91f http://moremuseum.org/omeka/files/original/6890f7394abc03fd511f2532cee56642.jpg 444a42c7fb39128c9390cf804a94da7b http://moremuseum.org/omeka/files/original/b50649866df2ff43b9c492e15f4353b2.jpg ee9d7c492639d06220d9503852ed3d32 http://moremuseum.org/omeka/files/original/a8d2700883934dc8acc2caef4ca1e3f6.jpg 0d42c82b47292baaf4bba024882556f9 http://moremuseum.org/omeka/files/original/e8552bf9a4d634a611f54f336ad0c674.jpg 5bca548e44bd92ae4aed89c833290751 http://moremuseum.org/omeka/files/original/9103a5918725f1d11db69246a0e246d8.jpg 5c4a975c4fb8a032d644fb5acb9b8acd http://moremuseum.org/omeka/files/original/70f42949b8f0027b14922e5255590147.jpg d54b113c0c6109e104fec700e764ffba http://moremuseum.org/omeka/files/original/95fd9df2c26f8fd88e76ff1b5044bbff.jpg 4bc304f777d2b9055ee7f64e0ded754b http://moremuseum.org/omeka/files/original/f12c17a26d0e414cc79119207b0c57b1.jpg 3bdeaa12c90f66bc40dd99156356618b http://moremuseum.org/omeka/files/original/12265b0e3602139c4e4ec524f7fe2d1e.jpg 021fa80e05f0c228fee62f3845a1eb8a http://moremuseum.org/omeka/files/original/d767742391fe7b5e166fa5981dbfc517.jpg f2faf6172a736936cb685d5008d52a73 http://moremuseum.org/omeka/files/original/1b276cf6390665bc7c025e0143f617da.jpg d8bd10168fc381ef74f7eb7f6588aaab http://moremuseum.org/omeka/files/original/d8c0760d404b74e1caf0339f51e731c0.jpg d3b5ba0a7e653a8a5d558c6aab3c16fc Dublin Core The Dublin Core metadata element set is common to 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 Pogačnik Description An account of the resource Marko Pogačnik is a contemporary Slovenian artist. He studied at the Academy of Arts in Ljubljana where he graduated in 1967. He was co-founder of the OHO group between 1965 and 1971, alongsideMilenko Matanović, David Nez, Marko Pogačnik, and Andraž Šalamun.He lives and works in the village of Šempas (Nova Gorica). Creator An entity primarily responsible for making the resource Pogačnik, Marko Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lithopuncture Zagreb Description An account of the resource In October 2004, Marko Pogačnik created a series of urban sculptures in Zagreb as part of the "Urban Intervention" project. They were part of a cycle that the Slovenian artist had been developing since the 1980s, entitled Lithopuncture.  He saw this as a kind of acupuncture applied directly to the Earth's surface at certain "energy points", rather like acupuncture practised on the human body in relation to the chakras. Four years later the works were partially removed. <a href="https://www.repository.unipr.it/bitstream/1889/3687/4/Marko%20Pogačnik_Lithopuncture%20Zagreb_.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Pogačnik, Marko Date A point or period of time associated with an event in the lifecycle of the resource 2004 Contributor An entity responsible for making contributions to the resource Zinelli, Anna Format The file format, physical medium, or dimensions of the resource image/jpeg Rights Holder A person or organization owning or managing rights over the resource. Marko Pogačnik MoRE museum Removal / Destruction Unknown http://moremuseum.org/omeka/files/original/75f90980e702d721af2df70602177a3f.jpg 11cb055b0698017d8c556a95f4f207d0 http://moremuseum.org/omeka/files/original/76643f6444aff111144105c8e6bbe833.jpg 02b71f37fcf0d729c5ac40c0c436a427 http://moremuseum.org/omeka/files/original/eb9d3d84ea3ed3669b2049f24934a1dd.jpg 18bc2b11ad20d1c710c8e02fef2cb73f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vlado Martek Creator An entity primarily responsible for making the resource Martek, Vlado Description An account of the resource Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism. 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 [Project for a book] Description An account of the resource Project for a book (2017) consists of three A4 sheets of paper, the draft for a book which was never published, donated as source of inspiration and research. <a href="https://www.repository.unipr.it/bitstream/1889/3678/4/Vlado%20Martek_Project%20for%20a%20book%20eng.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Martek, Vlado Date A point or period of time associated with an event in the lifecycle of the resource 2017 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 Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Vlado Martek MoRE museum Theoretical exercise http://moremuseum.org/omeka/files/original/cbfa3ace08757fb88f31c987175e2f00.jpg 39f4208e32f64653f4c5979e56284f8b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vlado Martek Creator An entity primarily responsible for making the resource Martek, Vlado Description An account of the resource Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism. 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 Prazno miesto Description An account of the resource Prazno miesto [Empty mind] should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. <a href="https://www.repository.unipr.it/bitstream/1889/3679/4/Vlado%20Martek_Prazno%20miesto%20ing.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Martek, Vlado 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 Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/tiff Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Vlado Martek MoRE museum Theoretical exercise http://moremuseum.org/omeka/files/original/1d076a77e55bc7f487aec77271e06973.jpg 4b23b6a8dcf9e260beb2f417044ed244 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vlado Martek Creator An entity primarily responsible for making the resource Martek, Vlado Description An account of the resource Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism. 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 Pjesma se ne vraća u abecedu Description An account of the resource Pjesma se ne vraća u abecedu (Poem is not coming back into the Alphabet) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. <a href="https://www.repository.unipr.it/bitstream/1889/3680/6/Vlado%20Martek_Pjesma%20se%20ne%20vraća%20u%20abecedu%20eng.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Martek, Vlado 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 Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/tiff Rights Holder A person or organization owning or managing rights over the resource. Vlado Martek MoRE museum Theoretical exercise http://moremuseum.org/omeka/files/original/69ca073973dde62b8eb76be74546bd5b.jpg f32607adc1998de4e3b23b2de047c310 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vlado Martek Creator An entity primarily responsible for making the resource Martek, Vlado Description An account of the resource Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism. 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 paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ništa Description An account of the resource Ništa [Nothing] should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. <a href="https://www.repository.unipr.it/bitstream/1889/3681/4/Vlado%20Martek_Ništa%20eng.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Vlado Martek 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 Modena, Elisabetta Rights Holder A person or organization owning or managing rights over the resource. Vlado Martek MoRe museum Format The file format, physical medium, or dimensions of the resource image/tiff Type The nature or genre of the resource Text Still Image Theoretical exercise http://moremuseum.org/omeka/files/original/3faf9503eb0ae5e09dcf9c2f7975b423.jpg c1a4debcc3f93368c50ab1d14ef98a65 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vlado Martek Creator An entity primarily responsible for making the resource Martek, Vlado Description An account of the resource Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism. 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 Mislim na umjetnost Description An account of the resource Mislim na umjetnost (I think of art) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. <a href="https://www.repository.unipr.it/bitstream/1889/3682/4/Vlado%20Martek_Mislim%20na%20umjetnost%20eng.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Martek, Vlado Date A point or period of time associated with an event in the lifecycle of the resource 2017 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 Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Vlado Martek MoRE museum Theoretical exercise http://moremuseum.org/omeka/files/original/a1632d1332276cfbf144df6610421c1e.jpg fee113a5caaa4fedfd1e1b2bc9199959 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vlado Martek Creator An entity primarily responsible for making the resource Martek, Vlado Description An account of the resource Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource arte arte arte Description An account of the resource arte arte arte  (art art art) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. <a href="https://www.repository.unipr.it/bitstream/1889/3683/6/Vlado%20Martek_arte%20arte%20arte%20eng.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Martek, Vlado 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 Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/tiff Rights Holder A person or organization owning or managing rights over the resource. Vlado Martek MoRE museum Type The nature or genre of the resource Text Still Image Theoretical exercise http://moremuseum.org/omeka/files/original/f6b23f4e401d12562ead00aea0b966f4.jpg 2898d4d72897468e14bf8b7532294c98 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vlado Martek Creator An entity primarily responsible for making the resource Martek, Vlado Description An account of the resource Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism. 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 Ambivalentna tautologija Description An account of the resource Ambivalentna tautologija is dated 2013. The idea was to display a picture of Martek’s studio in the studio of Goran Trbuljak (Varaždin, Croatia, 1948). Although it was never carried out, thanks to documents describing it, we can say that the work was realised in the form of a statement. <a href="https://www.repository.unipr.it/bitstream/1889/3684/4/vlado%20martek_Ambivalentna%20tautologija.ING.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Martek, Vlado Date A point or period of time associated with an event in the lifecycle of the resource 2013-2014 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 Rights Holder A person or organization owning or managing rights over the resource. Vlado Martek MoRE Museum Type The nature or genre of the resource Text Still Image Theoretical exercise http://moremuseum.org/omeka/files/original/465463ffb6ec9ced29f135b253b5f9d4.jpg 4da0c6d3ad4c978c596da4f5d07c32c3 http://moremuseum.org/omeka/files/original/011a0106dbbba730077ca1ad8d455790.jpg 5d3c6c8d1076a2b5451be876e58ecdff http://moremuseum.org/omeka/files/original/85de864b364381b7e861e2806df09cd5.jpg f387be79bae45a43e1763d04d2b21b8e http://moremuseum.org/omeka/files/original/a9647271bf5b9e49a400c14ffd48c2eb.jpg 5fbdcce26539b8933a7262587bed4dd1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petar Dabac Description An account of the resource Petar Dabac was born in 1942 in Zagreb. He graduated from the Faculty of Mechanical Engineering and Naval Architecture in Zagreb. He started working in photography in 1960 as an associate in Tošo Dabac’s studio - Tošo Dabac is one of the most important Croa-tian photograph of the post-war period, documenting the cultural transformations and the artistic and social events of his country - which he took over after Tošo’s death in 1970. He’s been working as an independent artist since 1966 and he’s been a member of ULU-PUH (The Croatian Association of Artists of Applied Arts) since 1970. From 1980 to 1987, he organized around 40 photo exhibitions of local and international authors at the gallery established within Tošo Dabac’s Studio. During the 1990s and early 2000s, it was increasingly difficult to maintain the Tošo Dabac Archive, so that Petar Dabac launched negotiations with the City of Zagreb on the purcha-se of the collection. He is one of the founders of SPOT, a photography magazine, launched in 1972. Frm 1990 to 2008, he teached Photography at the Academy of Fine Arts in Ljubljana. In the sixties, he began working on a series of black-and-white portraits of artists, acquaintances, friends and members of the art scene, which he continued to create during the following decades. He belongs to a generation of artists who introduced the conceptual approach to photography in the 1970s by creating spatial installations and doing experiments with photocopies and photograms. Creator An entity primarily responsible for making the resource Dabac, Petar 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 paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum of Photography Description An account of the resource Petar Dabac began by tackling the issue of conserving photographic heritage to protect the legacy of Tošo Dabac, his uncle. He proposed the establishment of a Museum of Photography in Zagreb to collect, store and copy photographic documents. The Museum would also have exhibitions, a library and a permanent display. <a href="https://www.repository.unipr.it/bitstream/1889/3688/4/Petar%20Dabac_Museum%20of%20Photography.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Dabac, Petar Date A point or period of time associated with an event in the lifecycle of the resource 1986 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 Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Petar Dabac MoRE museum Financial reasons Logistical 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