...una volta
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Vaglieri with the project ...una volta (...once upon a time) planned to create a model representing the map of the world to be installed on the ceiling of the entertainment room of the new department.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2449/1/Vaglieri_Una%20volta.pdf" target="_blank" rel="noopener">Read more.</a>
Vaglieri, Marco
2004
Modena, Elisabetta
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Still Image
<a href="http://hdl.handle.net/1889/2449" target="_blank" rel="noopener">http://hdl.handle.net/1889/2449</a>
[Progetti per una mostra retrospettiva]
Since 2000 in the artist’s notebooks we can find several information and notes about the project of a retrospective exhibition that has never been realized.<br />One note dated 2001 sketches out the idea of an exhibition of artists who developed ideas similar to Pietroiusti's ones or who even accused him of stealing their ideas. With this project Pietroiusti continues his reflection on the concept of authenticity, uniqueness, physical and intellectual property of the art work.<br />One more hypothesis, dating back to 2002, rather refers to an exhibition in which the artist planned to exhibit all his art works and to exchange them with new projects realized in collaborations with the visitors or inspired by them.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1778/1/CESARE%20PIETROIUSTI_Progetti%20per%20una%20mostra%20retrospettiva.pdf" target="_blank" rel="noopener">Read more</a>.
Pietroiusti, Cesare
2000-2013
Modena, Elisabetta
image/jpeg
Italian
Still Image
<a href="http://hdl.handle.net/1889/1778" target="_blank" rel="noopener">http://hdl.handle.net/1889/1778</a>
[Project for a book]
<p><i>Project for a book</i> (2017) consists of three A4 sheets of paper, the draft for a book which was never published, donated as source of inspiration and research. <br /><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></p>
Martek, Vlado
2017
Modena, Elisabetta
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Text
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18.20 (Progetto per il Piazzale Caio Mario)
The project, originally conceived for the public contest «Premio Artegiovane/Torino Incontra. Una porta per Torino», proposed to realize a kind of silent room in the middle of the traffic congestion, with walls made of streams of air that rise toward the high and create a total sound proofing. To delimit the area Marisaldi plans to position a balaustre that works as a boundary. The idea, as the artists explains, is to create a kind of shelter in the middle of the traffic that can become a place for a date or be reached by tram. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2421/1/Marisaldi_piazzale%20caio%20mario.pdf" target="_blank" rel="noopener">Read more</a>.
Marisaldi, Eva
2002
Modena, Elisabetta
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/2421" target="_blank" rel="noopener">http://hdl.handle.net/1889/2421</a>
A Better Britain
Scott King developed this project as CRASH!, with historian and writer Matthew Worley, for the the <a href="http://www.serpentinegalleries.org/exhibitions-events/map-marathon" target="_blank" rel="noopener">Serpentine Map Marathon</a> event.<br /><em>A Better Britain </em>is a series of 12 projects, published inside what appeared to be the programme for the Map Marathon and along with the informations about the event. Each project featured an image, designed by Scott King with a xerox, collage aesthetic, and a text written by Matthew Worley to present the idea, which always addressed with a utopian/dystopian and often satirical proposal a specific theme regarding contemporary Britain.<br />MoRE has also realized <a href="http://issuu.com/moremuseum/docs/intervista_a_scott_king_e_matt_worl" target="_blank" rel="noopener">an interview with the authors</a> to talk about the projects, published on the museum website. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2410/1/Crash_A%20Better%20Britain.pdf" target="_blank" rel="noopener">Read more</a>.
King, Scott
Worley, Matthew
CRASH!
2010
Scotti, Marco
application/pdf
English
Text
Still Image
<a href="http://hdl.handle.net/1889/2410" target="_blank" rel="noopener">http://hdl.handle.net/1889/2410</a>
A conceptual noise...
The idea is to put a small gadget on a very famous Duchamp’s work, <em>Roue de bicyclette</em>, a ready-made exhibited in several museums all around the world (Centre Pompidou in Paris, Tate Gallery in London, Moma in NY...). Considering that his work is a reproduction itself, a copy of the lost original, the idea of a “posthumous homage-enrichment” is really close to Duchamp spirit. The introduction of a credit card establishes a link with other artist who changed the art world, investigating the role of money and material goods, such as Dali (Avida Dollars) but above all Wharol. There is a recreational element in this gadget: the artist took inspiration from the playing cards that children put on their bikes to simulate the sound of an engine. The kit, made of a copy of the artist’s credit card and a clothes peg to decorate Duchamp’s work according to Bonacorsi’s instructions, is sold apart in the museum shop.<br />This work was planned by the artist on the occasion of the re-opening of Centre Pompidou collections in 2000, but he never proposed it to the museum: a typical development of Bonacorsi’s work, really influenced by the concept of dépense.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2000/1/bonacorsi_a%20conceptual%20noise.pdf" target="_blank" rel="noopener">Read more.</a>
Bonacorsi, Ivo
1999
Longari, Elisabetta
image/jpeg
Still Image
<a href="http://hdl.handle.net/1889/2000" target="_blank" rel="noopener">http://hdl.handle.net/1889/2000</a>
A Lighting system
The project <em>A lighting system</em> tries to tie together the discourse on security and the machine for the production of good conscience – and of control - as which the ecological discourse is often used into one structure. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3715/1/Veit%20Stratmann_A%20lighting%20system.pdf" target="_blank" rel="noopener">Read more.</a>
Stratmann, Veit
2012
Stratmann, Veit
application/pdf
video/quicktime
French
Text
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Moving Image
Abat-jour
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Mezzaqui proposes the creation of an abat-jour lamp to the placed on the bedside tables of the patients’ rooms, in the memory of her childhood. The project was not realized as a result of a number of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2448/1/Mezzaqui_Abat%20jour.pdf" target="_blank" rel="noopener">Read more.</a>
Mezzaqui, Sabrina
2004
Modena, Elisabetta
image/jpeg
Italian
Still Image
<a href="http://hdl.handle.net/1889/2448" target="_blank" rel="noopener">http://hdl.handle.net/1889/2448</a>
Ambiguità dell’angolo
<p><span>Five projects of environmental intervention in a interior space, formed by two walls ending in a corner and a floor, named from A to E. <br /></span>The first one, A, is dated 1978 and accompanied by the autograph and handwritten note of the artist: “Ambiguità dell’angolo contrapposta alla sua indicazione” [Ambiguity of the corner opposite to its indication] is a graphic reproduction of a parietal corner on which is drawn, joining the two walls, a straight line of dots. On the floor is drawn straight line of dots converging in the corner itself.<br />The second, named B, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted passage of rectangular shape, open and not dotted on the base that ideally stays on the floor.<br />The third, named C, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted rectangular shape whose base rests on the floor.<br />The fourth, named D, consists in a graphical representation of a parietal corner, the two walls joined by a dotted triangle, with the base that joins horizontally the walls, and vertex which coincides with the corner in the meeting point between the two walls and the floor.<br />The fifth, named E, consists of a graphic duplication of a double dotted parallel line that crosses the two walls and perpendicularly the corner of the environment.<br />Through the use of a projector, the artist would have reproduced the pattern formed from points in succession using likely graphite. The dotted drawings deny the environmental depth and build illusively another perceptual space, a new environmental perspective.<br />The project <em>Ambiguità dell’angolo</em> [Ambiguity of the Corner] critically analyses the real space and its theoretical conceiving through the perceptive operation, thus witnessing the enviromental vocation of the entire research by Scaccabarozzi. <br />In 1986 was held a partial realization of the project for the exhibition “Die Ecke=the corner=le coin”, at Galerie Hoffmann, Friedberg, and in 1988 at Wallis Kantonsmuseum, Sitten, Switzerland. There, Scaccabarozzi tries to represent the direct intervention in the space, using pictorial dots on a corner of the room, and publishing on the catalog six different projects of enviromental intervention, called <em>Ambiguità dell’angolo</em> [Ambiguity of the Corner], and dated 1978.Only the first one of those published, has been realized by the artist in the gallery and consisted in a simple horizontal line of dots, that crossed the corner and reached the two walls, proceeding in parallel with the floor. <br /><span>The other projects, united in the book of unrealised projects by the artist, had more tecnical difficult for their realization, and they have never been realized. <br /></span>Recently, for the recent two-men show at Galerie Hoffmann in Friedberg, and dedicated to Scaccabarozzi and Gary Woodley in july-september 2016, Anastasia Rouchota, heir of the artist and founder and director of the Scaccabarozzi archive, reproduced in a room only the project already made in 1986.<br />Coming back to this historical exhibition, and coherently with the exhibition program of the gallery, among the invited artists were the protagonist of the North and East European neo-concretist and conceptual: Getulio Alviani, Gianni Colombo, Maurizio Nannucci and Antonio Scaccabarozzi from Italy, François Morellet from France, Klaus Staudt and Ludwig Wilding from Germany, Julije Knifer from Yugoslavia, and Herman De Vries from Netherland.<br />The catalog plays, also graphically, wuith the exhibition topics, containing handwritten texts, sketches and conceptual drawings. In her text, Verena Auffermann starts quoting the <em>Philosophische Bemerkungen</em> by Ludwig Wittgensteinand, and through the philosophical lens of the XIX century, from Artur C. Danto, Richard Serra to Gertrude Stein, she reflects on the relation between space and thought of space, retracing the function and the projectual and metaphoric meaning of the corner in the painting of the last century, starting from Cézanne and Malevich for introducing the 109 artists of the exhibition in 1986.</p>
<p><span>“The corner <br /></span>Separates outside from inside<br />The corner <br />is dimensional<br />The corner <br />defines limits<br />The corner <br />Is a man-made design<br />The corner <br />Is a closure<br />The corner <br />Separates itself from the ‘out-there’<br />The corner <br />Is essential to a triangle<br />The corner<br />Is the corset for spatial thinking<br />The corner <br />Is an ideal playground for optical illusion”. <br />(<em>Die Ecke = the corner = le coin</em> 1986, s.p.)</p>
<p><a href="https://www.repository.unipr.it/bitstream/1889/3445/1/Antonio%20Scaccabarozzi_Ambiguità%20dell%27angolo.pdf" target="_blank" rel="noopener"><span>Read more.</span></a></p>
Scaccabarozzi, Antonio
1978
Bignotti, Ilaria
DSpace: http://hdl.handle.net/1889/3445
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Italian
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Text
Ambivalentna tautologija
<i>Ambivalentna tautologija </i>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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3684/4/vlado%20martek_Ambivalentna%20tautologija.ING.pdf" target="_blank" rel="noopener">Read more.</a>
Martek, Vlado
2013-2014
Modena, Elisabetta
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Text
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Arciteatro
Arciteatro is a simple and clear project – although very well articulated - that Varisco prepared when she was invited to participate in the competition organized by the Municipality of Milan for the construction of a sculpture intended to be located in the square near the Arcimboldi Theatre. The artist then thought of "inhabit" the public space with geometric - but open - shapes, of the kind that it’s often possible to find in his work, forms that, in their mutual dialectical relationship and tension with the surrounding environment, create a new and different spatial dimension, in which the perception habits of the public are challenged, as it always happens in her work, which are often declined in the concrete dimension of the surrounding space.<br />The project never won the competition. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2055/1/varisco_arciteatro.pdf" target="_blank" rel="noopener">Read more.</a>
Varisco, Grazia
2000
Casero, Cristina
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2055" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2055</a>
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arte arte arte
<p><i>arte arte arte</i> (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. <br /><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><b></b></p>
Martek, Vlado
2003
Modena, Elisabetta
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Text
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Artisti coraggiosi. Natura morta - 2
The unrealised project <em>Artisti coraggiosi</em> 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. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3842/1/echaurren_perna.pdf" target="_blank" rel="noopener">Read more</a>.
Echaurren, Pablo
1971-1974
Perna, Raffaella
image/jpeg
Italian
Still Image
as yet untitled (Stairs)
<p>The idea was to reflect on the art fair context which is a recurring impulse in the artist's work. Context is not neutral, and can sometimes be oppressive as in the case of an art fair.<br />The proposal for Frieze London made reference to ambition and the competitive, attention grabbing motivation behind many projects for these art fairs. It would point to the competition for limited places and the curators’ power. The artist, caring very little about making a name for herself, uses the abbreviated 'G. Küng', which is meant to encapsulate a stance of resistance.<br />The project would consist of really oversized photographic prints on the theme of "stairs.” She would photograph models in board or plaster, variations on the stair form. They would be difficult stairs, treacherous ones or impossible to climb stairs: their shape would mean that if you tried to climb them, they would topple over, or a step would have a broken part, or they would get taller and taller as you climbed. Enlarging the photos hugely, the images would be too tall for the pseudo-walls of the art fair, and the prints would stick out above the walls.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2998/1/G.Kung_as%20yet%20untitled%20%28Stairs%29.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Küng, Georgia
2015
Scipioni, Elena Lydia
image/jpeg
English
Still Image
<a href="http://dspace-unipr.cineca.it/handle/1889/2998" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2998</a>
Aussichtsturm (Observation Tower)
<p>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.<br /><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></p>
Eichhorn, Maria
1992-1994
Modena, Elisabetta
application/pdf
Deutsch
English
Text
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Big Suit Departing
Big Suit Departing was conceived for the Berlin Schönefeld airport; the project consisted in the realization of a giant figure – 10 x 3,5 mt – hanging inside the airport hall with a 50% slope. The “dummy” has neither head nor limbs, it is totally hollow so that the passengers can see through it; the realization is really realistic, with details such as buttons, eyelets and fabric rendered in every detail. This characteristic is typical of Erwin Wurm’s works, that partially distort the reality we live in. This sort of “monument” is not intended to celebrate the common man, but, as in all Wurm’s work, it aims at glorifying an exorcism of the everyday life, a praise of a different reality, of visionary and distorted perceptions. Erwin Wurm says that the project remained unrealized because: “The commission found a human suit not sufficiently representative enough for an international airport.” <br /><a href="https://www.repository.unipr.it/bitstream/1889/2327/1/Wurm_big%20suit%20departing.pdf" target="_blank" rel="noopener">Read more</a>.
Wurm, Erwin
2010
Rossi, Valentina
application/octet-stream
application/pdf
video/quicktime
English
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Text
Moving Image
<a href="http://hdl.handle.net/1889/2327" target="_blank" rel="noopener">http://hdl.handle.net/1889/2327</a>
Caleidoscopi; Allora la luna
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. For the Hospital department Losi imagined two projects: <em>Caleidoscopi (Kaleidoscopes)</em>, colored prisms to play with, enclosed in balsa wood cases, and <em>Allora la luna (Then the moon)</em>, a sort of luminous sign with a diameter of about two meters designed for outdoor installation, to be placed on one of the buildings in front of the windows of department: both projects were meant to stimulate the imagination of young patients and to allow them to forget their condition for a moment. The project was not realized as a result of a number of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2444/1/Losi_Caleidoscopi%20e%20Allora%20la%20luna..pdf" target="_blank" rel="noopener">Read more.</a>
Losi, Claudia
2004
Modena, Elisabetta
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application/pdf
Italian
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Text
<a href="http://hdl.handle.net/1889/2444" target="_blank" rel="noopener">http://hdl.handle.net/1889/2444</a>
Cannocchiale Ottico Percorribile
The <em>Cannocchiale ottico percorribile</em> was designed by the artist for the 1968 Milan Triennale, dedicated to the theme of the Grande Numero, in the never-realised exhibition Interventi nel paesaggio. Inside this project artworks by young artists should have been exposed in town and city centers to offer an artistic vision of the world in scale with the physical environment. <br />In the oral reconstruction provided by his wife Franca Scheggi Dall’Acqua, in support of the two photographs of the project, the optical telescope should have been made in chromed steel and in collaboration with Italsider. Scheggi of this project produced a maquette, also in chromed steel. The <em>Cannocchiale ottico percorribile</em> was to be shown in Florence, between the Cathedral of Santa Maria del Fiore and the Baptistery, in line with Via de ‘Calzaiuoli and Via dei Martelli. The dimensions hypothesized by the artist had to be such as to accommodate about a man of medium height in it, who could have been following the inside path in all its lenght. The work unravels itself in a zigzag and irregular shape, such as to produce an effect of disorientation on the viewer, increased by a very dramatic interior lighting; in addition responding to the theme of the exhibition inside the Triennale it was also a reflection on the Florentine Renaissance perspective, made explicit with its placing in the square in Florence (Scheggi was a native of the city and soaked in humanities); but we can also place it among the top experiences of Paolo Scheggi related to the concept of tunnel and path in the dark that would then be developed in the following years, bringing us the environment <em>ONDOSA</em> (as reported in the bibliographies and biographies of the artist) or <em>ONDOSA NERA</em> (as shown on the projects of the artist himself) otherwise made for the show Eurodomus in Milan, 1970, and then destroyed.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1998/1/scheggi_cannocchiale%20ottico%20percorribile.pdf" target="_blank" rel="noopener">Read more</a>.
Scheggi, Paolo
1968
Bignotti, Ilaria
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/1998" target="_blank" rel="noopener">http://hdl.handle.net/1889/1998</a>
CAPTCHA
<p><em>CAPTCHA</em> is the project for a sculpture that reproduces a sports car - a Mercedes SL600 - through layers of transparent polycarbonate, and should have been installed inside the Jardin des Plantes in Paris. The project, which focuses on the “striking formal aspects” of such a sculpture in a specific historical context, can be considered alongside Matthew Darbyshire works and researches on the optical potential of different materials and manufacturing processes, many of which looks at the printing technologies and the three-dimensional modeling of the prototypes used in the automotive industry. The polycarbonate in particular has different reactions to the light, and would allow the sculpture to "oscillate between the transparent and the opaque, or the solid and the empty". Even the choice of the subject can be included in the poetic and the iconography of Darbyshire, as it remains suspended between an intrinsic and ironic social commentary and a formal reflection on the object, the luxury, and its symbolic and subjective values.<br />The FIAC Committee rejected the project, which should have been also supported by the Swarovski company, within the <em>off </em>program of the fair. However the artist was asked if he would make and install it anyway with his commercial galleries resources.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2655/1/Matt%20Darbyshire_CAPTCHA%20–%20Mercedes%20SL600.pdf" target="_blank" rel="noopener">Read more.</a></p>
Darbyshire, Matthew
2014
Scotti, Marco
application/pdf
English
Text
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<a href="http://hdl.handle.net/1889/2655" target="_blank" rel="noopener">http://hdl.handle.net/1889/2655</a>
Cartoneros - Buenos Aires
<p>The idea behind <em>Cartoneros</em>, which came to him whilst travelling to Argentina in 2006 to implement the project on the Fasinpat ceramic factory (<em>Fabrica sin patrones</em>), an example of corporate self-management among the most significant of the country. Mele had been following the labor movement since 2000, after attending a demonstration staged by local workers, until he decided to return to Argentina in 2006. On this occasion he noticed the reality of the “cartoneros”. The economic crisis of 2001 caused the foreclosure of thousands of industrial plants and shops in Argentina, with a subsequent dramatic increase of 3,500 improvised workers for the collection of waste paper and cardboard around the cities. These workers seamlessly blended in with the blind frenzy of the metropolis, rummaging through the trash or dragging stacks of cartons. The project was supposed to include a large installation made of cardboard, stacked from and compressed between the floor to the ceiling, along with some paintings that the artist had painted during his stay in Argentina’s capital as well as an extensive photographic documentation of the workers’ lives, often carried out in secret among the city's neighborhoods.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3000/1/Sandro%20Mele_Cartoneros%20–%20Buenos%20Aires.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Mele, Sandro
2006
Scipioni, Lydia Elena
image/tiff
Italian
Still Image
<a href="http://dspace-unipr.cineca.it/handle/1889/3000" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3000</a>
Casa per uno Scultore (Casa per lo scultore Carmelo Cappello)
The project of the house for the sculptor Carmelo Cappello (Casa per lo scultore Carmelo Cappello) has for its own nature of academic exercise to be inevitably assigned to the sphere of 'unrealised'. However, if we leave out an analysis limited to the development of the theme proposed to the students for the course of interior design at the Faculty of Architecture, Politecnico di Milano, hosted by Carlo De Carli, we realize that this project and in particular the set of drawings Ugo La Pietra has entrusted to MoRE could be brought back within a path of continuous experimental exercise than in the earlier years of his research is aimed at proposing a reformulation of the relationship between the arts.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1770/1/UGO%20LA%20PIETRA_Casa%20per%20uno%20scultore.pdf" target="_blank" rel="noopener">Read more.</a>
La Pietra, Ugo
1960-1962
Zanella, Francesca
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/1770" target="_blank" rel="noopener">http://hdl.handle.net/1889/1770</a>
Certificati di Autenticità
The artist developed a never-realized project for the production of different typologies of certificates of authenticity, like for instance one attesting a person's own identity, or unrealized art works or sophisticated certificates printed on papyrus for objects of little value (e.g. A one cent coin). The unrealized project is coherent with the author's research that often investigates ironically the economic system and the attribution of a commercial value to objects.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1772/1/CESARE%20PIETROIUSTI_Certificati%20di%20autenticità.pdf" target="_blank" rel="noopener">Read more</a>.
Pietroiusti, Cesare
1987-1988
Modena, Elisabetta
image/jpeg
Italian
Still Image
<a href="http://hdl.handle.net/1889/1772" target="_blank" rel="noopener">http://hdl.handle.net/1889/1772</a>
Cinema Italia
This unrealised project has to be considered in relation with <a href="http://moremuseum.org/omeka/items/show/id/29" target="_blank" rel="noopener">Ritz</a>, a project for the realization of an outdoor movie theatre inside a park in Trento proposed the year before (2004), and it consist in the proposal to place of a permanent movie theatre at the P.A.V. (Parco d’Arte Vivente) of Torino, project of the artist Piero Gilardi realized in collaboration with the landscape architect Gianluca Cosmacini. <br />The project, unrealized due lack of sponsorship, consisted in the facade of a movie theatre in deco style outlined in black on a white background, that recalls a movie theatre seen by the artist in the small city of Anzola Emilia (Bo), on a 4 x 3 meters wing made of painted bricks (as “a big A4 paper sheet”), as can be seen in the sketch that documents this work. On the facade are two entrance doors with their tents and lamps placed on each side, while on the top of it can be seen a decoration with three figures that ironically represent three reindeers as they usually appear on Christmas illuminations and decorations and that frame the sign “Cinema Italia”. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2418/1/Marisaldi_cinema%20italia.pdf" target="_blank" rel="noopener">Read more</a>.
Marisaldi, Eva
2005
Modena, Elisabetta
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2418" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2418</a>
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CityForest
<p style="font-weight: 400;">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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5198/1/Aleksandra%20Mir_CityForest.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Mir, Aleksandra
1997
Mir, Aleksandra
Scotti, Marco
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Cloakroom workshop, Frieze
<p>The project donated to MoRE was initially conceived for London Frieze Art Fair. The artist submitted an application for Frieze Projects, curated by Nicola Lees of the Frieze Foundation, and she was among the finalists with a proposal of transformation of a space inside the exhibition complex. Her project intended to transform the cloakroom of the museum into a sewing and fashion atelier, open during the whole event. In this atelier the artist would have reproduced and reinterpreted the coats and clothes left by the visitors while they were visiting the exhibition, to create some original pieces of art. The project was not selected. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2860/1/Sissi_Cloakroom%20Workshop.pdf" target="_blank" rel="noopener">Read more.</a></p>
Sissi
2013
Rossi, Valentina
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Italian
Still Image
<a href="http://hdl.handle.net/1889/2860" target="_blank" rel="noopener">http://hdl.handle.net/1889/2860</a>
Concorso di progettazione Piazza Verdi - La Spezia
The project, realized with architect and curator Frank Boehm, was presented in 2009 on the occasion of the design competition for the architectural and artistic requalification of Piazza Giuseppe Verdi, announced by the city of La Spezia and P.A.A.L.M.A. (Premio Artista Architetto La Marrana Arte Ambientale) in partnership with Fondazione Cassa di Risparmio della Spezia. The idea of the artist and the architect was to convert the square into a pedestrian area, a kind of “urban living room”, a place of meeting. The square is divided into three equal parts: in the lateral parts they wanted to recreate an ideal Italian Garden, with orange trees, accessible on the west side to the customers of the coffee shop and on the opposite side to the students of the high school and junior high school. While in the central area, where the 1930’s building of the postal service is located, they planned to realise a rectangular fountain to be placed in front of the irregular staircase of the postal service building, and the protruding pavement, similar to piers inside the water.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3004/1/Luca%20Vitone%20e%20Frank%20Boehm_Concorso%20di%20progettazione%20Piazza%20Verdi.pdf" target="_blank" rel="noopener">Read more</a>.
Vitone, Luca
Boehm, Frank
2009
Modena, Elisabetta
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application/msword
application/pdf
Italian
<a href="http://dspace-unipr.cineca.it/handle/1889/3004" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3004</a>
Concorso per la progettazione di un monumento dedicato ai disertori del nazismo
<p>Vitone in 2009 designed a memorial to the deserters from the Nazist army in the center of the city of Cologne,taking part in a competition, which he will not win.<br />The artist, who has lived and worked in Germany, meditates from a political point of view on the ambiguity of act of desertion. The monument that he projects is made of a flagpole of about 12 meters - with a flag on top of it, decorated with the infinity symbol - placed on an iron base on which a map is visible, a typical element of Vitone’s research (in this case the one of city of Cologne).<br /><a href="https://www.repository.unipr.it/bitstream/1889/3005/1/Luca%20Vitone_Concorso%20per%20la%20progettazione%20di%20un%20monumento%20dedicato%20ai%20d....pdf" target="_blank" rel="noopener">Read more</a>.</p>
Vitone, Luca
2009
Modena, Elisabetta
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Italian
Deutsch
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<a href="http://hdl.handle.net/1889/3005" target="_blank" rel="noopener">http://hdl.handle.net/1889/3005</a>
Containers
<p>A series of frames of big size are overlapped in order to create a new shape, that goes beyond the content of the frames itself. The project was part of a series of works focusing on representation, but the artist abandoned it because he was busy on other works and moreover he saw at Venice Biennale 2013 a similar project, <em>Still the Same Place</em> by Petra Feriancová and Zbyněk Baladrán inside the Czech pavilion.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2900/1/Kensuke%20Koike_Containers.pdf" target="_blank" rel="noopener">Read more.</a></p>
Koike, Kensuke
2012
Romano, Gianni
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Italian
Text
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<a href="http://hdl.handle.net/1889/2900" target="_blank" rel="noopener">http://hdl.handle.net/1889/2900</a>
Coraza
Invited to take part to the second edition of the performance festival curated by Adriana Rispoli and Eugenio Viola, Corpus. Art in action, 7-26 June 2010 at MADRE Museum in Naples, Galindo focused on the social problems that affects the city. As a result, the artist’s project recalls a kind of training practiced by the Camorra: to shoot a person who is close to his killer. The performance was supposed to happen like this: the artist, wearing a bulletproof vest, is locked in a room with a man standing a meter and a half to her. The man is armed with a gun and he shoots at the artist after asking her for three times, in English: “Are you afraid?”. The audience attends in a adjacent room, where he can only listen to the sounds coming from the performance. Immediately after the shot the artist and the man come out (the man from a side door, without being noticed) and the room remains empty and accessible to the public. According to Galindo, the project was refused because it had been considered too dangerous. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2089/1/galindo_coraza.pdf" target="_blank" rel="noopener">Read more.</a>
Galindo, Regina José
2010
Modena, Elisabetta
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application/msword
Italian
Still Image
Text
<a href="http://hdl.handle.net/1889/2089" target="_blank" rel="noopener">http://hdl.handle.net/1889/2089</a>
D.X XY
<p><em>D.X XY</em> is a dialogue on painting between two subjects X and Y, which is reported in the file number one, while in the second file donated by the artist the dialogue becomes a performance thanks to two actors who recite the text written by the artist himself. The two interlocutors impel a nonsense conversation where the act of painting is the fulcrum generating a series of references to pictorial action and often to the impossibility of the termination of this act. The performance revolves around a movable structure that lends itself to expose the Baruzzi designs that are changed from time to time by the two performers.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3476/1/Riccardo%20Baruzzi_D.X%20XY.pdf" target="_blank" rel="noopener">Read more.</a></p>
Baruzzi, Riccardo
2013
Rossi, Valentina
application/pdf
text/richtext
Italian
Text
Dear Tattooist
<p>This project moves from the interest of the artist in the map - a recurring theme inside his research - and wants to explore this form of historical representation with tattoos, a declared fascination of Runo Lagomarsino: in fact his idea was to invite several tattooists from all around the world to draw a world map, and in particular “a personal interpretation of the world map”, without any limit or rule.</p>
<p>This work, that has never been realized, could be seen as part of a series of practices through which the artist “examines how we come to know and speak about the conflicting geographies and temporalities of power”<a title="" name="_ftnref1" href="#_ftn1"></a>, investigating the map as way to measure, represent and control a territory, that contains in itself several contradictory truths and is strictly connected with an ideology, a vision or a point of view. In particular the use of metaphors and representations to study political and social environments<a title="" name="_ftnref2" href="#_ftn2"></a> here is declined through the potential multiple authorship of the tattooists that could have drawn the maps, and through the introduction of a technique usually connected with the idea of traveling and with the concept of identity. The tattoo, here a personal interpretation of something usually considered fixed, could have been another mean aimed at “the investigation of the historiographic, geographic and mathematical models that helped to ensure the colonialist domination of the world by Western modernity”.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3241/1/Lagomarsino_Dear%20Tattooist.pdf" target="_blank" rel="noopener">Read more.</a><br /><a title="" name="_ftnref3" href="#_ftn3"></a></p>
Lagomarsino, Runo
2013
Scotti, Marco
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English
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<a href="http://dspace-unipr.cineca.it/handle/1889/3241" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3241http</a>
Degna di Goebbels
<p><span>This project for an unrealised film was based on a Reiner Werner Fassbinder 1975 piece, <i>Der Muell, die Stadt und der Tod </i>(Garbage, the City and Death), an adaptation of Gerhard Zwerenz's novel <i>Erde ist unbewohnbar wie der Mond </i>(1973). The film's working title, <i>Degna di Goebbels,</i> is taken from one of the signs exposed during the violent protests that broke out in Germany and prevented the show from being staged in the country until 2009, due to accusations of anti-Semitism, linked to the character of the rich Jewish businessman, one of the main character of the representation, and the violent monologues on this theme. MASBEDO's work consisted in staging and shooting a performance with an actress, Silvia Calderoni, in a wood performing the theatrical text with a megaphone, until she reach a tombstone where the title phrase has been engraved, surrounded by a pack of wolves. The film should have had an original soundtrack composed by Carlo Boccadoro. This project is particularly significant inside the research of Nicolò Massazza and Iacopo Bedogni between video and performative, and can now be reconstructed through some photos from the set - -, several e-mails excerpts which reconstruct the various processing and - also graphic - design phases of the tombstone. As declared by the same artists, "The shooting was interrupted during the first day, and the tombstone thrown into the trash”.<br /></span><a href="https://www.repository.unipr.it/bitstream/1889/3448/1/Masbedo_Degna%20di%20Goebbels.pdf" target="_blank" rel="noopener">Read more.</a></p>
MASBEDO
2011
Scotti, Marco
DSpace: <a href="http://hdl.handle.net/1889/3448" target="_blank" rel="noopener">http://hdl.handle.net/1889/3448</a>
Italian
Del Piero
Taking inspiration from “Pinturicchio”, the epithet invented by Gianni Agnelli to describe Alessandro Del Piero as “an artist of football”, Enzo Umbaca invited the famous football player to take part in a performance; the idea was to ask Pinturicchio-Del Piero to paint a fresco on a wall of a gallery in Turin by kicking a ball stained with graphite against a wall on which was hanging a reproduction of an artwork by Pinturicchio. The project was conceived for the second solo exhibition of the artist at Franco Soffiantino Gallery in Turin and it was never realised since Del Piero did not answer to the invitation. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2902/1/Umbaca_Del%20Piero.pdf" target="_blank" rel="noopener">Read more</a>.
Umbaca, Enzo
2007
Romano, Gianni
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Italian
Text
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<a href="http://hdl.handle.net/1889/2902" target="_blank" rel="noopener">http://hdl.handle.net/1889/2902</a>
Die Kristallader
<p class="Default"><em>Die Kristallader</em> (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.<br />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.<br />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.<br />The jury ultimately chose another submitted project, so that the Crystal Vein was never realised.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3843/1/rekade_mirra.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Mirra, Helen
2014
Rekade, Christiane
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English
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Do it yourself confession
<em>Do it yourself confession</em> 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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3845/1/ciglia_baruchello.pdf" target="_blank" rel="noopener">Read more</a>.
Baruchello, Gianfranco
1967
Ciglia, Simone
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Italian
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Drawings for a soft play commission for Barking Leisure Centre, London
<p>This project was submitted as a proposal for the soft play commission at the <a href="https://www.lbbd.gov.uk/residents/leisure-libraries-and-museums/sport-and-physical-activity/abbey-sport-centre/new-abbey-leisure-centre/">Abbey Leisure Centre</a> in Barking, London. The elements present in the area, dedicated to the children, are a series of games and spaces reinterpreted following the forms of objects, furniture and particular details of urban furniture. The space is divided into three floors: the ground floor is characterized as a urban public space with a trompe l'oeil painting of a Woolworths shop, a vinyl flooring that reproduces a grey stone paving, a neon sign and a coffee area, while the first and the second recall domestic spaces. Inside the drawings for the project we can find the model of a Volkswagen New Beetle car which works as a children picnic table, a climbing tree, a "store" where children can throw down huge objects made of a soft material and an area where rubber balls come out of bathtubs and sanitary fittings, a rotating wheel that looks like a sofa with a coffee table, a double bed you can jump on avoiding huge swinging lamps and the passages between different levels, made of firefighters poles, ramps and shelves to climb.<br />The Committee discarded the proposal, in favour of <a href="in%20favour%20of%20one%20by%20" target="_blank" rel="noopener">one by Marvin Gaye Chetwynd</a>.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2654/1/Matt%20Darbyshire_Drawings%20for%20a%20soft%20play%20commission%20for%20Barking%20Leisure%20Centre.pdf" target="_blank" rel="noopener">Read more.</a></p>
Darbyshire, Matthew
2014
Scotti, Marco
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English
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<a href="http://hdl.handle.net/1889/2654" target="_blank" rel="noopener">http://hdl.handle.net/1889/2654</a>
En attendant la mariée
<p style="font-weight: 400;">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.<br />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.<br />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 <span>Þ</span> the male molds <span>Þ</span> 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.<br /><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>.</p>
Echaurren, Pablo
2012
Casero, Cristina
Rossi, Valentina
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Italian
Text
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Erased Line
In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. For this work Vaništa combines two cardboards, dividing the first one longitudinally with a line, which is a pattern that he had begun to use in 1961 and had become a symbol of his painting tecnique, devoted to simplicity, searching for essentiality and at the same time marked by a detached and often ironic attitude. Unlike his earlier technique, which he often re-adopted since the 60s and involved a soft pencil and a ruler, at Brunnenburg Vaništa created his work using a collage technique.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2659/1/Vaništa_Erased%20Line.pdf" target="_blank" rel="noopener">Read more.</a>
Vaništa, Josip
1991
Scotti, Marco
Zinelli, Anna
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English
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<a href="http://hdl.handle.net/1889/2659" target="_blank" rel="noopener">http://hdl.handle.net/1889/2659</a>
Esser Spazio
<span><span>The project was submitted to the commission for the International Competition <em>SPAZIO/MAXXI due percento</em>, published in October 2008, for the creation of two works of art for the MAXXI Museo nazionale delle arti del XXI secolo, Rome: one had to be designed for the atrium of the museum and another one for the outdoor areas. </span><br />The light work <em>Esser Spazio</em> had to be placed outside the MAXXI Museum, integrating the architectural environment with discretion and inhabiting the final steps of the square above the entrance to the museum. Uberti, coherent with its artistic research which often aims at drawing symbolic shapes and signs on the architectural and urban public space – sometimes with effects of displacement, sometimes to emphasize the characteristics and peculiarities of the place - in this case suggested a sentence, a motto and at the same time a call, asking the public to actively participate in the construction of the museum: then reflecting on the meaning of this new space for contemporary art, on its role in respect to the culture, but also on the shape of the city itself. The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008 by the Provveditorato interregionale per le opere pubbliche per il Lazio, l’Abruzzo e la Sardegna, in agreement with the PARC Direzione generale per la qualità e la tutela del paesaggio, l’architettura e l’arte contemporanee.<br />The work didn't win the competition.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2333/1/uberti_essere%20spazio.pdf" target="_blank" rel="noopener">Read more</a>.</span>
Uberti, Massimo
2008
Bignotti, Ilaria
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English
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<a href="http://hdl.handle.net/1889/2333" target="_blank" rel="noopener">http://hdl.handle.net/1889/2333</a>
Finestre
The project, entitled <em>Finestre</em> since its first conception, has undergone several revisions and can be considered only partially realised. The idea of opening windows on adjoining rooms to offer the spectators an unusual continuity of vision between contiguous spaces is conceived initially as a real demolition of the walls of the building hosting one of the seats of Vivita 2 Gallery of Ciotti and Camillo D'Afflitto in Florence (adjacent to an old abandoned cinema). This idea was abandoned for technical and practical difficulties, and in January 1990 the artist realized a different version of the project (inside Vivita 1 gallery in Florence) by exhibiting on the walls of the gallery pictures of the adjoining rooms that were recessed inside the walls that should have been tore down to produce a kind of trompe l’oeil effect (as can be seen in an undated sketch found among the artist's papers that probably dates back to 1989).<br /><a href="https://www.repository.unipr.it/bitstream/1889/1773/1/CESARE%20PIETROIUSTI_Finestre.pdf" target="_blank" rel="noopener">Read more</a>.
Pietroiusti, Cesare
1989
Modena, Elisabetta
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English
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<a href="http://hdl.handle.net/1889/1773" target="_blank" rel="noopener">http://hdl.handle.net/1889/1773</a>
Foglie al vento
<p style="text-align: left;"><em>Foglie al vento</em> is a project realised for the contest <em>Arte per piazza Matteotti, </em>organized by the city of Imola in 2010, that aimed at the creation of a monument to replace the memorial to the fallen of the First World War in the renovated Renaissance square.</p>
<p style="text-align: left;">The project, that did not win the contest, consisted of the realization of a light installation in the arcade of one of the square sides. The idea of the artist was to place in the middle of each of the fourteen vaults of the arcade of Palazzo Sersanti a special lighting element that, through a dedicated optical system, would have projected on the ground the image of the same number of green Ginko Biloba leaves, replacing the preexisting lighting system.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2658/1/Vitone_%20foglie%20al%20vento.pdf" target="_blank" rel="noopener">Read more.</a></p>
Vitone, Luca
2010
Modena, Elisabetta
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Italian
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<a href="http://hdl.handle.net/1889/2658" target="_blank" rel="noopener">http://hdl.handle.net/1889/2658</a>
Fontana in galleria
<p>Since the beginning, the research of Franco Guerzoni was up-to-date and full of original ideas, even if in line with the most interesting experiences developing in Italy and abroad. Indeed, considering visual arts, that period was particularly rich and full of innovative solutions on both the conceptual and expressive level.</p>
<p>This project, the fourth donated by the author to MoRE, dates back to a period between 1968 and 1969, when Guerzoni, then in his early twenties and at the end of his education, abandoned the traditional painting technique and started doing researches in the avant-garde, especially around Duchamp.</p>
<p>He was spontaneously attracted by the most important international researches, such as the American Land Art and the Italian Arte Povera. These interests reflect in some of his works, not always realised, such as this project donated to MoRE. The concept behind the project was quite simple: Guerzoni wanted to bring inside the closed space of an art gallery a natural occurrence, the rainbow. The project included, as shown in the sketch, a field sprayer machine in the center of the room. It would have sprayed water, playing with the artificial light effects.</p>
<p>The author, thinking about that installation – also with the collaboration of Luigi Ghirri, friend and companion of many art adventures – took some photographs in the countryside. These study series of water splashes investigated the nature of the rainbow and its visual perception. These conceptual photographs are the only evidence of the project. It remained unrealized due technical difficulties but also because it was more theoretical than realizable. The theme to bring the nature inside the culture was particularly strong in that period; Guerzoni itself thought to produce a black rose, as symbolic synthesis of the two elements.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3245/1/Guerzoni_Fontana%20in%20galleria.pdf" target="_blank" rel="noopener">Read more.</a></p>
Guerzoni, Franco
1969
Casero, Cristina
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<a href="http://dspace-unipr.cineca.it/handle/1889/3245" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3245</a>
Forum Vogelsang Banana
This project started as a cooperation with Coop Himmelb(l)au: the idea was to fill up the consisting building of the so called Adlerhof with reinforced concrete and build new rooms within the huge banana, that should be arranged above that “Sarkophag”. The criticism in this project lies exactly in the relationship with the context and with the place itself: Vogelsang, indeed, once called Ordernsburg, was built from 1934 to 1936, as a former training institution for young party members of the National Socialist German Workers’ Party (NSDAP). The artist himself underlined the historical references, which are also summarised at the <a href="http://www.vogelsang-ip.de/nextshopcms/show.asp?lang=en&e1=902&ssid=1&mdocid=803" target="_blank" rel="noopener">official page</a>. Erwin Wurm declared that the project has been officially refused for formal reasons.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2331/1/Wurm_Forum%20Vogelsang.pdf" target="_blank" rel="noopener">Read more</a>.
Wurm, Erwin
Coop Himmelb(l)au
2008
Rossi, Valentina
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<a href="http://hdl.handle.net/1889/2331" target="_self">http://hdl.handle.net/1889/2331</a>
Fourth Plinth Proposals
Two proposals presented as part of the great public art project connected to the Fourth Plinth in Trafalgar Square, London and never realized. The "Fourth Plinth" was in fact originally built in the second half of the nineteenth century, as a base to host the equestrian statue of William IV, but has remained empty for over 150 years and the debate about its possible use has continued till 1999, when the first three temporary commissions were assigned to contemporary artists for site-specific projects. Following the success of this first initiative it was decided to form a committee of experts, which comprises Jeremy Deller himself, to follow the subsequent calls, invitations and selection of projects: this committee has officially and unanimously established the final destination use of the fourth plinth as a support for specifically commissioned installations of contemporary art.In particular, Jeremy Deller in the two projects donated to MoRE, both developed in 2008, proposes an anti-monumental and deeply political vision, working - in his own words - more from the perspective of a citizen than from the one of an artist, closely linked to the contemporary situation of the country involved in the Iraqi war. A first proposal was the life-size statue of David Kelly, the British scientist found death after his supposed suicide, as a result of statements made to the media about his doubts about a real presence of the weapons of mass destruction held by the Iraqi government, and the subsequent Parliament investigation. <br />The second proposal, called <em>The Spoils of War</em>, proposed to expose the carcass of a car destroyed by a bomb in Iraq, bringing a trace of the war in what has been for centuries the heart of the British Empire and still is universally recognized as a place with a strong monumental character.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2094/1/deller_fourth%20plinth%20proposals.pdf" target="_blank" rel="noopener">Read more</a><em>.<br /></em>
Deller, Jeremy
2008
Scotti, Marco
English
Still Image
<a href="http://hdl.handle.net/1889/2094" target="_blank" rel="noopener">http://hdl.handle.net/1889/2094</a>
Giallo-Dromo
<p>Flavio Favelli conceives this project, together with the architect Flavio Gardini and the engineer Matteo Grilli, for a competition curated by Bartolomeo Pietromarchi.<br />The artist envisiones the creation of an outline of the old nuclear power plant in Caorso, opened in the Seventies and closed only eight years after. The power plant was dismantled in 2009 by the company Sogin, Società Gestione Impianti Nucleari (Nuclear Power Plants Management Company), which also promoted the competition. Starting from the premises of the designation letter, Favelli conceives a complex full-sized work which represents the shape of the former power plant as a memorial, a sculpture dedicated to the history of a placereflecting a much debatedissue of the last forty years such as the one of nuclear energy. The artwork consist of the full scale creation of the former power plant's outline - width 24.98 cm and height 9,98 cm - countoured by yellow neon. The work could remind of a triumphal arch, even if it doesn't celebrate political or military achievements, but instead it becomes a simulacrum of the power plant itself, a memory-sign of the building's exact structure, employed to try to salvage the remembrance of the landscape. Its urban dimension makes the viewer enter a state of temporal bewilderment, almost a <em>déjà vu</em>, an alteration of memory through the construction of an ephemeral architecture. The project was canceled due to a change in the company's management.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2859/1/Flavio%20Favelli_Giallo-Dromo.pdf" target="_blank" rel="noopener">Read more.</a></p>
Favelli, Flavio
2009
Rossi, Valentina
application/msword
application/pdf
image/jpeg
Italian
Text
Still Image
<a href="http://hdl.handle.net/1889/2859" target="_blank" rel="noopener">http://hdl.handle.net/1889/2859</a>
Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto
<p><i>Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto</i> is an unrealized pictorial work that returns to a “live" pictorial modality, in fact the project consists in painting <i>Giovane che guarda Lorenzo Lotto</i> by Giulio Paolini from 1967. The project <i>Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto</i> is therefore a short-circuit of meaning because Paolini’s work reproduces the <i>Ritratto di giovane</i> by Lorenzo Lotto.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3475/1/Eugenia%20Vanni_Giovane%20che%20guarda%20Eugenia%20Vanni%20dipingere%20Giovane%20che%20guarda%20Lorenzo%20Lotto.pdf" target="_blank" rel="noopener">Read more.</a></p>
Vanni, Eugenia
2015
Rossi, Valentina
image/jpeg
Italian
Text
Still Image
I Nomi del tempo
<p>Installation in 2 parts, 2009. Venice, Basin of the Arsenale, Gaggiandre, and Tese delle Vergini, Italian Pavilion.</p>
<p>Environmental dimensions. Light, water, photography, sound.</p>
<p>A) Outside: A semi-submerged photographic image of 60x20m. occupies the stretch of water of one of two ancient covered basins of the Arsenale. The image represents simultaneously two circles of water and the symbol of Infinity. A stone thrown in water has created the splitting of the first cell, giving rise to a multiplicative process. The photographic act freezes the action and renders eternal the instant and the becoming of time, Past and present, stasis and change, finite and infinite are simultaneously present: the place is real and virtual at the same time.</p>
<p>B) Inside: 12 light-boxes placed in the niches of the left wall of the Theater of the Virgin transform the wall in a great self-illuminating façade. Light and architecture are welded into a single radiating structure that transmits light within the building. On the floor in front, a water tank of about 16×16 m. reflects the architecture of light, generating the virtual image space. The still surface of the water is perturbed by the undulatory motion of concentric waves that propagate rhythmically from the center of the tank. The vibration of this liquid surface corresponds with the intangible sounds diffused into the great emptiness of the room: visual and sound waves interact, creating the vibrating movement of the water.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2001/1/wolf_i%20nomi%20del%20tempo.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Wolf, Silvio
2009
Longari, Elisabetta
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/2001" target="_blank" rel="noopener">http://hdl.handle.net/1889/2001</a>
Iggy Pop Life Drawing Class
The project consisted in inviting an icon of popular culture – such as Iggy Pop – to pose, without revealing his identity to the students, as a model for a drawing class: the results of these sessions would then have been donated and preserved at the Smithsonian Institution. The artist’s research focuses here on the importance of preserving social content and values related to pop music and to its fruition, placing them in a broader cultural context, and in particular on the role which certain bands and musicians assume for specific communities of fans or, as in this case, for an heterogeneous and often unconscious public. <br />The document is a drawing by Sarah Tynan, and serves as an example of what could have been the result of the work of the class.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2099/1/deller_iggy%20pop%20life%20drawing%20class.pdf" target="_blank" rel="noopener">Read more</a>.
Deller, Jeremy
2006-2011
Scotti, Marco
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/2099">http://hdl.handle.net/1889/2099</a>
Il fiore e la pietra
<em>Il fiore e la pietra</em> is a project of a urban sculpture for square in Turin, Italy. It was presented by the artist, on invitation by Gianni Romano, at the contest for young artists «Premio Artegiovane/Torino Incontra. Una porta per Torino» curated by Guido Curto, 6th Edition, 2002. <br />The theme draws its first inspiration from B.C. comics by Johnny Hart: a frail flower dialogues with a stone. The ambiguity between solidity and frailty is symbolically set aside the then very adverse situation of FIAT, the most important manufacturing company of Turin, and the problem of the blue collar sleeping area. <br />The environment in which the project was developed is typical of a still common situation in contemporary art: conceived to apply to a contest, it was never realized, as well as all the other projects presented, due to lack of funds. <br /><a href="https://www.repository.unipr.it/bitstream/1889/1996/1/hirsch_il%20fiore%20e%20la%20pietra.pdf" target="_blank" rel="noopener">Read more</a>.
Hirsch, Debora
2002
Bignotti, Ilaria
application/pdf
Italian
Still Image
Text
<a href="http://hdl.handle.net/1889/1996" target="_blank" rel="noopener"><strong><code>http://hdl.handle.net/1889/1996</code></strong></a>
Il palazzo di Atlante
<p><em>Il palazzo di Atlante</em> is a project for an environmental scale intervention, designed for the <em>Ufficio </em>Geologico building located at largo Santa Susanna, Rome. The place is currently abandoned, and was designed between 1873 and 1879 by the engineer Raffaele Canevari: this space is the starting point for a research that Tosatti documents in the attached file donated to MoRE, through a project and several diary entries corresponding to the different stages of the design process. It is possible to consider this artwork within a path that includes several works the artist dedicated to abandoned spaces - in particular we can mention <em>Tetralogia della polvere</em> (Novara, Casa Bossi, 2012) and also the recent cycle realized in Naples, <em>Sette Stagioni dello Spirito</em> (2013 - 2016) -: this ambitious work is considered by Gian Maria Tosatti as an arrival point he can face only after a series of experience, where he "started building rooms, larger or smaller, then dedicating myself to buildings and then finally building larger and larger artworks, sometimes even bigger than myself, and therefore requiring every time an evolution, a development of myself as an artist. "</p>
<p>The title refers to the Atlas Palace, a myth that appears in the Boiardo and Ariosto Orlando, and that here acquires a personal value for Tosatti as a place to deal with, but also in a relationship with the visitors, though the symbols of the labyrinth and the mirror, a central theme in the artist's research between 2011 and 2012. Through a practice divided between art and architecture, often described by Tosatti himself with an analogy with the room in the middle of the "zone" in the Andrei Tarkovsky film <em>Stalker</em>, a model of superimposition of identity and desire, here the artist tries to make the apparition of “castles and monuments” true, introducing in the project the themes of electricity and illusion:</p>
<p>“The culmination of the work will consist precisely in a large switch that visitors could turn off, letting darkness and silence fall over the entire building. It will therefore be necessary - also from the visual point of view – to rely on certain image of technology, related to electricity. Obviously the kind of technology that should be used is not be the most modern one, but the one that is present in a shared imaginary, consequently machines and tools form several decades ago, which aren’t used anymore”.</p>
<p>Studying the construction diary and the preparatory drawings we can also highlight the particular attention dedicated to the façade, upon which two “mirror flags” should have been installed to make "the invisible building" recognizable, and the structuring of a path through the different floors. A room should have contained, upon one of the tables that are already present inside the building, a glass of water and a bottle of Novalgina, a painkiller, together with an hidden mechanism that would have created a light and steady vibration to shake the water surface when placed upon the table. Another room was designed to provide the optical illusion of a rhino freely moving inside the space, so to anticipate the top floor switch, where the machinery would have been placed. Classical statues - originals or copies - should also have been present alongside the path, as an archetype of man and as a mirror for the visitor, while at the ground floor, currently occupied by an archaeological excavation, an artist intervention would have been necessary to turn it into a sculptural space.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3246/1/Tosatti_Il%20palazzo%20di%20Atlante.pdf" target="_blank" rel="noopener">Read more.</a></p>
Tosatti, Gian Maria
2013
Scotti, Marco
application/pdf
Italian
Text
<a href="http://dspace-unipr.cineca.it/handle/1889/3246" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3246</a>