2
50
157
-
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Title
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1_...una volta, 2004, veduta generale saletta svago.jpg
Description
An account of the resource
Picture of the project entertainment room
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file jpg, 14,82x21 cm, 300 dpi
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2_...una volta, 2004, pianta soffitto saletta svago.jpg
Description
An account of the resource
Picture of the project entertainment room: plant on the ceiling of the entertainment room
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file jpg, 13,91x21 cm, 300 dpi
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3_...una volta, 2004, dettaglio soffitta saletta svago.jpg
Description
An account of the resource
Picture of the project entertainment room: detail
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.file jpg, 13,92x21 cm, 300 dpi
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Title
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Marco Vaglieri
Creator
An entity primarily responsible for making the resource
Vaglieri, Marco
Description
An account of the resource
Marco Vaglieri (Milan, 1959). Lives and works in Oslo. He has exhibited in Italy and abroad. His research is mainly based on the theme of the encounter and of the relationship, as well as the memory (Il tempo che serve, 2002), identity and family (Fallowing John, 2000). Among the solo exhibitions: Il tempo che serve (Luigi Franco Contemporary Art Gallery, Turin, 2000), Metafisica della carne (Galleria Milano, Milan, 2008), and Her han ikke en længere (Rum 46, Aarhus, Denmark); between the numerous group exhibitions: La parola nell’arte (Mart, Rovereto, 2007) and Multitudes & solitudes (Museion, Bolzano, 2003).
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...una volta
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. 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>
Creator
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Vaglieri, Marco
Date
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2004
Contributor
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Modena, Elisabetta
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image/jpeg
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Still Image
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Marco Vaglieri
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2449" target="_blank" rel="noopener">http://hdl.handle.net/1889/2449</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
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Dublin Core
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Title
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Plastic Oplalà 2004 - 1 - Gam Bologna Daolio.jpg
Description
An account of the resource
Details of the garden - 3D botanical garden
Format
The file format, physical medium, or dimensions of the resource
file jpg, 4,5x7,82 cm, 576 dpi
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Plastic Oplalà 2004- 2- GAM R. Daolio Silvia Cini.jpg
Description
An account of the resource
Details of the garden - 3D botanical garden
Format
The file format, physical medium, or dimensions of the resource
file jpg, 4,49x7,82 cm, 576 dpi
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Plastic Oplalà 2004- 3- Gam Bologna Daolio.jpg
Description
An account of the resource
Details of the garden - 3D botanical garden
Format
The file format, physical medium, or dimensions of the resource
file jpg, 2,16x3,75 cm, 576 dpi
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Plastic Oplalà 2004-4- GAM R. Daolio Silvia Cini.jpg
Description
An account of the resource
Details of the garden - 3D botanical garden
Format
The file format, physical medium, or dimensions of the resource
file jpg, 7,14x7,14 cm, 576 dpi
http://moremuseum.org/omeka/files/original/29ef24a225d9bf873e7130754d13c990.jpg
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Plastic Oplalà 2004-5 cubi- GAM R. Daolio Silvia Cini.jpg
Description
An account of the resource
PlasticOplalà # 2 seven inflatable cubes covered with canvas
Format
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file jpg, 1,89x2,83 cm, 576 dpi
http://moremuseum.org/omeka/files/original/96724a329cfb66fb4120102f628d7499.pdf
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Title
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Intervista a Silvia Cini, Dialoghi, a cura di UnDo.net.pdf
Format
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file pdf
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Title
A name given to the resource
Silvia Cini
Creator
An entity primarily responsible for making the resource
Cini, Silvia
Description
An account of the resource
<p>Silvia Cini (Pisa, 1972) is an artist and independent curator. She graduated from the Academy of Fine Arts in Rome and then continued her studies as an Operator of Cultural Heritage at the Pontifical Gregorian University; thanks to a thesis on the cataloging of contemporary art works, she started working at the ICCD Central Institute for Documentation and the Catalogue of the Ministry of Culture, contributing to the drafting of the law on cataloging OAC Opera contemporary Art as a consultant of the then director Maria Luisa Polichetti.</p>
<p>One of the founders of the Gruppo Immagini, she collaborated with Keith Haring to the event that lead to the mural of Pisa. At the same time she began studying theater with Stefano Vercelli and Luisa Pasello at the Piccolo Teatro di Pontedera, under the direction of Roberto Bacci and supervision of Jersy Grotosky.</p>
<p>Her first exhibition was in Milan in 1994, when she created the group AAVV with Salvatore Falci, then in Rome where she collaborated with Cesare Pietroiusti to DisorsordinAzioni il Gioco del Senso and Non senso (XII Quadrennial of Rome), and with the Gruppo Oreste with which she took part to the 48 Venice Biennale.</p>
<p>In 1997 she curated her first series of exhibitions at the Ferro di Cavallo, in collaboration with the Academy of Fine Arts in Rome, signing the beginning of the art of relationship and public art in Italy. She continued to work as a curator, as collaborator of Carolyn Christov Bakargiev and Hans Hulrich Obrist to the French Academy in Rome and in other curatorial activities (Milan Triennale, Invideo, Icityperiferiche, Palazzo Re Enzo, Bologna, Genoa Loggia of the Merchants, Cartabianca, Museum of Contemporary Art Villa Croce, Genoa) side by side with the exhibiting activity. Since the end of the nineties she works with the Neon Gallery, alternating solo and group exhibitions (Continua, Zero, GoldanKauf) in Italy and abroad.</p>
<p>Her works are inspired by the dialogue, often intimate, that they create with the audience. Her interest focuses often on the landscape as a metaphor of society, integrating environmental audio installations and botanical research. She collaborated over the years with the Faculty of Landscape Architecture in Genoa holding workshops and seminars. In 2000 she received the Prize Atelier from Fabio Mauri, at the Galleria Comunale d'Arte Moderna in Rome. The city of Genoa, on the occasion of Genoa 2004 European Capital of Culture, assigned her the Duchess Galliera Award for best artist working on the territory of Liguria.</p>
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Title
A name given to the resource
Plastic Oplalà
Description
An account of the resource
<p>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. Cini was invited to be part of the project together with artists Emilio Fantin, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri.<br />For the department Cini thinks the project <em>PlasticOplalà 1, 2, 3</em>, a series of site-specific interventions whose idea is to create a small botanical garden outside of the pavilion, in the semi-abandoned garden of the pediatrics department. 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/1889/2451/1/Cini_Plastic%20Oplalà.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Cini, Silvia
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
Italian
Type
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Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Silvia Cini
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2451" target="_blank" rel="noopener">http://hdl.handle.net/1889/2451</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
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Title
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Jevsovar 01 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
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Jevsovar 02 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
http://moremuseum.org/omeka/files/original/c470ab41030444b046c57b7f635a1ea7.jpg
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Title
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Jevsovar 03 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
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Title
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Marijan Jevsovar
Creator
An entity primarily responsible for making the resource
Jevšovar, Marijan
Description
An account of the resource
Marijan Jevšovar (1922 - 1998) was a Croatian artist, born in Zagreb. He graduated from the Academy of Fine Arts of Zagreb in 1946. Between 1954 and 1956 he resided in France, where he approached the informal research, influenced in particular by Dubuffet. Since the late '50s he created paintings on surfaces which were coated in several layers of grey and white color, defined by the artist as a "negation of the form" obtained by "tainting the white surface of the canvas." During the '70s he also introduced the use of color in his works, though without ever distancing himself from this form of "anti-painting”. In parallel with this research, he has also created posters and art books. He has had exhibitions in Opatija (1959), Monaco (1960), Zagreb (1961, 1972, 1976, 1980, 1993), Dijon (1989), Varaždin (1990) and Umag (1993).
Jevšovar was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, the sculptor Ivan Ivan Kožarić, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
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Title
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Untitled
Creator
An entity primarily responsible for making the resource
Jevšovar, Marijan
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
image/jpeg
image/jpeg
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre,</a> which was never completed. <br />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. <br />During his stay, Jevšovar created three different works of art. In two of them, both dated March 5th, he placed a quadrangular figure on the center of a white background, while in his third work, dated March 6th, he proposed a rectangular strip of color on a brown background. The works are therefore linked to the central theme of the artist's research, which is an attack on tradition - not ironically as it was in Dadaism, but rather looking at the surface as a central problem of pictorial structure.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2663/1/Jevšovar_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Marijan Jevsovar
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2663" target="_blank" rel="noopener">http://hdl.handle.net/1889/2663</a>
Ideological reasons
Logistical reasons
-
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ad57a68e039e525390c34bb1125f3f20
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Title
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Mangelos 01 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 123, 402 x 173,567 cm, 72 dpi
http://moremuseum.org/omeka/files/original/72fdc86fdb2b0fd649ee761e69fa7f72.jpg
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Dublin Core
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Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Title
A name given to the resource
Mangelos 02 cm 30 x 42.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,845x 42,192 cm, 72 dpi
http://moremuseum.org/omeka/files/original/5e370d00befbc04e951ae83d7436d744.jpg
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Mangelos 03 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,986 x 173,567 cm, 72 dpi
Dublin Core
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Title
A name given to the resource
Mangelos
Description
An account of the resource
Mangelos, pseudonym of Dimitrije Bašičević (1921 - 1987), was a Croatian artist, curator and art historian. Born in Šid, Serbia, he studied history and philosophy at the University of Vienna (between 1942 and 1944) and later in Zagreb (between 1945 and 1949) and earned a doctorate from the University of Philosophy in Zagreb (1957), focusing his thesis on the work of the artist Sava Šumanović. In 1952 he founded the Peasant Art Gallery, currently Croatian Museum of Naive Art, while simultaneously serving as assistant and curator at the Yugoslav Academy of Arts and Sciences. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966.
Parallel to his activities as a critic and curator, he proposed researches - defined by the artist himself as a "No-Art" - focused on the contrast between writing and painting, developing a series of posters dedicated to topics such as "functional thinking", "energy", "instinct" and “memory". In the essay dedicated to this specific artistic production, Stipančić says: “Many of them, regardless of the scope of the subject, included his notion of there being two civilization - a “handmade civilization” and a “mechanical” one. The latter, he believed, is based on “functional thought” and is, therefore, in opposition to the old “handmade civilization. In order to express his theses on the “death of art”, Mangelos engaged in a dialogue with numerous philosophers and theoreticians, from Hegel to W. Benjamin”.
Mangelos was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Marijan Jevšovar, Julije Knifer, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Creator
An entity primarily responsible for making the resource
Mangelos
Dublin Core
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Title
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Untitled
Creator
An entity primarily responsible for making the resource
Mangelos
Date
A point or period of time associated with an event in the lifecycle of the resource
[1991]
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the <a href="http://www.msu.hr/" target="_blank" rel="noopener">Muzej Suvremene Umjetnosti - MSU Zagreb</a>, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre, </a>which was never completed.<br />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. <br />Conz decided to include the works of Mangelos, who died in 1987, asking the remaining members of the group to place their signature on the back as sort of an homage. The three works signed by the members of Gorgona and presented for the exhibition are respectively attributed to the manifesto for energy, the series of landscapes dedicated to Pythagoras and the series dedicated to the dialogues.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2661/1/Mangelos_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
image/jpeg
image/jpeg
Type
The nature or genre of the resource
Still Image
Language
A language of the resource
English
Rights Holder
A person or organization owning or managing rights over the resource.
Mangelos
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2661" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2661</a>
Ideological reasons
Logistical reasons
-
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178ec5c3a40f5f29519315aed9847a93
Dublin Core
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Title
A name given to the resource
Knifer cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 121,497 x 168, 487 cm, 72 dpi
Dublin Core
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Title
A name given to the resource
Julije Knifer
Description
An account of the resource
Julije Knifer (1924-2004) was a Croatian artist, who was born in Osijek and died in Paris, where he had lived since 1994. A graduate of the Academy of Fine Arts of Zagreb in 1956, by the late '50s he developed his research starting from the geometrical pattern of the "meander", which he reproduced in different formats and with different techniques, eventually introducing a practice of conceptual matrix imprinted on seriality and formal reductionism. His first production, influenced by Russian Suprematism and serial music, was characterized by the repetition of the meander's pattern in black and white paintings; from the late 60s he introduced other colors and adopted large sizes and even murals.
The "meanders" were displayed for the first time in the exhibition "New Tendencies" at the Gallery of Contemporary Art in Zagreb in 1961, and later in “New Tendencies 2” in 1963, “New Tendencies 4” in 1969 and “New Tendencies 5" in 1973. He also participated in major international exhibitions such as the Art Abstrait Constructif International at the Denise René Gallery of Paris (1961-1962), Konstruktivisten at the Städtisches Museum in Leverkusen (1962), the VI International Art Biennale of San Marino “Beyond the Informal” (1963); he participated twice in the Venice Biennale (1976, 2001), and three times in the Sao Paulo Biennale (1973, 1979, 1981). His works are also included in major museum collections such as the MoMA in New York and the Centre Georges Pompidou in Paris.
Knifer was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Creator
An entity primarily responsible for making the resource
Knifer, Julije
Dublin Core
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Title
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Untitled
Creator
An entity primarily responsible for making the resource
Knifer, Julije
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the <a href="http://www.msu.hr/" target="_blank" rel="noopener">Muzej Suvremene Umjetnosti - MSU Zagreb</a>, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre, </a>which was never completed.<br />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. <br />At Brunnenburg, Knifer proposed his classic "meander" theme, a geometric structure characterized by the contrasts between black and white, which he introduced at the end of 1959 as a form of "anti-painting". Nena Dimitrijević identified it as a synonym of his "artistic identity" and claimed that he, inspired by Primary Painting and Hard Edge aesthetics, adopted a form of conceptualization of the artistic practice which identifies with a single pictorial solution, a symbol that is the sublimation of radical will. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2662/1/Knifer_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cineca.it/handle/1889/2662" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2662</a>
Format
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image/jpeg
Type
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Still Image
Language
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English
Rights Holder
A person or organization owning or managing rights over the resource.
Julije Knifer
MoRE Museum
Ideological reasons
Logistical reasons
-
http://moremuseum.org/omeka/files/original/78fbf026d6db389ebd49b725aa008acb.jpg
bea1d87ceacf98fe5fc6f3ad1be4a6a5
http://moremuseum.org/omeka/files/original/6ec0944f1d0b39ab9d96298cd7f6a8b6.jpg
746ce5dc29956940ca3a9cec78734057
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Duro Seder
Description
An account of the resource
Đuro Seder (1927, Zagreb) is a Croatian artist who lives and works in Zagreb. He graduated from the Academy of Fine Arts of Zagreb in 1951 in the class of Antun Mezdjic, in 1953 he completed a painting course with Marino Tartaglia. In 1981 he became a teacher, and in 1983, a professor at the Academy of Fine Arts. He worked as an illustrator, graphic designer, editor of art magazines and was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Creator
An entity primarily responsible for making the resource
Seder, Đuro
Dublin Core
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Title
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Untitled
Creator
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Seder, Đuro
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. The two works created by Đuro Seder do not seem to resemble the production of his Gorgona years, as stated by the artist himself in an interview published in the monographic dossier of the magazine Ricerche di S/Confine. In fact, he proposes a drawing with his characteristic use of irregular shapes and semicircular lines, to which he adds a graphic element with the repetition of the word "peace". The second drawing is derived from a previous painting in which two profiles are merging into a single face. Seder himself remembers how during his residency, which immediately preceeded the war in Croatia, there was "a hint of intolerance in the air" and how the work was meant to hilight "the importance of unity among people". <br /><a href="https://www.repository.unipr.it/bitstream/1889/2660/1/Seder_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Format
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image/jpeg
Language
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English
Type
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Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Đuro Seder
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2660" target="_blank" rel="noopener">http://hdl.handle.net/1889/2660</a>
Ideological reasons
Logistical reasons
-
http://moremuseum.org/omeka/files/original/25df0b9f90f0e7887d0b7764658fe172.jpg
e7235f6fa899cf290b1c22ce3bbd55b8
http://moremuseum.org/omeka/files/original/0f39fe90098305a93955f3e5f9a43866.jpg
58363cf664addd113f85ad401fddf9e6
http://moremuseum.org/omeka/files/original/8dc3a72832c2c198603523068864e32e.jpg
e5c7a946a3b3f3d69f151485e5cf4dd4
Dublin Core
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Title
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Ivan Kozaric
Creator
An entity primarily responsible for making the resource
Kožarić, Ivan
Description
An account of the resource
Ivan Kožarić (1921) (1921) is a Croatian artist who lives and works in Zagreb. His research has been focused mainly on sculpture, but he has also used other means of expression such as assemblage, painting, photography and installation. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, Đuro Seder, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself) and the creation of concepts, projects and various forms of artistic communication.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Physical Dimensions
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Kozaric 01 cm 30 x 42.jpg (file jpeg, 92,234x131,128cm, 96 dpi)
Kozaric 02 cm 30 x 42.jpg (file jpeg, 92,551x130,651cm, 96 dpi)
Kozaric 03 cm 30 x 42.jpg (file jpeg, 92,551x130,651cm, 96 dpi)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. Kozaric's three works are in line with his research, which investigates – both through painting and sculpturing - the relationship between positive and negative: in one particular work, the artist reuses a cropped shape as a graphic mask in order to achieve what Seder calls "imperfect surfaces", a theme that traces back to the Gorgona period. Kožarić's particular interest in the valley of Merano, which is in relation to his personal memories, emerges both through the video interview taped in Brunnenburg as well the testimonies of the artists who participated in the residency.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2664/1/Ivan%20Kožarić_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Format
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image/jpeg
Language
A language of the resource
English
Type
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Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Ivan Kožarić
MoRE Museum
Creator
An entity primarily responsible for making the resource
Kožarić, Ivan
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2664" target="_blank" rel="noopener">http://hdl.handle.net/1889/2664</a>
Ideological reasons
Logistical reasons
-
http://moremuseum.org/omeka/files/original/173f69535e013855950953b252f0f775.jpg
b529a38533b4cdbba9123ed5d8b1de95
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Josip Vanista
Description
An account of the resource
Josip Vaništa (Karlovac, May 17, 1924) is an artist, graphic designer, writer, academic and retired university professor. He lives and works in Zagreb. He attended school at Rakovcu and continued his studies at the Academy of Fine Arts of Zagreb, where he graduated in 1950. His first exhibition was held in 1952 with Miljenko Stančić at the Museum of Arts and Crafts in Zagreb, which now has more than fifty monographic exhibitions dedicated to him. In 2013, the MSU Museum dedicated him a retrospective entitled Josip Vaništa: Abolition Of Retrospective. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Julije Knifer, Đuro Seder, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself) and the creation of concepts, projects and various forms of artistic communication. Throughout Europe numerous monographic exhibitions have been dedicated to Vaništa, who is considered one of the most important Croatian artists.
Creator
An entity primarily responsible for making the resource
Vaništa, Josip
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
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image/jpeg
Physical Dimensions
The actual physical size of the original image
185,102x130,651 cm, 96 dpi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Erased Line
Creator
An entity primarily responsible for making the resource
Vaništa, Josip
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. 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>
Contributor
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Scotti, Marco
Zinelli, Anna
Format
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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.
Josip Vaništa
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2659" target="_blank" rel="noopener">http://hdl.handle.net/1889/2659</a>
Ideological reasons
Logistical reasons
-
http://moremuseum.org/omeka/files/original/2a23df4f5a52a1474fb4ad805a17a85d.pdf
1357328e328e5a4cc1537e60f075a7ce
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Matthew Darbyshire
Description
An account of the resource
Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris.
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Knick Knacks - A Proposal for Trafalgar Square's Fourth Plinth
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
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application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<p><em>Knick Knacks</em> is Matthew Darbyshire proposal for the Fourth Plinth public art program in Trafalgar Square, London. The concept builds on an image designed by the artist himself as a christmas card for "The Guardian" newspaper and wants to transform the monumental sculptural base in a shelf that refers to a domestic space. Here Darbyshire presents eight sculptures in coloured polyurethane foam, reproductions of household objects in a different scale. The eight opaque elements would be 3D scanned and modeled from the original objects, CNC routed in polyurethane foam and then laminated in fibre-glass before being chromed, sprayed and flocked. The single clear element would be modeled in much the same way but then cast in clear tinted resin.<br />This installation is a reflection on two feelings which are deeply contemporary, "emptiness" and "nostalgia", and in particular a nostalgia that is expressed through reproductions of objects than - in respect to the original ones - try to mask some of the values that were in present and that remain somewhat hidden below the reproductions’ surface: “<em>From the pop to the patriotic and the colonial to the kitsch</em>”. A composition which could be read on different levels and which presents different layers, which could appear simply ironic but actually refers to some unsettling aspects of the British national identity through "<em>a sort of ‘seduction and repulsion’ mechanism with its critique buried safely beneath the surface<br /></em>The project was not selected for the commission.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2656/1/Matt%20Darbyshire_%20Knick%20Knacks.pdf" target="_blank" rel="noopener">Read more.</a></p>
<p> </p>
Rights Holder
A person or organization owning or managing rights over the resource.
Matthew Darbyshire
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2656" target="_blank" rel="noopener">http://hdl.handle.net/1889/2656</a>
Project which wasn’t selected in a prize or competition
-
http://moremuseum.org/omeka/files/original/0c655fe3c23ef1f6b0bd7e2cb7c4e5e2.pdf
13c65f5d28fe8557bdf9469219b854a1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Matthew Darbyshire
Description
An account of the resource
Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris.
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
CAPTCHA
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
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application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<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>
Rights Holder
A person or organization owning or managing rights over the resource.
Matthew Darbyshire
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2655" target="_blank" rel="noopener">http://hdl.handle.net/1889/2655</a>
Project which wasn’t selected in a prize or competition
-
http://moremuseum.org/omeka/files/original/9ac3bec81b1218fb5313036033c8c468.pdf
fadd053a19e138f56cc6c3f43fa3aa3a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Matthew Darbyshire
Description
An account of the resource
Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris.
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Drawings for a soft play commission for Barking Leisure Centre, London
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<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>
Rights Holder
A person or organization owning or managing rights over the resource.
Matthew Darbyshire
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2654" target="_blank" rel="noopener">http://hdl.handle.net/1889/2654</a>
Failure to meet the commissioner's demands
Project which wasn’t selected in a prize or competition
-
http://moremuseum.org/omeka/files/original/d1dd921cb6bcb570680b8ce3580e5ada.pdf
1da79d48e19a769b95c6cb8b2a0e4a78
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Matthew Darbyshire
Description
An account of the resource
Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris.
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Dublin Core
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Title
A name given to the resource
Mojo
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2011
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<p><em>Mojo</em> is a project for the Fosters & Partners designed <a href="http://www.fosterandpartners.com/projects/bloomberg-hq-50-finsbury-square/" target="_blank" rel="noopener">Bloomberg headquarters</a> at 50 Finsbury Square, London, and consists of banners and an interactive space.<br />A first intervention would "reproduce" inside the atrium of the commissioner’s London headquarters the central courtyard of one of the most famous and poor social housing estate in London, Pembury Estate, which is located in Hackney and results very similar in its size and plans to the City of London building. <br />From the technical point of view, the three sides of the "new and improved" Pembury Estate would be printed on three large “building wraps”, similar to those perforated banners used for covering the scaffolding inside construction sites, linstalled on the north, south and west side of the great inner atrium of Bloomsberg HQ. The fourth side, made of curved glass, would be covered by several smaller banners corresponding to the different walkways, to create the image of a new luxury residential building to confront the facades of Pembury Estate.<br />The "reconstruction" of the social housing estate would thus be realized by adding some details - new balconies, wood paneling, glass coloured surfaces - to renew its image. This aspect is a reference to several projects which in recent years "renewed" this typology of buildings all over England, through architectonical interventions and real estate operations, making them "funky and affordable" but at the same time causing the more or less forced departure of the majority of its original inhabitants.<br />Similarly the east side of the atrium itself would represent a new batch of luxury apartments.<br />Darbyshire also designed a 3D interactive "show home" environment: this installation would occupy the mezzanine of the north side of the Bloomberg HQ and would reproduce an apartment of this new, renewed, social housing estate, ready to be shown to the - imaginary - potential customers. It would reproduce exactly the volumes and plans of a typical Pembury Estate 50 square meters apartment, which will be furnished with contemporary objects, images and design pieces that would, through their non-specificity, manage “to epitomize and critique the aspirations and taste preferences of our time”, as we can see in other works of the artist such as Blades House (2008) or <a href="http://www.bloombergspace.com/artists/past/matthew-darbyshire/" target="_blank" rel="noopener">Oak Effect</a> (2012).<br /><a href="https://www.repository.unipr.it/bitstream/1889/2653/1/Matt%20Darbyshire_Mojo.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Matthew Darbyshire
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2653" target="_blank" rel="noopener">http://hdl.handle.net/1889/2653</a>
Failure to meet the commissioner's demands
-
http://moremuseum.org/omeka/files/original/0314091bb224a67897d597992128ae6c.pdf
1fd024c853aa7e69e418adb5908b2e29
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Matthew Darbyshire
Description
An account of the resource
Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris.
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Dublin Core
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Title
A name given to the resource
Proposed plan for Hepworth Gallery entrance, Wakefield
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
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application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<p>This project proposes an intervention in the area in front of the entrance of the Hepworth Gallery in Wakefield. Darbyshire here articulates the space through three elements: an unfinished <em>Arts and Crafts </em>half-hipped gable structure in developers vernacular, a B&Q pergola - B&Q is the well-known UK chain dedicated to DIY and gardening - and a medieval trebuchet orientated towards the new David Chipperfield designed gallery.<br />The three signs arranged in the area recall frequent themes in the artist's research, such as a critic to the homogenisation of contemporary design, to the standardization of the spaces, and the questioning of the regeneration processes carried out by government agencies and/or private developers, and stand opposite to the minimalist, award-winning and iconic museum building designed by an <em>archistar</em>. <br />Officially, the work has not been realised for a planning issue. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2652/1/Matt%20Darbyshire_Proposed%20plan%20for%20Hepworth%20Gallery%20entrance.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Matthew Darbyshire
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2652" target="_blank" rel="noopener">http://hdl.handle.net/1889/2652</a>
Failure to meet the commissioner's demands
Logistical reasons
-
http://moremuseum.org/omeka/files/original/ddc53f26b6249e4789a3d50cc2ac3369.pdf
b7ab5d5e0f908bbf14ab4a9b687dbfb3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Matthew Darbyshire
Description
An account of the resource
Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris.
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Dublin Core
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Title
A name given to the resource
ukfun-ky
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2011
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
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application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<p>Matthew Darbyshire project for Kettle’s Yard - which today is a department of the University of Cambridge and a gallery - was designed for the left side of the building, overlooking Castle Street: during the renovation works for the new education wing, rather than just a billboard the artist proposed a perforated building wrap, similar to those used in building sites where it’s possible to see a reproduction of the façade momentarily hidden. This would lead to a “coming soon” effect in the viewer, and then to subsequent feelings of ambiguity and confusion: Darbyshire instead of the trompe l’oeil of the real future building would have printed on the wrap the vision of a future development of the building in a "Thatcherite, low-cost vernacular" style, intended to be a dystopian cultural <em>one stop shop</em> for the contemporary England.<br />The aim was precisely to comment - through an image which represents architecture and its values – on the possibility that a cultural space such as Kettle’s Yard may in future turn into something different (even if the current renovation works just involved the education wing of the gallery). The title itself - <em>ukfun-ky</em> - refers to a possible “regeneration” of Kettle’s Yard, enacting a criticism of these processes and of the spreading of anonymous and interchangeable spaces in the urban pattern. There are specific references to the policies adopted in the eighties in the UK, which was made of "thoughtless and insensitive developments", was moved only by profit and that now seems to the artist so close to a revival.<br />The Director of the gallery disapproved and an alternative was formulated. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2651/1/Matt%20Darbyshire_ukfun-ky.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Matthew Darbyshire
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2651" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2651</a>
Failure to meet the commissioner's demands
-
http://moremuseum.org/omeka/files/original/9bdfa9500858a738a728950b3021cfdd.pdf
14c07533eca5cc045eef6a27d60fb203
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Matthew Darbyshire
Description
An account of the resource
Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris.
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Useless: A Space Without a Function
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
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application/pdf
Language
A language of the resource
English
Description
An account of the resource
<p>This project is - in the artist’s intention - a “quasi-scientific experiment”, and consists of a permanent public sculpture, made of a prefabricated glass architectural structure (approx 5x5m wide and 3m high) produced by a company that usually supplies similar commercial spaces (the artist given example is Kingspan). This space would be furnished following a survey carried out in five public-access buildings from each of the five UK major cities., with the expectation of identifying "the most generic and ubiquitous of design elements". The artist at the same time would collect different ‘codes of conduct’, which should also then be applied - all together - inside the installation. The access to the space would be granted to five people at a time, and thanks to an applied two-way mirror film, “those outside could observe the actions of those inside whilst those inside would experience a sense of isolation and immersion in their immediate confines”, while the rules would be enforced by a guard.<br />The concept revolves around the opportunity of exploring “a new idea of conscious surrender”, instead of the strategies of resistance and disobedience usually applied in the name of creativity and artistic freedom: Darbyshire research about the progressive and growing standardization of the designed space around us, which leads the spaces themselves to be less and less recognizable in respect to their function, here is declined alongside an investigation of the freedom that within these spaces we choose to give up for many different reasons. Starting from the writings by Georges Perec and Marc Augé, but also by socio-political theorists Franco “Bifo” Berardi and Mark Fisher, Darbyshire here comes to theorize a model to wonder "if in fact surrender could be more liberating than resistance", considering contemporary social pressures. The aim is to create a space that does not declare its function, which may appear anonymous and go unnoticed, and that leaves its user confused as to what is expected from it. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2650/1/Matt%20Darbyshire_Useless%20A%20Space%20Without%20a%20Function.pdf" target="_blank" rel="noopener">Read more.</a></p>
<p> </p>
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Matthew Darbyshire
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2650" target="_blank" rel="noopener">http://hdl.handle.net/1889/2650</a>
Theoretical exercise
-
http://moremuseum.org/omeka/files/original/8391c1e71c2d6926442c200fe6a8c072.jpg
d00b763f45b45d7a08245f738be0e259
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
progetto-01.JPG
Description
An account of the resource
The file 1/3 includes the project description, techincal paper, map of the interested area with the locationing of the installation, calculation of the area and estimated budget.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,7x42 cm, 300 dpi)
http://moremuseum.org/omeka/files/original/c56b0a13d7c8a2a6b3db65e40f72a3e7.jpg
586e8165756429ee9f4fe54b98702935
Dublin Core
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Title
A name given to the resource
progetto-02.JPG
Description
An account of the resource
The file 2/3 consists of four images: the prototype of the lamp; the leaf of Ginkgo Biloba that would have been projected in the colonnade; two images of the arcades with the current lighting and with the green light that would have enlighted them in case of realization of the installation.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,7x42 cm, 300 dpi
http://moremuseum.org/omeka/files/original/91948211e584c2fd60036234bb5a3367.jpg
b16a1415d67e571ba8e6cb163ab87bad
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Title
A name given to the resource
progetto-03.JPG
Description
An account of the resource
The file 3/3 presents a sheet related to the Ginkgo Biloba plant together with the poem Soldati by Giuseppe Ungaretti (1918).
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,7x42 cm, 300 dpi
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Title
A name given to the resource
Luca Vitone
Description
An account of the resource
The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan.
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Dublin Core
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Title
A name given to the resource
Foglie al vento
Description
An account of the resource
<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>
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Date
A point or period of time associated with an event in the lifecycle of the resource
2010
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Luca Vitone
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2658" target="_blank" rel="noopener">http://hdl.handle.net/1889/2658</a>
Project which wasn’t selected in a prize or competition
-
http://moremuseum.org/omeka/files/original/9cb78baef8b71f06f5b10aa1b0a1d89d.pdf
269bc3f61124c7706252658617973955
Dublin Core
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Title
A name given to the resource
Una tigre per Torino.doc
Description
An account of the resource
Presentation letter attached to the project
http://moremuseum.org/omeka/files/original/a9d2c1fe0ff0ac044b083dc39be5b1d0.jpg
d8a3d0955a98ea44a7f74ce21f23e002
Dublin Core
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Title
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Una tigre per Torino001.TIF
Description
An account of the resource
Picture taken by Elvio Manuzzi of the scale model (various materials, cm 26,5 x 51,3 x 52) realized for the project of the installation.
Format
The file format, physical medium, or dimensions of the resource
file TIF, 3,53x5,65 cm, 1200 dpi
http://moremuseum.org/omeka/files/original/2c1049994c033bca09b7825d4b53a4d9.jpg
02805e5f26188653463d8ba4fc8e6c54
Dublin Core
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Title
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Una tigre per Torino002.TIF
Description
An account of the resource
Detail of the scale model with tracks on sand. Picture by Elvio Manuzzi.
Format
The file format, physical medium, or dimensions of the resource
file TIF, 6,45x9,6 cm, 1200 dpi
http://moremuseum.org/omeka/files/original/2ee0f502e54e0d1ce69c0539180f18bd.jpg
8e05bacea50fca97c788e9ef35fa23d9
Dublin Core
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Title
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Una tigre per Torino003.TIF
Description
An account of the resource
Detail of the scale model with the tiger in fiberglass roaring in the middle of the vegetation. Picture by Elvio Manuzzi.
Format
The file format, physical medium, or dimensions of the resource
file TIF, 6,44x10,02 cm, 1200 dpi
http://moremuseum.org/omeka/files/original/8c107d92f7d51862cf19aa17f4eec7e0.pdf
0de41f88cdcd76ad88067592f31c3854
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Title
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EPSON012.pdf
Description
An account of the resource
General plan of the intervention area.
Format
The file format, physical medium, or dimensions of the resource
file pdf, 41,978x29,667 cm, 300 dpi
Dublin Core
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Title
A name given to the resource
Luca Vitone
Description
An account of the resource
The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan.
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Una tigre per Torino
Description
An account of the resource
<p>The project is presented at the contest Premio ArteGiovane in 2002, <em>Torino incontra l’arte. Una porta per Torino. </em>Vitone proposes the realisation of an installation in the square, placed in front of Mirafiori, dedicated to Emilio Salgari, the writer who spent most of his life in the city of Turin.<br />The artist conceives to recreate a desert landscape washed by the sea, inspired by the stories of the series of novels “The Pirates of Malaysia”, a space that would have been crossed by the tram lines, stimulating in the passengers fantasies of adventures and mythical places. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2657/1/Vitone_una%20tigre%20per%20Torino.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Date
A point or period of time associated with an event in the lifecycle of the resource
2002
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/tiff
application/msword
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Luca Vitone
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2657" target="_blank" rel="noopener">http://hdl.handle.net/1889/2657</a>
Project which wasn’t selected in a prize or competition
-
http://moremuseum.org/omeka/files/original/ebead3094cfe452c0707e1735872540b.jpg
17d5f4ec85376c8215c85e2953169a02
Dublin Core
The Dublin Core metadata element set is common to 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 Casini
Description
An account of the resource
David Casini (Montevarchi, 1973) is a visual artist, his work includes sculptures and site-specific installations. He has exhibited in several solo shows at Gallery CAR Projects (Bologna)MAR Museum of Modern and Contemporary Art (Ravenna), Analix Forever Gallery (Geneva), Galleria T293 (Naples). He has participated to important group exhibitions including <em>Everywhere but Now</em> Thessaloniki Biennale of Contemporary Art 4, 2013, <em>Oceanomania</em> at Nouveau Musée National de Monaco and <em>The Mediterranean Approach</em> (Zenobio Palace, Venice) in 2011, <em>Celebration</em> at Macedoniam Museum of Contemporary Art in Athens in 2010, <em>Through the Looking Glass</em> Italian Cultural Institute in Belgrade. He won the Talent Prize in 2009.
Creator
An entity primarily responsible for making the resource
Casini, David
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Physical Dimensions
The actual physical size of the original image
file jpeg, 25x15 cm, 192,024 dpi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Non Piango Mai
Description
An account of the resource
<p>Drawing realized to design a children's playground. The elements of the game park are inspired by drawings of biologist, zoologist, philosopher and also German artist Ernst Haeckel, who designed more than 100 polychromatic illustrations of animals and sea creatures. Some elements of the drawings, in three-dimensional transposition, are designed to be modified with the aim of making movable some parts, recreate circular movements, extension and elastic.<br />The elements are designed with an internal steel frame to resist several requests, while the exterior is covered by colored rubber, resin, wood, concrete, to recreate different texture to the touch. The project is designed to be installed in a public place, park, square, museum or school.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2665/1/Casini%2c%20Non%20piango%20mai.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Casini, David
Date
A point or period of time associated with an event in the lifecycle of the resource
2010
Contributor
An entity responsible for making contributions to the resource
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
David Casini
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2665" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2665</a>
Financial reasons
-
http://moremuseum.org/omeka/files/original/96651a9472275afd686dd3bc98ce8392.pdf
e16127a3fa5c9f813ef4c5ec70a7f4db
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Giovanni Ozzola
Description
An account of the resource
<p>Giovanni Ozzola (Firenze, 1982) lives and works in Canary Island.<br />Encompassing sculpture, photography, and video, Giovanni’s work examines the individual’s place within the magnitude of the universe. Giovanni has exhibited internationally with works held in numerous private and public collections.</p>
<p>We remind, among the others: Mart, Rovereto, Italy; Chelsea Art Museum, New York, U.S; Sharjah Maraya Art Center, Dubai; Mori Museum, Tokyo, Japan; Schunck-Glaspaleis, Herleen, Netherlands; Künstlerhaus Palais Thurn Und Taxis, Bregenz, Austria; Galleria Continua, San Gimignano / Beijing / Le Moulin; Palazzo Dellepapesse, Siena; Man Museo D’arte, Nuoro, Italy; Waseda University, Tokyo, Japan; Centre D’art Bastille, Grenoble, France; Gc.Ac, Monfalcone; Viafarini Docva, Milano, Italy; Centro Arti Visive Pescheria, Pesaro; Ocat – Contemporary Art Terminal, Shanghai, Guandong Muesum Of Art,Guangzhou.</p>
<p>Among his awards are the “Premio Terna” (2008), the “Talent Prize” (2010) and the “Premio Cairo” (2011).</p>
<p> </p>
Creator
An entity primarily responsible for making the resource
Ozzola, Giovanni
Document
A resource consisting primarily of words for reading.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Un solo orizzonte
Description
An account of the resource
<p>The unrealized project of Giovanni Ozzola, titled <em>Un solo orizzonte, </em>consists in a video installation of five projectors that simultaneously show on the same wall different videos of horizons, filmed in five different places with the same degree of latitude, thus following the parallel. It wasn’t realized for logistical reasons, due to the venue.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2701/1/Giovanni%20Ozzola_Un%20solo%20orizzonte.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Ozzola, Giovanni
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Contributor
An entity responsible for making contributions to the resource
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Giovanni Ozzola
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2701" target="_blank" rel="noopener">http://hdl.handle.net/1889/2701</a>
Logistical reasons
-
http://moremuseum.org/omeka/files/original/cd26d873740f865927a316e61324c468.jpg
c5c82ee5653b790142c844cfbdc219ff
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photo
Physical Dimensions
The actual physical size of the original image
jpeg file , 219,195 x 50,515 cm, 93,977 dpi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Stelle e lucciole
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Ghirri, Luigi
Date
A point or period of time associated with an event in the lifecycle of the resource
[1969 - 1970]
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p><em>Stelle e lucciole</em> was conceived between 1969 and the early Seventies, and it is one of the first episodes of the prolific collaboration between Franco Guerzoni and Luigi Ghirri, which produced interesting and relevant results. These photographs revolve around the intention of the two artists and friends to capture in a single frame the starry sky and the bright trails of light left behind by fireflies. Indeed, Ghirri shot many takes of that picture, but he was not able to achieve the results he was aiming for due to technical issues. Guerzoni donated these photographs to MORE. To define this project as unrealized would not be fully correct; therefore, as Guerzoni himself agreed, it should be rather described as an unresolved, interrupted project, unable to achieve its expected outcome.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2702/1/Franco%20Guerzoni_lucciole.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Franco Guerzoni & Luigi Ghirri
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="%20http://hdl.handle.net/1889/2702">http://hdl.handle.net/1889/2702</a>
Logistical reasons
Technical reasons
-
http://moremuseum.org/omeka/files/original/1dac1f558087ea8f7594eb268cfeaee1.jpg
5924ae230bf01cd1fc2248871e483069
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Physical Dimensions
The actual physical size of the original image
jpeg file , 29,997 x 10,981 cm, 300 dpi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sovrapposizioni culturali
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Date
A point or period of time associated with an event in the lifecycle of the resource
[1975]
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p>The two figures “I remember I have seen a mosque inside the Amun Temple in Luxur” and “Development of the decoration of an Etruscan vase according to a nineteenth-century portrayal” were to be part of a broader and more structured project, centred on the theme of the potential image, a topic very dear to the author. The original project envisaged the presence of a third figure representing a mental image, merely potential, hence rendered in a writing. The conceptual nature of such an image would have not allowed any visual depiction. The presence of a fourth figure, devoted to the utopian possibility of exposing films with the only <em>power of thoughts</em>, was merely a working hypothesis. This work, of a cleary conceptual nature, was therefore to be centered on the theme of the “potential image”. Such topic takes on great importance for both the artist's production and the cultural context in which this project was conceived.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2704/1/Franco%20Guerzoni_Sovrapposizioni%20culturali.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Franco Guerzoni
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="%20http://hdl.handle.net/1889/2704">http://hdl.handle.net/1889/2704</a>
Logistical reasons
Technical reasons
Theoretical exercise
-
http://moremuseum.org/omeka/files/original/0889230f7ceafa5b71c9496d36396384.jpg
e43abfe1af761ad03ad6c24c6fbce565
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
drawing
Physical Dimensions
The actual physical size of the original image
jpeg file , 41,204 x 28,54 cm, 72 dpi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tappeti volanti
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Date
A point or period of time associated with an event in the lifecycle of the resource
1971
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p>In this drawing Franco Guerzoni speculates - with a theoretical exercise nearer to utopia than to a real project - about the possibility of realising flying carpets. On this drawing we can find, together with shapes and images by Guerzoni himself, a poetry written by his friend Adriano Malavasi.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2703/1/Franco%20Guerzoni_Tappeti%20volanti.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Franco Guerzoni
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2703" target="_blank" rel="noopener">http://hdl.handle.net/1889/2703</a>
Theoretical exercise
-
http://moremuseum.org/omeka/files/original/7290cca4324f5c076c88ee447e61bb7c.pdf
ada1ef0b40681079501c8a072c35ab42
http://moremuseum.org/omeka/files/original/36492cfdf01537b72474748607a960ef.mp4
112575b635546f9a8951d20a94c628a1
http://moremuseum.org/omeka/files/original/d58c9a02b7dc4573c418ab5d2c583ee4.mp4
563eff09db5e7e1126b6442b9a9f6d94
http://moremuseum.org/omeka/files/original/8b1caaa7ffa2cfb7070562b2dc19c3e7.mp4
4632d0e4f8126e88a1ac83da88e22fa7
http://moremuseum.org/omeka/files/original/7c0efd4172868b0c1b16446c02788027.mp4
f5c9d63c5c623db03c8ae91f6db89104
http://moremuseum.org/omeka/files/original/708c4586146684e4167428fa40dc038d.mp4
b7c6b6af5304557e0bae1b68a6da20ef
http://moremuseum.org/omeka/files/original/1ebf6882ac3fdb2a7e3e6ec2be2db8c9.pdf
e523e8c6962d27a03a6baf30872bfe5b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mario Cresci
Creator
An entity primarily responsible for making the resource
Cresci, Mario
Description
An account of the resource
Mario Cresci (Chiavari, 1942) has created since the Sixties a complex body of work characterized by the freedom of his research, ranging from drawing to photography, installations, video and site-specific installations. He is among the first authors of his generation to apply the design culture and methodology to photography, combining it with an experimental research applied to visual languages, and attributing to the use of the photographic medium an opposite value, in respect to its role of proof of the truthfulness of reality. Between 1964 and 1967 he applies the theories of design to photography through experiments on models of non-Euclidean geometry, partly anticipating Ugo Mulas 1972 Verifiche. In 1968, while in Rome, he joined the group of artists who work at Galleria l’Attico, together with Pascali, Mattiacci, Kounellis and Luca Patella. During the seventies, his experience and studies at the Corso Superiore di Industrial Design in Venice stand side by side with his works in the field of ethnic and anthropological researches in the south of Italy. In 1969 he made his first photo environment at the Galleria Il Diaframma in Milan, and in the early Seventies he associated and worked with Luciano Inga-Pin at his Galleria Il Diagramma, Milan, where he exhibited in the historical show Campo Dieci. From 1991 to 2000 he directed the Accademia Carrara di Belle Arti in Bergamo. In 1996 he realised Opus Gypsicum, a large installation at the Teatro Sociale di Bergamo with the plaster casts of the Accademia Carrara. In those years Cresci collaborates with the Sunday insert of the newspaper "Il Sole 24 Ore". Among the most important moments of his activity stand his participation at the Venice Biennale in 1971, 1979, 1993 with Muri di carta, fotografia e paesaggio and Viaggio in Italia in 2013. In 2004 there is the anthological exhibition The houses of photography at GAM, Turin. From 2010 to 2012 he carries out the project Forse Fotografia: attraverso l'arte, atraverso la traccia, attraverso l'umano inside the museums of Bologna, Rome, Matera. In 2011 there is the personal site-specific exhibition Dentro le cose at Palazzo Pio in Carpi. His works are present in several collections of contemporary art and photography, and in the permanent collections of Italian and international museums.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Misurazioni
Description
An account of the resource
<p>Mario Cresci started between 1977 and 1979 a meaningful and interesting experience that was interrupted because of the lack of support from the institutions and can therefore be conceived as an unrealised or at least unfinished project. In Basilicata, where the author was already developing the project <em>Misurazioni</em>, a photographic research with a social and anthropological approach, Cresci started teaching in an unusual school. A design school, founded by Regione Basilicata in application of the law n. 285 of June 1st 1977, devoted to the vocational training in craftsmanship techniques. A school that aimed at using creativity as an economic resource. Unfortunately the project was interrupted almost immediately, remaining therefore unrealized, since the institutions suspended their support to the school. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2705/1/Mario%20Cresci_Misurazioni.pdf" target="_blank" rel="noopener">Read more.</a><a href="http://hdl.handle.net/1889/2705" target="_blank" rel="noopener"><br /></a></p>
Creator
An entity primarily responsible for making the resource
Cresci, Mario
Date
A point or period of time associated with an event in the lifecycle of the resource
1977 - 1979
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
application/pdf
video/mpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Oral History
Moving Image
Document
Rights Holder
A person or organization owning or managing rights over the resource.
Mario Cresci
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2705" target="_blank" rel="noopener">http://hdl.handle.net/1889/2705</a>
Political reasons
-
http://moremuseum.org/omeka/files/original/fb00a44661cfd87b2f37ebb47a1ac30e.pdf
b62b28d05d76d9e0d085d4297de94d9f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tavola di progetto A1 definitiva
http://moremuseum.org/omeka/files/original/facc50516ae7e92134274c1742acc87d.pdf
1e5b8d4921596743a806ce31805f5394
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Relazione di progetto.
http://moremuseum.org/omeka/files/original/f909cc3de8daeeec99b56945f5179b09.pdf
7ce522559f879c34b9c7055a3b8dc99e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Comunicato stampa per presentare il concorso.
http://moremuseum.org/omeka/files/original/836fec18255938c6a65c7a0633bc6677.pdf
3250dae5f0cbed517aa97bb2ec941b88
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
lettera in cui si comunica all’artista la non ammissione alla seconda fase di concorso.
http://moremuseum.org/omeka/files/original/158b3e75ba576595b480919f67855f3b.pdf
696f8e17e0266c23bfebb8f1299e4bd1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bando di concorso
http://moremuseum.org/omeka/files/original/192c672c47ce55293d50f2587811dfe9.pdf
a9b78dd9968a67e0e3fb4aa4667d5346
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nota tecnica descrittiva per la realizzazione del progetto
http://moremuseum.org/omeka/files/original/c2d6fb6a4bdbb4de243819a9374be1b9.pdf
e9fda996bc2fb060bb5e36be650a1e8d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mappa di localizzazione dell’area di intervento
http://moremuseum.org/omeka/files/original/76ad881a3c2888282a3af07b148a9b7d.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mappa di localizzazione dell’area di intervento
http://moremuseum.org/omeka/files/original/00514a5e82390aa1851e0e8d1759fd8c.pdf
4bcad77480ecbfcabaf41eecc71f67d0
Dublin Core
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Title
A name given to the resource
Curricula dei membri della giuria
http://moremuseum.org/omeka/files/original/ece32ef337f70e00843e25283d554c83.pdf
bcac06efa412211b98e3ccc10800da73
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Curricula dei membri della giuria
http://moremuseum.org/omeka/files/original/ddd5c7c4a3dfed72f0266b18582465f6.pdf
a38d4b8de9c4a7c1304dff872a980cdb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Curricula dei membri della giuria
http://moremuseum.org/omeka/files/original/887f7b57474822069d61913125f892d0.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Curricula dei membri della giuria
http://moremuseum.org/omeka/files/original/25c4e13b98e0e5a4b995526220127dd9.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Curricula dei membri della giuria
Dublin Core
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Title
A name given to the resource
Flavio Favelli
Creator
An entity primarily responsible for making the resource
Favelli, Flavio
Description
An account of the resource
<p>Born in Florence in 1967, Flavio Favelli lives and works in Savigno (Bologna). Having graduated with a major in Oriental History from University of Bologna, he participates in Link Project (1995-2001) attending the TAM residency in Pietrarubbia, under the supervision of Arnaldo Pomodoro (1995) and the Advanced Course in Visual Arts at Fondazione Antonio Ratti, hosted by Allan Kaprow (1997). Favelli has exhibited both in private and public spaces, in Italy and abroad, including MACRO (2010), MAXXI (2012 and 2015), the American Academy (2010), Fondazione Volume! (2006), Sales Gallery in Rome (2008, 2010, 2013), Museo del 900 (2012) Museo della Permanente (2002) Francesca Minini Gallery in Milan (2014), MAMBO (2011), Centro Arti Visive Pescheria in Pesaro (2010), Museo Marino Marini in Florence (2009), Francesco Pantaleone Gallery (2008), Museo RISO (2011), A Project Space in Palermo (2012), Museo di Villa Croce in Genua (2005), Centro per l'Arte Pecci in Prato (2005), Palazzo delle Papesse in Siena (2002), Fondazione Sandretto Re Rabaudengo (2007), Maze Gallery in Turin (2001 and 2003), Maison Rouge Fondation Antoine de Galbert in Paris (2007), Projectspace 176 (2005), IIC in London (2003) and in ICC in Los Angeles (2004). Among his main collective exhibitions, Favelli has also shown his works at Peggy Guggenheim Collection in Venice (2011), at GAMEC in Bergamo (2011 and 2012), at Castello di Rivoli (2012) and GAM (2006) in Turin, at Havana XI Biennial (2012), at IBID Project Gallery (2011), at the festival No Soul For Sale at Tate Modern in London (2010), at Fondazione Pomodoro (2010) and Raffaella Cortese Gallery (2009) in Milan, at MADRE (2010) and at PAN Museum (2006) in Naples, at MOCA in Shanghai (2010), at Villa delle Rose (2001), at GAM (2005) in Bologna, at Musèe d'Art Moderne in Saint-Etienne (2005), at Museion in Bolzano (2003) and at Elgiz Museum (2008) in Istanbul. Favelli has participated at Carrara XIII Biennale di Scultura (2008), at Roma XV Quadriennale at Palazzo delle Esposizioni (2008), at the exhibition <em>Italics</em> at Venice's Palazzo Grassi (2008), and at MCA in Chicago (2009). He has designed and realized two working bar-installation, at MAMbo and at MARCA in Catanzaro, and two permanent public spaces: <em>Vestibolo </em>at ANAS headquarters in Venice's Palazzetto Foscari, and <em>Sala d'Attesa </em>atthe Pantheon in Bologna, inside the Certosa Monumental Cemetery, where laical funeral services are held. In 2009 he was the selected artist for <em>Acrobazie #5</em>, a Unicredit Group project at Fatebenefratelli Center of San Colombano in Lambro (Milan). In 2010 he was in residence at the American Academy in Rome as an Italian Fellow for the Arts. He took part in two editions of the Venice Biennale, the 50th ("Clandestini", curated by F. Bonami) and the 55th ("Vice versa", Italian Pavillion, curated by B. Pietromarchi). In 2014 he was in residence at the Italian Embassy in Istanbul, invited by AlbumArte association; he also had a solo exhibion at Maison Particuliere in Bruxelles. In 2015 he has been selected for a study residency at NARS Foundation in New York. He has attended seminars and conferences, among many other public and private institutions, at the Academy of Arts of Venice, at Brera in Milan, at Politecnico in Turin, at the University of Bolzano, at the University of Bologna and at Quadriennale in Rome. His works are featured both in private and public collections, such as Galleria d’Arte Moderna and Fondazione Sandretto Re Rebaudengo in Turin, MAMBO, Bologna Fiere and Fondazione Furla in Bologna, La Maison Rouge and Fondation Antoine De Galbert a Parigi, La Gaia Collection in Cuneo, Civiche Raccolte d’Arte and Fiera Milano in Milan, MACRO and Nomas Foundation in Rome, Museo Arte Contemporanea Villa Croce in Genua, Zabludowicz Collection in London, Elgiz Collection in Istanbul and Unicredit Banca Collection. In 2008 his installation <em>La terza Camera</em> was acquired by MAXXI Museum in Rome.</p>
Dublin Core
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Title
A name given to the resource
La Porta di Milano
Description
An account of the resource
<p>The project was created for an international competition promoted in 2009 by SEA, the company which manages Milan airport system. As stated in the announcement, the competition concerns the creation of “a new architectural project for the realization of an artwork that is going to change the appearance of the Malpensa airport. Specifically, the commission envisions a highly aesthetic space that is going to virtually represent the access door to the city of Milan. The purpose of this work of art, besides striking the passenger's imagination, is to become a location for cultural events and exhibitions”. Flavio Favelli presents <em>Crystal Garden</em>, a full-scale artwork which reproduces many features of the collective imaginary of Milan, while reminding at the same time Paxton's Crystal Palace. The reference to the architecture of London stems both from the project's title and from the materials that were to be used, such as the iron of old-aged gates and the glass thermoshell of the internal side. As declared by the artist itself, his architectural model is the aviary, which actually becomes a cage built with high-tech materials, which enables many and various activities. The complexity of the documents donated to MoRE portrays a careful planning and a thorough working method, showing also the relationship between the artists and the commissioner. Favelli's project presents many characteristic features of his body of work, which is able to succesfully combine the present with the past; here, the artist employs purposefully a futuristic approach through the usage of high-tech materials that opposes the recourse to found materials as well as to practices and modalities of appropriation. The project was not admitted to the second phase of the competition.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2858/1/Flavio%20Favelli_La%20Porta%20di%20Milano.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Favelli, Flavio
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
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Rossi, Valentina
Format
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application/msword
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2858" target="_blank" rel="noopener">http://hdl.handle.net/1889/2858</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Flavio Favelli
MoRE Museum
Project which wasn’t selected in a prize or competition
-
http://moremuseum.org/omeka/files/original/9c2420461ac8d457207fdec822b732ed.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Crediti del progetto
http://moremuseum.org/omeka/files/original/d7580949528da304112b7cb4312c0587.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lettera di invito al concorso
http://moremuseum.org/omeka/files/original/a9ef16bca78702f7413d9a9141650bc9.pdf
fb872ca00ed25885b020c4ed086c5cab
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tavola con il prospetto e le misure dell’opera.
http://moremuseum.org/omeka/files/original/79cf50ff2c8ac1aa88959b5d63f48003.pdf
150c5e23582f1e2895ae064db9c05f80
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tavola di sintesi
http://moremuseum.org/omeka/files/original/efdf5979ffad0f925f569af0d43b0fda.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Documento di sintesi con le due proposte di collocamento dell’opera nel contesto.
http://moremuseum.org/omeka/files/original/a32d1d588a9f449f52c488ae443fb425.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
tavola per lo studio del contesto
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
fotografie per lo studio del contesto
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
fotografie per lo studio del contesto
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
fotografie per lo studio del contesto
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Flavio Favelli
Creator
An entity primarily responsible for making the resource
Favelli, Flavio
Description
An account of the resource
<p>Born in Florence in 1967, Flavio Favelli lives and works in Savigno (Bologna). Having graduated with a major in Oriental History from University of Bologna, he participates in Link Project (1995-2001) attending the TAM residency in Pietrarubbia, under the supervision of Arnaldo Pomodoro (1995) and the Advanced Course in Visual Arts at Fondazione Antonio Ratti, hosted by Allan Kaprow (1997). Favelli has exhibited both in private and public spaces, in Italy and abroad, including MACRO (2010), MAXXI (2012 and 2015), the American Academy (2010), Fondazione Volume! (2006), Sales Gallery in Rome (2008, 2010, 2013), Museo del 900 (2012) Museo della Permanente (2002) Francesca Minini Gallery in Milan (2014), MAMBO (2011), Centro Arti Visive Pescheria in Pesaro (2010), Museo Marino Marini in Florence (2009), Francesco Pantaleone Gallery (2008), Museo RISO (2011), A Project Space in Palermo (2012), Museo di Villa Croce in Genua (2005), Centro per l'Arte Pecci in Prato (2005), Palazzo delle Papesse in Siena (2002), Fondazione Sandretto Re Rabaudengo (2007), Maze Gallery in Turin (2001 and 2003), Maison Rouge Fondation Antoine de Galbert in Paris (2007), Projectspace 176 (2005), IIC in London (2003) and in ICC in Los Angeles (2004). Among his main collective exhibitions, Favelli has also shown his works at Peggy Guggenheim Collection in Venice (2011), at GAMEC in Bergamo (2011 and 2012), at Castello di Rivoli (2012) and GAM (2006) in Turin, at Havana XI Biennial (2012), at IBID Project Gallery (2011), at the festival No Soul For Sale at Tate Modern in London (2010), at Fondazione Pomodoro (2010) and Raffaella Cortese Gallery (2009) in Milan, at MADRE (2010) and at PAN Museum (2006) in Naples, at MOCA in Shanghai (2010), at Villa delle Rose (2001), at GAM (2005) in Bologna, at Musèe d'Art Moderne in Saint-Etienne (2005), at Museion in Bolzano (2003) and at Elgiz Museum (2008) in Istanbul. Favelli has participated at Carrara XIII Biennale di Scultura (2008), at Roma XV Quadriennale at Palazzo delle Esposizioni (2008), at the exhibition <em>Italics</em> at Venice's Palazzo Grassi (2008), and at MCA in Chicago (2009). He has designed and realized two working bar-installation, at MAMbo and at MARCA in Catanzaro, and two permanent public spaces: <em>Vestibolo </em>at ANAS headquarters in Venice's Palazzetto Foscari, and <em>Sala d'Attesa </em>atthe Pantheon in Bologna, inside the Certosa Monumental Cemetery, where laical funeral services are held. In 2009 he was the selected artist for <em>Acrobazie #5</em>, a Unicredit Group project at Fatebenefratelli Center of San Colombano in Lambro (Milan). In 2010 he was in residence at the American Academy in Rome as an Italian Fellow for the Arts. He took part in two editions of the Venice Biennale, the 50th ("Clandestini", curated by F. Bonami) and the 55th ("Vice versa", Italian Pavillion, curated by B. Pietromarchi). In 2014 he was in residence at the Italian Embassy in Istanbul, invited by AlbumArte association; he also had a solo exhibion at Maison Particuliere in Bruxelles. In 2015 he has been selected for a study residency at NARS Foundation in New York. He has attended seminars and conferences, among many other public and private institutions, at the Academy of Arts of Venice, at Brera in Milan, at Politecnico in Turin, at the University of Bolzano, at the University of Bologna and at Quadriennale in Rome. His works are featured both in private and public collections, such as Galleria d’Arte Moderna and Fondazione Sandretto Re Rebaudengo in Turin, MAMBO, Bologna Fiere and Fondazione Furla in Bologna, La Maison Rouge and Fondation Antoine De Galbert a Parigi, La Gaia Collection in Cuneo, Civiche Raccolte d’Arte and Fiera Milano in Milan, MACRO and Nomas Foundation in Rome, Museo Arte Contemporanea Villa Croce in Genua, Zabludowicz Collection in London, Elgiz Collection in Istanbul and Unicredit Banca Collection. In 2008 his installation <em>La terza Camera</em> was acquired by MAXXI Museum in Rome.</p>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Giallo-Dromo
Description
An account of the resource
<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>
Creator
An entity primarily responsible for making the resource
Favelli, Flavio
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
application/msword
application/pdf
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Flavio Favelli
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2859" target="_blank" rel="noopener">http://hdl.handle.net/1889/2859</a>
Logistical reasons
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sissi
Description
An account of the resource
<p>The artistic work of Sissi starts from the desire of investigating scientific and technical themes to reach, through art, a parallel, imaginary and fantastic dimension capable of ascribing a new identity to things. Her body is the center of her research, modified through an artistic process that uses disciplines as anthropology, archaeology and anatomy to meditate on the social and cultural dynamics linked to the physical life of the body inside society. This reflection is developed through different media, from performance to installation, from photography to drawing, painting and artist’s books. Her works have been shown in numerous collective and solo exhibitions and in major galleries and museums, including Fondazione Volume, Roma; Museo del 900, Milano; Fondazione Pomodoro, Milano; 53. Biennale di Venezia; Quadriennale, Museo d'Arte Contemporanea, Zagabria, Macro, Roma; Mambo, Bologna; Turku Biennial; Chelsea Art Museum, NewYork; Brooklyn Museum, New York, Smak di Gent; MOCA, Miami; Neue Galerie am Landesmuseum Joanneum, Graz.</p>
<p>Winner of numerous distinguished prizes and awards, she won the Gotham Prize in 2012, the American Academy in Rome Fellowships in the Arts in 2006; the New York Prize established by the Ministry of Foreign Affairs in 2005; the Francesca Alinovi Prize for performers assigned by the Gam in Bologna in 2003. She took part to the artist-in-residence program at the Tokyo Wonder Site, Tokyo Metropolitan Foundation for History and Culture in 2008; in 2006 she won the Premio New York by The Italian Academy for Advanced Studies of the Columbia University and in 2004 she was invited as artist in residence at the Neue Galerie am Landesmuseum Joanneum in Graz. In 2002 she won the Querini Stampalia Award “Furla per l'Arte”.</p>
Creator
An entity primarily responsible for making the resource
Sissi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cloakroom workshop, Frieze
Description
An account of the resource
<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>
Creator
An entity primarily responsible for making the resource
Sissi
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
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Sissi
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2860" target="_blank" rel="noopener">http://hdl.handle.net/1889/2860</a>
Project which wasn’t selected in a prize or competition
-
http://moremuseum.org/omeka/files/original/cc3de28a80374fa75986ae2367c549fd.pdf
2e3e976560efef3580bf7e3e80df3a71
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
01Kensuke-descrizione.docx
Description
An account of the resource
Letter in which the artist describes the project
Format
The file format, physical medium, or dimensions of the resource
File pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
01container3.jpg
Description
An account of the resource
Photograph of the first prototype of the work
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 28,222 x 35,278 cm, 72 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 28,222 x 35,278 cm, 72 dpi
Description
An account of the resource
Photograph of the first prototype of the work
Title
A name given to the resource
01container4.jpg
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 28,222 x 35,278 cm, 72 dpi
Title
A name given to the resource
01container5.jpg
Description
An account of the resource
Photograph of the first prototype of the work
Dublin Core
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Title
A name given to the resource
Kensuke Koike
Description
An account of the resource
Kensuke Koike (born in Nagoya, Japan in 1980 – lives and works between Sempas, Nova Gorica and Venice). His artistic research focuses on the variations of imagination and human perception; he works mainly on collages, from the traditional and technically simple photo collage to a three dimensional collage in motion, realized by collecting a series of <em>image-trouvé</em>. But the appeal of his work often comes from the fact of adding to the image of the readymade the concept, borrowed from alchemy, of “finding value in nothing”.
Creator
An entity primarily responsible for making the resource
Koike, Kensuke
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Title
A name given to the resource
Containers
Description
An account of the resource
<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>
Creator
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Koike, Kensuke
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Contributor
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Romano, Gianni
Format
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application/pdf
image/jpeg
Language
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Italian
Type
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Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Kensuke Koike
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2900" target="_blank" rel="noopener">http://hdl.handle.net/1889/2900</a>
project abandoned by the artist
-
http://moremuseum.org/omeka/files/original/84b2318f506ed90bc03fa738e5e97f1c.pdf
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Dublin Core
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Title
A name given to the resource
Del Piero.docx
Description
An account of the resource
Letter sent by the artist to Alessandro Del Piero to invite him to take part in the project.
Format
The file format, physical medium, or dimensions of the resource
File pdf
http://moremuseum.org/omeka/files/original/2eff8e7524a9f5d6fbc96465dfd439df.jpg
9c6c84c0b3b4e9efaae44f1c1e91907a
Dublin Core
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Title
A name given to the resource
FotowebpersitoBambinGesudelleMani.jpeg
Description
An account of the resource
Photography of <em>Bambin Gesù delle mani</em> by Pinturicchio (1492). This fresco painting, removed by the Borgia Apartments in Vatican, has been hidden to the public for almost five hundred years and is exhibited today at the Fondazione Guglielmo Giordano of Perugia.
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 15,24 x 20,32 cm, 72 dpi
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Title
A name given to the resource
Enzo Umbaca
Description
An account of the resource
Enzo Umbaca, born in Caulonia in 1964, lives and works in Milan. He studied Scenography at Brera Academy. His artistic research spreads across different languages ranging from video to photography and performance, to focus on identity and the history of places, engaging the community and trying to identify himself with the other.
Creator
An entity primarily responsible for making the resource
Umbaca, Enzo
Dublin Core
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Title
A name given to the resource
Del Piero
Description
An account of the resource
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>.
Creator
An entity primarily responsible for making the resource
Umbaca, Enzo
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
Romano, Gianni
Format
The file format, physical medium, or dimensions of the resource
application/pdf
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Enzo Umbaca
More Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2902" target="_blank" rel="noopener">http://hdl.handle.net/1889/2902</a>
Logistical reasons
-
http://moremuseum.org/omeka/files/original/22b899d900f152badd3425a757641211.tif
43078161016ff24f1edd92892ffb764f
Dublin Core
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Title
A name given to the resource
Paolini_Overview 2012_Model-1.tif
Description
An account of the resource
Photograph of the model taken for the project
Format
The file format, physical medium, or dimensions of the resource
file tiff, 33,158x 25,425 cm, 304,8 dpi
http://moremuseum.org/omeka/files/original/a2cd9a61615306f38845fa2f30e4885e.tif
257251b2aaa4a29f7d1a87074cf10561
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Title
A name given to the resource
Paolini_Overview 2012_Model-2.tif
Description
An account of the resource
Photographs of the model taken for the project
Format
The file format, physical medium, or dimensions of the resource
file tiff, 33,142x 22,283 cm, 304,8 dpi
http://moremuseum.org/omeka/files/original/822e337365404a92f870c71dcb5e5cb6.pdf
3cc81316f5430e7c87cd9f1ee8102ada
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Title
A name given to the resource
Paolini_Overview_Documentation.pdf
Description
An account of the resource
Documentation of the project
Format
The file format, physical medium, or dimensions of the resource
File pdf
Dublin Core
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Title
A name given to the resource
Giulio Paolini
Description
An account of the resource
<p>Giulio Paolini was born on November 5th, 1940 in Genoa, and lives in Turin. Since his first participation in a group exhibition (1961) and his first solo show (1964), he has had countless exhibitions in galleries and museums the world over. His major retrospectives include: the Palazzo della Pilotta in Parma (1976), Stedelijk Museum in Amsterdam (1980), Nouveau Musée in Villeurbanne (1984), Staatsgalerie in Stuttgart (1986), Galleria Nazionale d’Arte Moderna in Rome (1988), Neue Galerie am Landesmuseum Joanneum in Graz (1998), GAM Galleria Civica d’Arte Moderna e Contemporanea in Turin (1999), Fondazione Prada in Milan (2003), Kunstmuseum in Winterthur (2005), MACRO Museo d’Arte Contemporanea Roma in Rome (2013) and Whitechapel Gallery in London (2014). He has participated in many Arte povera exhibitions and has been invited on several occasions to the Documenta in Kassel (1972, 1977, 1982, 1992) as well as to the Venice Biennale (1970, 1976, 1978, 1980, 1984, 1986, 1993, 1995, 1997, 2013). Since 1969 he has also designed sets and costumes for the theatre, notably projects devised with Carlo Quartucci in the eighties and the recent sets for two Wagner operas directed by Federico Tiezzi. Having trained as a graphic designer, he has always nurtured special interest in the field of publishing and writing. From the outset his artistic exploration has been accompanied by his thoughts, collected in books he has personally edited: from <em>Idem</em>, published in 1975 by Einaudi with an introduction by Italo Calvino, to his most recent publications, <em>Quattro passi. Nel museo senza muse</em> (Einaudi, Turin 2006), <em>Dall’Atlante al Vuoto in ordine alfabetico</em> (Electa, Milan 2010) and <em>L’autore che credeva di esistere</em> (Johan & Levi, Milan 2012). Many books have been published devoted to Paolini’s oeuvre: from the first monograph written by Germano Celant (Sonnabend Press, New York 1972) to the volume by Francesco Poli (Lindau, Turin 1990) and, lastly, the Catalogue Raisonné of the artist’s works dated from 1960 to 1999, edited by Maddalena Disch (Skira Editore, Milan 2008).</p>
<p>For further information, please see the artist’s website: <a href="http://www.fondazionepaolini.it" target="_blank">www.fondazionepaolini.it</a></p>
Creator
An entity primarily responsible for making the resource
Paolini, Giulio
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Title
A name given to the resource
Quadro Generale
Description
An account of the resource
<p>The project by Giulio Paolini entitled <em>Quadro generale</em> (<em>Overview)</em> was developed by the artist between 2010 and 2012, and intended to be placed near the south steps within the Sully Wing of the Louvre Museum in Paris, which commissioned the piece. Although the artist's proposal had been approved in its final version in the summer of 2012, the initiative was not followed through for various reasons, including the appointment of a new director at the museum. The installation that Paolini had designed included a geometric structure in stainless steel, built around a square hanging from the ceiling in the center of the space. It contained fragments of plexiglass engraved with the same geometric designs which would have been placed on the surrounding walls, as if they had been scattered by an explosion of the nucleus. This complex structure, by its nature variable and cryptic although clearly structured, represents – as Paolini himself stated - the very idea of the museum: "some sort of 'big bang' of continued proliferation destined to an inexorable, vertiginous fragmentation until it almost exhausts much like a 'black hole' that prevents us to decipher it."<br /><a href="https://www.repository.unipr.it/bitstream/1889/2903/1/Paolini_Quadro%20Generale.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Paolini, Giulio
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-2012
Contributor
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Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/tiff
application/pdf
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.
Giulio Paolini
More Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="%20http://hdl.handle.net/1889/2903" target="_blank" rel="noopener">http://hdl.handle.net/1889/2903</a>
Logistical reasons
Political reasons
-
http://moremuseum.org/omeka/files/original/6339ee1a1bbe56e93f8ef855b80e3d8a.pdf
c08db6638102d43a4529a38e09b0eeea
Dublin Core
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Title
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03Bianco-Valente descrizione.doc
Format
The file format, physical medium, or dimensions of the resource
File pdf
Description
An account of the resource
Project description, wrote by the artists
http://moremuseum.org/omeka/files/original/c80e003c80973953bd5e23479bd43c3a.jpg
42d2f7b0ed97fd99fdb0bb53d566fe42
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Title
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03BiancoValente, Schizzo per progetto senza titolo 1999-2001.jpg
Format
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file jpeg, 40,682 x 28,296 cm, 300 dpi
Description
An account of the resource
Bianco-Valente, Sketch for progetto senza titolo, 1999-2001
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Title
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Bianco-Valente
Description
An account of the resource
Since the Nineties, the two artists Bianco-Valente test the reaction of our minds to the new technological landscape that surrounds us. Their work combines aesthetic, technologic and humanistic knowledge in such a precise way that we can consider them anthropologists in a contemporary scenario where the digital divide also means a difficulty in perception between what it was and what it is. Their installations and performances often investigates what gets lost or what we gain in terms of awareness, understanding and relationship.
Creator
An entity primarily responsible for making the resource
Bianco-Valente
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Title
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Progetto senza titolo
Creator
An entity primarily responsible for making the resource
Bianco-Valente (Bianco, Giovanna & Valente, Pino)
Date
A point or period of time associated with an event in the lifecycle of the resource
1999-2001
Contributor
An entity responsible for making contributions to the resource
Romano, Gianni
Format
The file format, physical medium, or dimensions of the resource
application/pdf
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<p>This project derives from the artists’ research around the <em>Turing Test</em>. Two computers set up with basic complementary knowledge responded to the visual inputs that the visitor showed to one of them: the first computer processed the image and then verbally communicated it to the second computer, in fact the first computer spoke to the second describing the image. The second computer, on the basis of information stored in its memory, activated a process of representation of the description, which it then actually represented through a projector next to the image that had been shown to the first computer. The two images were finally exposed side by side, showing the translation process image> word> image.<br />The project needed a great number of technical and scientific partnerships to make the data transmission possible. However, the concept behind the project came to life with two performances the artists realized in 2011 and 2014.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2899/1/Bianco-Valente_Progetto%20senza%20titolo.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Rights Holder
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Bianco-Valente
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2899" target="_blank" rel="noopener">http://hdl.handle.net/1889/2899</a>
-
http://moremuseum.org/omeka/files/original/0baaa6bde318fe9f6515a7e3a252b5ad.jpg
1a85bc1102bad1173998e27dd556c0e6
Dublin Core
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Title
A name given to the resource
Progetto x Gibellina.jpg
Format
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file jpeg, 20,003 x 18,256 cm, 240 dpi
Subject
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Photo of the model of the sculpture
http://moremuseum.org/omeka/files/original/6498d9f793a56d7a301f3c5ebef7ae43.jpg
6e61b01323edccd6b9920370e5d37ff9
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Title
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Progetto x Gibellina 001.jpg
Format
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file jpeg, 6,363 x 10,173 cm, 200 dpi
Description
An account of the resource
Photo showing Elio Marchegiani and Carola Pandolfo during the presentation of the model to the mayor of Gibellina, Ludovico Corrao.
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Title
A name given to the resource
Elio Marchegiani
Description
An account of the resource
Elio Marchegiani was born in Syracuse in 1929 to Sicilian parents. In 1934 his family settled in Livorno, where he spent his childhood and youth. He began painting as an autodidact. Following the family tradition, he received a classical eduction and enrolled at the Law Faculty of the University of Pisa. However, Mario Nigro's acquaintance made him change his path. He began to organize exhibitions and cultural events, but it's his friendship with Gianni Bertini that convinced him to leave the province behind and pursue artistic adventures in cities such as Paris, Milan, Rome and Bologna. The island of Favignana is where he preferred to spend the summers. For several years now he has been living in Pianoro Vecchio, a residential area on the hills, on Via Toscana, alternating the summers in Misano Adriatico and the island of Ischia. <a href="http://www.eliomarchegiani.com" target="_blank">http://www.eliomarchegiani.com</a><br /><br />
Creator
An entity primarily responsible for making the resource
Marchegiani, Elio
Dublin Core
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Title
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Monolite in bilico
Creator
An entity primarily responsible for making the resource
Marchegiani, Elio
Date
A point or period of time associated with an event in the lifecycle of the resource
1979
Contributor
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Scotti, Marco
Relation
A related resource
Dspace:
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p><em>Monolite in bilico </em>consists of a block of slate or lava stone resting on its edge on top of an egg made of travertine from Trapani, and placed on a pedestal of white cement destined for an open space in the city of Gibellina. The exact placement and measurements were yet to be determined. The artist donated his project to MoRE and – given the occasion - recounted the complex history of his work: "After visiting the new town of Gibellina way back in December of 1979, invited by the mayor Ludovico Corrao, I thought of erecting a large monolith made of slate or better yet of volcanic lava, balanced on top of a travertine egg, which was then to be placed in one of the city squares as a symbol of rebirth and a representation of the force of nature. The egg is an archetype of mysterious and symbolic significance, the Sun in the yolk and the Moon in the glare, gold and silver, a reassembled dualism. From this union life is born and perpetuated. The egg prevails over the force of nature by holding up the monolith. That's why it is in the balance. Enthusiastic about the idea, the mayor immediately ordered works to be carried out on the egg. I even had the chance to see it finished, but I never got an answer about the monolith itself, which therefore remained unexecuted. Each time I inquired about the project, I've been given excuses and evasive answers. Thus I ceased to insist because I realized that something or someone was hindering the project. They even went so far as to deny that the egg had ever been made."<br /><a href="https://www.repository.unipr.it/bitstream/1889/2901/1/Elio%20Marchegiani_Monolite%20in%20bilico.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Rights Holder
A person or organization owning or managing rights over the resource.
Elio Marchegiani
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="%20http://hdl.handle.net/1889/2901" target="_blank" rel="noopener">http://hdl.handle.net/1889/2901</a>
Logistical reasons
-
http://moremuseum.org/omeka/files/original/826e394020e080841f9700acd53809ae.jpg
d1097a20ecf62d1e1290f8e30b9e12c4
Dublin Core
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Title
A name given to the resource
L'omaggio - 2005.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 10,837x7,214 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
http://moremuseum.org/omeka/files/original/bbec47775b018deb9c169fd5d4165304.jpg
d4e84eb66bd211273dd5da95d27e34ef
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L'omaggio 2 - 2005.jpg
Format
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file jpeg, 25,468x 16,933 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
http://moremuseum.org/omeka/files/original/ab25f6ab3d284e32ffc9566ba0ca9540.jpg
b2deec6bbc1938bf6fe472228f386407
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L'omaggio 3 - 2005.jpg
Format
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file jpeg, 10,837x7,214 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
http://moremuseum.org/omeka/files/original/ef6f2b425710cc904856d60e08d1307d.pdf
469c50d38d5f624ce213e33caf72eb81
Dublin Core
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Title
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file.pdf
Format
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File pdf
Description
An account of the resource
Online article published on EXIBART.com covering H.H. Lim's car accident.
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H.H. Lim
Creator
An entity primarily responsible for making the resource
Lim, H.H.
Description
An account of the resource
H.H. Lim was born in Malaysia and graduated from the Academy of Fine Arts in Rome. Since 1976 he has been living and working between Rome and Penang. He is the founder and organizer of the exhibition space Edicola Notte, which has been one of the most dynamic and proactive realities in the capital since 1990. He has participated in numerous solo and group exhibitions: Oltre. Il primo piano, Italian Cultural Institute, Budapest (2015); Brera in contemporaneo Accademy of Brera, Milan (2015); No coffee no cigarettes, Paola Verrengia Gallery, Salerno (2015); Passaggi, Musée d'Art Modern et Contemporain, Saint- Etienne (2015); Mirare Giacomo Leopardi, Idill'io No. 13, Recanati (2015); Mirare, Idill'io No. 11, Recanati (2015); RI-FLESSIONI, R.A.M. radioartemobile, Rome (2015); National Visual Arts Gallery, Kuala Lumpur, Malaysia (2015); Migrating Forms and Migrating Gods, The Museum of Goa, a side event of the Biennale of Muziris Kochi, India (2014); Tornare al Senso Costruttivo, performance at the Verdi Theatre, Milan (2014); Open Museum Open City, project for R.A.M. radioartemobile and for the collection Maxxi, Rome (2014); Sconfinamenti, the 57th Festival of the Two Worlds, Spoleto (2014), Politicamente Parlando, Bianconi Gallery, Milan (2014); La Nuit Blanche, La Gaite Lyrique, Paris (2013); 6th Prague Biennale, Prague (2013); 55th International Art Exhibition of the Venice Biennale, Pavilion of the Republic of Cuba, Venice (2013); John Cage Experiments And Its Context, NCCA National Center of Contemporary Art, Moscow (2013); Landscape on the Move, De Vleeshal & De Kabinetten van de Vleeshal, Middelburg, The Netherlands (2012); Il tesoro nascosto, GNAM National Gallery of Modern Art, Rome (2011); Hidden Treasure, Tang Gallery, Bangkok (2011); 12th International Architecture Exhibition of the Venice Biennale, Venice (2010); 3 Camere, R.A.M radioartemobile, Rome (2010); Gone with the Wind, UCCA Ullens Center for Contemporary Art, Beijing (2010); Onda Anomala, a side event of Manifesta 7, Von Morenberg, Trento (2008); Guangdong Station, Art Museum, Guangdong (2008); Emergency Biennale, the Istanbul Biennial, Istanbul (2007); Wherever We Go, Walter & McBean Galleries, San Francisco (2007); The 5th Ink Painting Biennial of Shenzhen, He Xiangning Art Museum, Shenzhen (2006); "Sweet Taboos" "Go Inside", 3rd Tirana Biennale, National Art Gallery, Tirana (2005); À l'ouest du sud de l'est, CRAC Regional Center of Contemporary Languedoc-Roussillon Art, Sète, France (2004); Villa Arson, Nice (2004); Le Opere e i Giorni, Certosa of San Lorenzo, Padula (2002); Tribù dell'Arte, MACRO Museum of Contemporary Art, Rome (2001).
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Title
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Omaggio a Wojtyla
Creator
An entity primarily responsible for making the resource
Lim, H.H.
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
Scotti, Marco
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
Still Image
Text
Description
An account of the resource
<p>This project was born in the aftermath of HH Lim's car accident which occurred on the highway on March 26th in 2005, while he was on his way from Rome to Naples for the opening of the inaugural exhibition of the PAN - Palazzo delle Arti di Napoli, <em>The Giving Person. Il dono dell'artista</em>, curated by Lóránd Hegyi, invited by the artist Yan Pei Ming who had visited Lim's exhibition at Fondazione Volume! in Rome a few days earlier. Despite the severity of the accident, Lim was unharmed and decided to proceed his journey abandoning the destroyed car on the side of the highway. The project was inspired by a series of events that occurred before the departure and during the trip, as well as a work of art by his friend Yan Pei Ming on display in the exhibition - a large red figure of a Buddha, similar to the one Lim has always been wearing on his neck - and ultimately the death of the pope a few days later. The project was never actually developed as it remained a mere thought, an idea the artist had. Lim imagined a large public exhibition to thank the Pope: the work would have consisted of a series of montages made using Photoshop, showing some drawings of Lim – linked to the series of <em>Words</em> - superimposed on the front pages of the newspapers and posted during the funeral of Wojtyla, which took place on April 8th 2005 in the St. Peter's Square. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2898/1/HH%20Lim_Omaggio%20a%20Wojtyla.pdf" target="_blank" rel="noopener">Read more</a>.</p>
<p> </p>
Rights Holder
A person or organization owning or managing rights over the resource.
H.H. Lim
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2898" target="_blank" rel="noopener">http://hdl.handle.net/1889/2898</a>
Logistical reasons
Theoretical exercise
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Luca Vitone
Description
An account of the resource
The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan.
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Dublin Core
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Title
A name given to the resource
Concorso di progettazione Piazza Verdi - La Spezia
Description
An account of the resource
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>.
Creator
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Vitone, Luca
Boehm, Frank
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
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Modena, Elisabetta
Format
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image/jpeg
application/msword
application/pdf
Language
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Italian
Rights Holder
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Luca Vitone & Frank Boehm
MoRE Museum
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/3004" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3004</a>
Project which wasn’t selected in a prize or competition
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Dublin Core
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Title
A name given to the resource
G. Küng
Description
An account of the resource
<p>G. Küng (born 1982, New York) lives and works in Brussels since her 2013 residency at Wiels Contemporary Art Centre. She earned a BFA from The Cooper Union for the Advancement of Science and Art in New York in 2004 and an MFA from The Glasgow School of Art in 2012. Recent exhibitions include <em>Luigi Ghirri/G.Küng: Looking in</em> and a solo exhibition, <em>Inexhaustible Gifts of Celebratory Fruits</em>, both at Galerie Antoine Levi, Paris where she is represented. She was one of ten participants in the national competition of The Young Belgian Art Prize in 2015.</p>
Creator
An entity primarily responsible for making the resource
Küng, Georgia
Dublin Core
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Title
A name given to the resource
as yet untitled (Stairs)
Description
An account of the resource
<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>
Creator
An entity primarily responsible for making the resource
Küng, Georgia
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
Scipioni, Elena Lydia
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.
G. Küng
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2998" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2998</a>
Project which wasn’t selected in a prize or competition
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ibro Hasanović
Description
An account of the resource
Ibro Hasanović was born in Ljubovija (Yugoslavia) in 1981. He currently lives in Pristina, Kosovo. His works have been recently exhibited at Austrian Cultural Forum, New York, Künstlerhaus Vienna, Vienna; Munchner Stadtmuseum, Munich; Garage Museum of Contemporary Art, Moscow; Museum of Fine Arts, Split; Kunsthalle Wien, Wien; the 55th October Salon, Belgrade; National Gallery of Kosovo; Museum of Contemporary Art, Zagreb; Künstlerhaus - Halle für Kunst & Medien, Graz; the 2nd Project Biennial D-0 ARK Underground, Bosnia and Villa Romana, Florence.
Creator
An entity primarily responsible for making the resource
Hasanović, Ibro
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lilium Bosniacum
Description
An account of the resource
<p><em>Lilium Bosniacum</em> is a project that was thought to be realized in collaboration with scientists (e.g. botanist). It would include experiments in order to see if the Bosnian constitution - based upon the Dayton Peace Agreement in 1995 - could be translated, one way or another, into “natural law”.<br />Dayton Peace Agreement was reached in November 1995 at USA Air Force Base near Dayton (Ohio), and formally signed on 14th December 1995 in Paris. It brought peace to the country torn up by war which started on 6th of April 1992. Today, this peace agreement which also serves as the Bosnian constitution has become a political nightmare. Its complex structure makes any kind of progress in Bosnia seem impossible.<br />Lilium Bosniacum (a.k.a. golden lily or Bosnian lily) is a lily native to Bosnia and Herzegovina. Bosnian Lily is also a symbol that has been used in Bosnia since Middle Ages and it became especially popular during the rule of Bosnian king Tvrtko I Kotromanić. With the invasion of Ottomans into the region and the fall of Kotromanić Dynasty, the symbol went out of use. On 1st of March 1992, when Bosnia and Herzegovina gained independence from Yugoslavia, lilies were brought back onto the Bosnian flag. In 1998, after the protests of political representatives of the former Herceg-Bosna and Republika Srpska, the flag of the Republic of Bosnia and Herzegovina was replaced. The idea of the project is to try and create a set of rules and genetically modify Bosnian Lily in order that it complies with the complex structure of Dayton Peace Agreement. In collaboration with scientists (e.g. botanist), the project includes experiments in order to see if this specific “constitutional law” can be translated, one way or another, into “natural law”. All of the process would be photographically and video documented, in order to produce a book/herbarium and a short video documentary. Finally the goal would be to register this “hybrid lily”, if successfully created, to the EU database of registered plant varieties. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2999/1/Ibro%20Hasanović_Lilium%20Bosniacum.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Hasanović , Ibro
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
Scipioni, Elena Lydia
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.
Ibro Hasanović
MoRE museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2999" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2999</a>
Financial reasons
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Kostis Velonis
Description
An account of the resource
Kostis Velonis received his Doctorate in architecture from the N.T.U.A University of Athens (2009). He studied Cultural Studies at the London Consortium (A A, Birckbeck College, ICA) and visual Arts at the Paris VIII University, Maitrise, D.E.A. Among the recent SOLO shows: This probably will not work Lothringer 13 - Städtische Kunsthalle München, Munich, 2015; Mount the Air, Kalfayan Galleries, Athens, 2015; The Grammary of Puppetry, Monitor Gallery, Rome, 2012; The promise of Happiness, Signal Center for Contemporary Art, Malmo, Sweden, 2011. Among the group shows: Adventures of the Black Square: Abstract Art and Society 1915- 2015, Whitechapel Gallery, London, 2015; Supersuperstudio, Padiglione Arte Contemporanea, Milan, Italy; In the Name of Le Corbusier, Spiteris Residence, School of Architecture N.T.U.A, Athens, 2015; The Theater of the World, Museo Tamayo, Mexico City, 2015; This is Not My Beautiful House, Kunsthalle Athena, Athens, 2014; No Country for Young Men, BOZAR, Brussels, 2014; Tout Feu Tout Flamme, Lefebvre & Fils, Paris, 2014; Direct Democracy, MUMA /Monash University Museum of Art, Melbourne, 2013; Hell as a Pavillion, Palais de Tokyo, Paris, 2013; Newtopia. The State of Human Rights, Mechelen Cultural Centre, The Academy of Fine Arts, Scheppers Institute Mechelen, Belgium, 2012; Material and Culture - MAK Center for Art and Architecture-Schindler, California.
Creator
An entity primarily responsible for making the resource
Velonis, Kostis
Dublin Core
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Title
A name given to the resource
Monument for a Forgotten Education (based on Goeritz's and Barragan's “Torres de Satélite”,1958)
Description
An account of the resource
<p><em>Monument for a Forgotten Education</em> is a model version of the public monument of Mathias Goeritz and Luis Baraggan <em>Torres de satellite</em> (satellite towers) which is located in Mexico City and is assumed to be one of the most characteristic public projects of Mexican modernity.<br /><em>Monument for a Forgotten Education</em> is conceived with the aim to replace the walls of the Monument “Torres de satellite" made from reinforced concrete with chalkboard paint on wood, giving an emphasis to the educational awareness, rewriting the history of a certain modernity that deals with abstraction and collective amnesia. The aesthetic values of public monuments have thus been reverted as by the substitution of the original material as well as the different scale of the model.<br /><em>Monument for a Forgotten Education</em> is included to a production of works under the general title of <em>Part Company</em>. These works combine antithetical approaches to community living and social participation by two distinct figures of Mexican Modernism, Greek-Mexican activist Plotino Rhodakanaty (1828-1892) and Mexican artist of German origin Mathias Goeritz (1915-1990). The artist adapts models of public sculptures by Goeritz informed by research on Rhodakanatys’ political concepts. The constructions explore a broader context around social class, politics of sculpture, architecture and design, encompassing rather than isolating these two separate ideologies.<br />Understanding modernity's discourse through Goeritz's approach is an intriguing way to justify the rejection of memory (from collective to interpersonal relationships) and complements Rhodakanaty's ethics through which Goeritz cannot be restricted exclusively to the field of aesthetics, just as socialist narratives may not be solely perceived through a passive reception of a political message.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3002/1/Kostis%20Velonis_Monument%20for%20a%20Forgotten%20Education.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Velonis, Kostis
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Contributor
An entity responsible for making contributions to the resource
Scipioni, Lydia Elena
Format
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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.
Kostis Velonis
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3002" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3002</a>
Theoretical exercise
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Dublin Core
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Title
A name given to the resource
Maria Adele Del Vecchio
Description
An account of the resource
<p>Maria Adele Del Vecchio (1976 Caserta), lives and works in Rome. She attended the Staedelschule Frankfurt in 2005/06, with Mark Leckey as her professor. In 2014, she ranked as a finalist in the tenth edition of the biennial Furla Prize, called <em>The Nude Prize</em>. Solo Exhibitions: <em>Whitin rather than above</em>, Gallerie Tiziana Di Caro, Naples, 2015; Tonite let's all make love in London, Supportico Lopez, Berlin, 2014; <em>Qui sembra ancora possibile</em>, curated by Maria Rosa Sossai, Parco del Pineto, Rome, 2011; <em>No end is limited</em>, curated by Stefania Palumbo, Galleria Enrico Fornello, Prato, 2008. Collective Exhibitions: <em>Pane Per Poveri</em>, Teatro Marinoni, Venice, 2015; <em>Journey to the end of the word</em>, curated by Antonello Tolve, Galleria Tiziana Di Caro, Salerno, 2014; <em>Se il dubbio nello spazio è dello spazio</em>, curated by Maria Adele Del Vecchio and Nemanja Cvijanovic, Museo MACRO, Rome 2014. <em>Die Dritte Dimension</em>, Frutta Gallery, Rome, 2013; <em>Door to Door</em>, curated by Maura Picciau, city centre, Salerno, 2012; <em>Badtime</em> <em>Stories Badtime Stories</em>, Supportico Lopez, Berlin, 2011; Classroom #1, curated by Salvatore Lacagnina, Museo MADRE, Naples, 2008; <em>Sistema Binario</em>, curated by Adriana Rispoli and Eugenio Viola, Mergellina Station, Naples, 2008; <em>A long time ago, last night</em>, curated by Francesca Boenzi, Galerjia Kortil, Rijeka, Croatia, 2008. <em>Falansterio</em>, Supportico Lopez, Naples, 2006<em>. Luogo/non-luogo = nuovo luogo</em>, visiting professor Richard Nonas, Fondazione Antonio Ratti, Como, 2003. </p>
Creator
An entity primarily responsible for making the resource
Del Vecchio, Maria Adele
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Subtext
Description
An account of the resource
<p>The project consists of an Artist’s book structured on several levels of interpretation which, through images and texts, outlines the moments in which the combination of signs reveal the "forms of the content."<br />The artist's book designed by Maria Adele Del Vecchio is a “personal and abnormal semiology", a product of culture which reveals the contradictory nature of signs and the message they express using a poetic approach, rather than a scientific one. The hypothesis proposed by the artist has been enriched by readings related to semiotics and structuralism, and is nurtured by the belief that reality is entirely composed of signs and that deciphering these signs, composes a more complete picture of reality.<br />The photographs taken are stumbles, glimpses beyond which the artist sees the grids on which life is structured: educated moments that reveal a karst essence along with underlying coordinates.<br />In a brief pastiche, the artist juxtaposes parts of texts by Witold Gombrowicz and James G. Ballard, tracking down a common vision. Well matched and mutually interpenetrating, photographs and texts compose a set of parallel references woven so as to form a large subtext.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3001/1/Maria%20Adele%20Del%20Vecchio_Subtext.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Del Vecchio, Maria Adele
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Contributor
An entity responsible for making contributions to the resource
Scipioni, Lydia Elena
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Text
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3001" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3001</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Maria Adele Del Vecchio
MoRE Museum
Financial reasons
-
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Dublin Core
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Title
A name given to the resource
Sandro Mele
Description
An account of the resource
<p>Born in Melendugno (Lecce) 1970, he lives and works in Rome. After graduating from the Academy of Fine Arts in Venice in 1994, he worked as an assistant to Fabio Mauri. Solo exhibitions: <em>Aquì todo bien</em>, 2016, Morelli Contemporary, Brussels; “Spunti per l’avvenire” Galleria Artforum Contemporary, Bologna 2015; "The American Brothers" Galleria Michela Rizzo, Venice, 2013; "Ventinovegiorni (di resistenza)" Menexa,Rome, 2012; “Lucha” fondazione Volume!, Rome, 2010; “Campo Argentino” galleria L’Union-fondazione Volume! Rome, 2006; “Argentina 2000” SACI Gallery, Florence, 2001. His works have been included in the following collettive exhibitions: "Lavoro/Work/Vore" Villa di Toppo Florio, Buttrio (UD), 2013; “GAP Generazioni a confronto” MAXXI B.A.S.E. Rome – 2012; Video Arte Italiana 2004-2012_Mamba Buenos Aires, 2012; “Hear Me Out” Castello Colonna, Genazzano, Rome, 2011; “Premiata officina trevana” Palazzo Lucarini Contemporary – Centro per l’arte contemporanea, 2011; “Non tutto è in vendita” via farini 33, Bologna 2011; Ente comunale di consumo” Galleria Nazionale palazzo Arnone, Cosenza, 2011; “Ente comunale di consumo” Palazzo Vittoriano, Rome – curated by Claudi Libero Pisano, 2011; “Ente comunale di consumo” castello Colonna, Genazzano (Rome), 2010; “I colori del territorio”, Spoltore (Pe) 2010;</p>
<p> “Arts for the Earth/Natura Naturans”, Cellino San Marco, Brindisi, 2010; “Il caos” Isola di San Servolo, Venice, 2009; “Mediterranean” Roma the road to contemporary art, Rome, 2009; Social forum europeo, Malmo –Sweden, 2008; “Latinolatino” Castello di Barletta, 2008; “Tracce del contemporaneo” Bos’art, Bosa, Alghero, 2007; “Todi arte festival “, Todi, 2006; “Querria cambiar el color a vuestro objeto mas querido?“, Puerto Lumbreras, Spain, 1999. </p>
Creator
An entity primarily responsible for making the resource
Mele, Sandro
Dublin Core
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Title
A name given to the resource
Cartoneros - Buenos Aires
Description
An account of the resource
<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>
Creator
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Mele, Sandro
Date
A point or period of time associated with an event in the lifecycle of the resource
2006
Contributor
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Scipioni, Lydia Elena
Format
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image/tiff
Language
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Italian
Type
The nature or genre of the resource
Still Image
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/3000" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3000</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Sandro Mele
MoRE Museum
Financial reasons
Logistical reasons
-
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http://moremuseum.org/omeka/files/original/ff9d8900e110365ac49849e0c6c14430.jpg
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http://moremuseum.org/omeka/files/original/305bdb44b4a3265f85eb5300c6b2cf43.jpg
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Dublin Core
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Title
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Mathis Collins
Description
An account of the resource
<p>Mathis Collins was born in 1986 and is based in Paris and London. He studied at the Ecole d’Art de Cergy, then in Brussels, Montreal and Metz. Among the solo shows: “Wet French”, Levy.Delval, Brussels; 2016; “Dru-French”, Palais de Tokyo, 2016; “Dynasty”, Palais de Tokyo (with Cyril Verde), Paris, 2010. His works have been included in the group shows “Ce que raconte la solitude”, Friche Belle de Mai, Marseille, 2014 and in exhibitions at Astrup Fearnley Museum, Oslo, 2014 and Le Magasin, Grenoble, France. Mathis Collins takes part in the activities of the Parisian group Treize. </p>
Creator
An entity primarily responsible for making the resource
Collins, Mathis
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Title
A name given to the resource
Quercus Suber Utopia
Description
An account of the resource
<p>For the past few years, Mathis Collins has worked with cork harvesters, local populations of Mediterranean forests and villages and artists, and conceived works that focus on ecology, culture and economy of cork regions. <em>Quercus Suber Utopia</em> is a project for the making of a collective artwork, in the regions of South Europe and North Africa where grows Cork trees.<br />The sculptures produced for <em>Quercus Suber Utopia</em>, based on a discussion on community buildings, would to be exhibited in each of the other participating communities in a continuous process of exchange and activity. Produced with cork, the sculptures or scale models of the communities utopian collective space, was to set a pan-regional discussion and understanding of the contemporary ecological and economical crisis of cork trees.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3003/1/Mathis%20Collins_Quercus%20Suber%20Utopia.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
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Collins, Mathis
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
Contributor
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Scipioni, Lydia Elena
Format
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image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3003" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3003</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Mathis Collins
MoRE Museum
Logistical reasons
Technical reasons
-
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http://moremuseum.org/omeka/files/original/c2c32b40ba7aeea0e91e196039f746a8.jpg
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http://moremuseum.org/omeka/files/original/a5e88a4a35ef12078177fb5f9ede7988.pdf
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http://moremuseum.org/omeka/files/original/2e8dc9690043b9560e3f931f9139682b.pdf
641c9de36176fbfb26998796847f1be4
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Title
A name given to the resource
Luca Vitone
Description
An account of the resource
The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan.
Creator
An entity primarily responsible for making the resource
Vitone, Luca
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Title
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Concorso per la progettazione di un monumento dedicato ai disertori del nazismo
Description
An account of the resource
<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>
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
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Modena, Elisabetta
Format
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image/jpeg
application/msword
Language
A language of the resource
Italian
Deutsch
Type
The nature or genre of the resource
Text
Still Image
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/3005" target="_blank" rel="noopener">http://hdl.handle.net/1889/3005</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Luca Vitone
MoRE Museum
Project which wasn’t selected in a prize or competition
-
http://moremuseum.org/omeka/files/original/b36ffa5c4e8394d66297f100f5c23798.pdf
b49370e0396ee74500981b66e8a038c4
Dublin Core
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Title
A name given to the resource
1_Braco Dimitrijevic.msg
Description
An account of the resource
E-mail sent by Nena Dimitrijevic to Anna Zinelli on June, 3th 2016.
http://moremuseum.org/omeka/files/original/fb851faab814d8f6f14ed278d0740b94.msg
3522e46617dede151fe87fcbc83d3aa5
Dublin Core
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Title
A name given to the resource
Braco Dimitrijević
Description
An account of the resource
<p class="Body">Braco Dimitrijević was born in Sarajevo in 1948. After attending the Academy of Fine Arts in Zagreb, between 1968 and 1971, he completed his postgraduate studies in 1973 at the Saint Martin's School of Art in London.</p>
<p class="Body">In 1963 he made his public debut with <em>Flag of the world</em>, in which he replaced a national flag with a cloth to clean paint brushes; by the end of the 1960s, he proposed a series of works in which he triggered accidental processes and asked strangers to sign them as works of art (<em>Accidental Drawing,</em> 1968; <em>Painting by Krešimir Klinka</em> 1969). This approach, which is designed to problematise the notion of authorship, also constituted the base for the series dedicated to “Casual Passers-by", presented for the first time in Zagreb in 1971 and at the VI Biennale of Paris. The series featured large-scale photographs of strangers presented as if they were important political figures or media celebrities.</p>
<p class="Body">During the 1970s he participated in the Documenta in Kassel (1972, 1976) and the Venice Biennale (1976), while the Muzej suvremene umjetnosti of Zagreb held his first retrospective (1973). During this time he also started to travel to Italy, first invited to Naples by Lucio Amelio for a personal exhibition (1971) and then to Turin by Gian Enzo Sperone, with whom he continued to work.</p>
<p class="Body">In 1976 he published the <em>Tractatus Post Historicus</em>, which discusses the linear and evolutionary nature of the historical-artistic process, and presented <em>Tryptychos Post Historicus </em>at the Nationalgalerie in Berlin, proposing a combination of exhibits from the museum collection, anonymous everyday objects and organic elements such as fruits and vegetables. The project was revived and further developed subsequently in numerous museums, including the Centre Georges Pompidou in Paris, the Tate Gallery in London, the Guggenheim Museum in New York, the State Russian Museum and the Louvre in Paris.</p>
<p class="Body">In 1981, on the occasion of his personal exhibition at the Waddington Gallery in London, he proposed exhibiting two live peacocks alongside the collection dedicated to the masters of modern art. He continued working with animals throughout the 80s with the installations proposed at the Sarajevo Zoo (1983) and the personal exhibition at the Paris Zoo (1998).</p>
Creator
An entity primarily responsible for making the resource
Dimitrijević, Braco
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Title
A name given to the resource
Lion walking freely in the Louvre
Description
An account of the resource
<p>In 1996 Braco Dimitrijević, interviewed by Jean-Hubert Martin for "Flash Art", said: <em>If you look at the earth from the moon there is virtually no distance between the Louvre and the zoo. There are cages at the zoo just as there are in the Louvre. My ultimate aim is to remove the doors and see the lions at large in the Louvre.<a title="" name="_ftnref1" href="#_ftn1"></a></em></p>
<p>This utopian project, donated to MoRE, is part of that line of research based on the combination between major art exhibitions and live animals, which the artist began to develop in 1981 with the installation <a href="http://bracodimitrijevic.com/index.php?album=animals&image=animals_001.jpg"><em>Dust of Louvre Mist of Amazon</em></a> at the Weddington Gallery, where he let two peacocks roam freely through the exhibition of modern art collections. The work that most closely resembles <em>Lion walking freely in the Louvre</em> was realised by Dimitrijević in 1995 for the exhibition at the Hessisches Landesmuseum in Darmstadt. <a href="http://bracodimitrijevic.com/index.php?album=animals&image=animals_004.jpg"><em>Against historic sense of gravit</em><em>y </em></a>featured pythons from the Zoo of Cologne set free inside a specially built platform (with a heated pool and an island) containing female portraits dating back between the 16th and 19th century.</p>
As Nena Dimitrijević, art historian and Braco's wife, recalls presenting the project, there’s a tension towards a utopian and unfeasible dimension that characterises his entire career: <em>[Braco Dimitrijević] has managed to achieve many of his projects, that at first seemed impossible, because of his nature and ability to theoretically support his ideas. For example, his use of the façade for the portraits of unknown people encountered a lot of obstacles at the time and opened the chapter regarding the use of urban vocabulary in art.</em>
<div><a href="https://www.repository.unipr.it/bitstream/1889/3247/1/Dimitrijevic_Lion%20walking%20freely%20in%20the%20Louvre.pdf" target="_blank" rel="noopener">Read more.</a></div>
Creator
An entity primarily responsible for making the resource
Dimitrijević, Braco
Date
A point or period of time associated with an event in the lifecycle of the resource
1996
Contributor
An entity responsible for making contributions to the resource
Zinelli, Anna
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
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3247" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3247</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Braco Dimitrijević
MoRE Museum
Theoretical exercise
-
http://moremuseum.org/omeka/files/original/65ca9b3a4ded844c5be8fc2d395a05b0.tif
b93fb1a7bba6a87368b77e6ed7855eb5
Dublin Core
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Title
A name given to the resource
notes.tif
Description
An account of the resource
The digital copy of a sheet of paper with drawings and words, hand made by the artist as a first study for the magazine.
Format
The file format, physical medium, or dimensions of the resource
tiff file, 21,565 x 29,667 cm, 200 dpi
Dublin Core
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Title
A name given to the resource
Hassan Khan
Description
An account of the resource
Hassan Khan is an artist, musician and writer. He lives and works in Cairo, Egypt.
Creator
An entity primarily responsible for making the resource
Khan, Hassan
Dublin Core
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Title
A name given to the resource
Sketches for an unrealised magazine
Description
An account of the resource
This project consists of an A4 paper with handwritten notes in both Arabic and English and sketches in black ink. It is the only existing document of a planned magazine to be produced by Hassan Khan with some friends at the time but was never realized. Still a rough draft, this sketch can be now interpreted in the light of Khan current practice, which includes visual arts, writing and music, mapping themes related to the current geo-political and social situation Contemporary life in Cairo was a fundamental reference next to diverse cultural influences including William Blake, punk, the philosophical mysticism of different traditions, various avant-garde movements of the twentieth century, modernist cinema and experimental music. A magazine could represent a way to subtly take on themes and be part of popular culture at the same time without being explicit. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3242/1/Khan_Sketches%20for%20an%20unrealised%20magazine.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Khan, Hassan
Date
A point or period of time associated with an event in the lifecycle of the resource
1995
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Relation
A related resource
<a href="http://dspace-unipr.cineca.it/handle/1889/3242" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3242</a>
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Hassan Khan
MoRE Museum
project abandoned by the artist
-
http://moremuseum.org/omeka/files/original/b3ea04ee21b6b7ec5df21c4198ece750.jpg
91812c601bd19b0e6b7049bec4aae11f
Dublin Core
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Title
A name given to the resource
map.jpg
Description
An account of the resource
A photography of a map of the world, tattooed on a bottom.
Format
The file format, physical medium, or dimensions of the resource
jpg file, 21,565 x 29,667 cm, 200 dpi
http://moremuseum.org/omeka/files/original/00e2fb01c356b3af4ba824d48f82672c.pdf
2d4d1d4d58334a18be71d87b7ba70f1d
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Title
A name given to the resource
Dear Tattooist.docx
Description
An account of the resource
Letter used by the artist to present the project and invite the tatooists to contribute.
Format
The file format, physical medium, or dimensions of the resource
MS Word file/ PDF
Dublin Core
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Title
A name given to the resource
Runo Lagomarsino
Description
An account of the resource
<p>Runo Lagomarsino (b. 1977, Sweden) lives and works in Malmö and São Paulo. He participated in the Whitney Museum of American Art Independent Study Program in 2007-2008 and received his MFA at the Malmö Art Academy in 2003. The artist tries to construct frictions between language, representation, and dominant narratives by investigating fractures and blind paths from where to tell other stories, unlearn, read the past, and name the future. Lagomarsino has participated in numerous solo and group exhibitions across the world, including <em>West is everywhere you look</em>, Francesca Minini, Milano (2016); <em>Carla Zaccagnini & Runo Lagomarsino</em>, Malmö Konsthall (2015); <em>Against My Ruins</em>, Nils Stærk, Copenhagen (2014); <em>We have everything, but that’s all we have</em>, Mendes Wood DM, São Paulo (2013), and <em>For Each Light a Shadow</em>, Ignacio Liprandi, Buenos Aires (2013);<em> the World’s Futures</em>, the 56<sup>th</sup> Venice Biennale (2015); <em>Really useful knowledge</em>, Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); <em>Under the Same Sun</em>, Guggenheim Museum, New York (2014); <em>The 30<sup>th</sup></em> <em>São Paulo Biennial – The Imminence of Poetics</em> (2013); <em>Untitled – 12<sup>th</sup> Istanbul Biennial</em> (2011)<em> and The Moderna Exhibition</em>, Moderna Museet, Stockholm (2010).</p>
Creator
An entity primarily responsible for making the resource
Lagomarsino, Runo
Dublin Core
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Title
A name given to the resource
Dear Tattooist
Description
An account of the resource
<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>
Creator
An entity primarily responsible for making the resource
Lagomarsino, Runo
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
application/msword
image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3241" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3241http</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Runo Lagomarsino
MoRE Museum
project abandoned by the artist
-
http://moremuseum.org/omeka/files/original/774319a4da338f8e03bf9a79767a25d3.jpg
b2357773b7c49ae0c22a43e253bf5772
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
DSC_0169.JPG
Description
An account of the resource
Preparatory collage for Lonely Dads
Format
The file format, physical medium, or dimensions of the resource
file jpg, 86,748 x 61,066 cm, 72 dpi
http://moremuseum.org/omeka/files/original/8b052be3492c05aad86a95bc97ea4e3d.pdf
b85fdf507ec639a40d9573d9c923780c
Dublin Core
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Title
A name given to the resource
Lonley Dads editz.docx
Description
An account of the resource
Artist report of the unrealized performance Lonely Dads.
Format
The file format, physical medium, or dimensions of the resource
file MS word/ PDF
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file jpg, 33,726 x 45,156 cm, 72 dpi
Description
An account of the resource
Rendering of the medieval hall interiors, with several huge disco balls installed.
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Title
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notextpersonfromup copy.jpeg
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file jpg, 33,726 x 45,156 cm, 72 dpi
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An account of the resource
Rendering of the medieval hall interiors, with several huge disco balls installed.
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windisco 2.jpeg
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file jpg, 33,726 x 45,156 cm, 72 dpi
Description
An account of the resource
Rendering of the medieval hall interiors, with several huge disco balls installed.
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Title
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windisco.jpeg
Format
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file jpg, 33,726 x 45,156 cm, 72 dpi
Description
An account of the resource
Rendering of the medieval hall interiors, with several huge disco balls installed.
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windsico3.jpeg
Format
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file jpg, 33,726 x 45,156 cm, 72 dpi
Description
An account of the resource
Rendering of the medieval hall interiors, with several huge disco balls installed.
Dublin Core
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Title
A name given to the resource
Annika Ström
Description
An account of the resource
<p>Annika Ström was born in Helsingborg, Sweden in 1964. She studied at the Royal Academy of Fine arts in Copenhagen until 1997, but moved already to Berlin 1993. <br /> 2005 she left Berlin and moved to United Kingdom where she now lives. Ström works predominately with films, soundtrack, performances and text works but has also written a feature film script. In 2010 Ström staged the performance "Ten embarrassed men" at the London Frieze art fair where ten identically dressed men walked around together at the fair looking embarrassed. The cause of the embarrassment was the low number of work produced by women artists that are represented at commercial art fairs. The work was followed by a series of other performances such as "The Upset Man” 2010 and "The Inept Five", <em>2012, </em>“Six Lovely People” 2015.An ongoing performance is the "Seven Women Standing In The Way"where seven women in their 60s gently block the entrance of an art space, by talking, drinking and being oblivious to other visitor's attempts to enter the space. So far 10 performances with these women has taken place around Europe Since 2000 Ström has also worked extensively with text phrases, painted on both paper and canvas. In 2014 the Swedish Art Agency commissioned her to do 10 texts works for the new build extension of LUX, the Humanities Departmentat <a title="Lund University" href="https://en.wikipedia.org/wiki/Lund_University">Lund University</a>. On the roof of the building a 10 meter long text in metal says; "men vänta nu". (Direct English translation is; "but wait now " meaning, “hold on”). The work is permanent. In 2015 she composed music with her text works for the Jonkoping Chamber choir in Sweden for a commission for Konsthall Jonkoping. A film was made of the performance and can be seen on <a href="https://vimeo.com/annikastrom">vimeo</a> .She is currently working on new paintings and a new film. A common subject for her work is “fear of failure”. For a solo exhibition in New York 2003, her title for the show was called “Everything in this show can be used against me”.</p>
Creator
An entity primarily responsible for making the resource
Ström, Annika
Dublin Core
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Title
A name given to the resource
Lonely Dads / The Medieval Hall in UK with disco lights
Description
An account of the resource
<p>Invited to submit a project for a medieval hall in the UK, that should have been a collaboration with either local people or an organization, Annika Ström decided to present a performance based upon the idea of lonely men in their cars, supposed to be lonely dads. Fathers who were divorced and estranged from their children. Starting, as the artist states, from a reflection upon the car as a place of solitude and from her direct experience - a common trait to several of her artworks, here derived from her travels and from her recent experience of moving to England - this project was designed as a collaboration with local Father’s Rights organizations. The artist report and the preparatory collage archived here contains all the details of the performance, of the accompanying music - a popular culture quotation, playing a crucial role as it frequently happens in Annika Ström works - and of the way everything should have been filmed and documented:</p>
<p><em>“I planned to get at least 50 Dads. They would drive in to the square outside the medieval hall. One car for each dad. They would stop and remain in their car. They would all simultaneously pull down their car windows and play the same song; The very romantic Pietro Mascagni, as used as the sound track in Raging Bull by Scorsese.</em></p>
<p><em>When the song was finished, they were to slowly pull away, head to the motorway in a line towards Southampton, where I also had commission as part of the same project.</em></p>
<p><em>We were to hire helicopters to film the motorway, like a “News Copter” where the Lonely Dads would parade with their cars, missing their children.”</em></p>
<p>Reflecting upon roles and structures inside the families and in the society, here Annika Ström investigate in particular relationships, self-doubts and failures, designing the staging of a dramatic scene where cars would have invaded the historical setting.</p>
<p>The artist also wanted to install enormous disco balls inside the hall, but this project too remained unrealised.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3244/1/Ström_Lonely%20Dads.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Ström, Annika
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
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Scotti, Marco
Format
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image/jpeg
application/pdf
Language
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English
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/3244" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3244</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Annika Ström
MoRE Museum
Failure to meet the commissioner's demands
Ideological reasons
-
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Dublin Core
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Title
A name given to the resource
DSC_0114 copy 2.jpg
Description
An account of the resource
Preparatory collage for the staging of the performance
Format
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file jpg, 61,666 x 84,384, 72 dpi
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Title
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Proposal for a performance work at.docx
Description
An account of the resource
Artist report of the unrealized performance
Format
The file format, physical medium, or dimensions of the resource
MS word file/ PDF
Dublin Core
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Title
A name given to the resource
Annika Ström
Description
An account of the resource
<p>Annika Ström was born in Helsingborg, Sweden in 1964. She studied at the Royal Academy of Fine arts in Copenhagen until 1997, but moved already to Berlin 1993. <br /> 2005 she left Berlin and moved to United Kingdom where she now lives. Ström works predominately with films, soundtrack, performances and text works but has also written a feature film script. In 2010 Ström staged the performance "Ten embarrassed men" at the London Frieze art fair where ten identically dressed men walked around together at the fair looking embarrassed. The cause of the embarrassment was the low number of work produced by women artists that are represented at commercial art fairs. The work was followed by a series of other performances such as "The Upset Man” 2010 and "The Inept Five", <em>2012, </em>“Six Lovely People” 2015.An ongoing performance is the "Seven Women Standing In The Way"where seven women in their 60s gently block the entrance of an art space, by talking, drinking and being oblivious to other visitor's attempts to enter the space. So far 10 performances with these women has taken place around Europe Since 2000 Ström has also worked extensively with text phrases, painted on both paper and canvas. In 2014 the Swedish Art Agency commissioned her to do 10 texts works for the new build extension of LUX, the Humanities Departmentat <a title="Lund University" href="https://en.wikipedia.org/wiki/Lund_University">Lund University</a>. On the roof of the building a 10 meter long text in metal says; "men vänta nu". (Direct English translation is; "but wait now " meaning, “hold on”). The work is permanent. In 2015 she composed music with her text works for the Jonkoping Chamber choir in Sweden for a commission for Konsthall Jonkoping. A film was made of the performance and can be seen on <a href="https://vimeo.com/annikastrom">vimeo</a> .She is currently working on new paintings and a new film. A common subject for her work is “fear of failure”. For a solo exhibition in New York 2003, her title for the show was called “Everything in this show can be used against me”.</p>
Creator
An entity primarily responsible for making the resource
Ström, Annika
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Proposal for a performance work at Sergels Torg, Stockholm
Description
An account of the resource
<p>This project was proposed by Annika Ström in 2016 as a public art commission, and should have taken place during nighttime at the Sergels Torg square in Stockholm. It consisted in a night concert, lasting approximately 15 minutes, where the Jönköping Chamber Choir would have sung the lyrics and music of Annika Ström: in particular, as the artist reports in the file donated to MoRE museum, it can be considered a larger scale version of <a href="https://vimeo.com/144366683">the performance</a> the artist did in 2015 at the Jönköping city cafe, with the Jönköping Chamber Choir and the conductor Ove Gotting, where they sang the “phrases that appeared on billboards around the Jonkoping and digital road signs on highway E4 nearby”.</p>
<p>Here in Stockholm the choir would have been introduced by “fifty loud skateboards with lanterns on wheels and on hoods”, the same conductor would have parachuted down, and when the skateboards would have moved a short distance away, finally silent, the choir would have sung the phrases projected on house facades around. The performance would have been closed by the skateboarders, with their lights lighted up one more time.</p>
<p>Sound recording and a vinyl record would have been produced after the show.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3240/1/Ström_Proposal%20for%20a%20performance%20work%20at%20Sergels%20Torg%2c%20Stockholm.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Ström, Annika
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
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
application/pdf
Language
A language of the resource
English
Rights Holder
A person or organization owning or managing rights over the resource.
Annika Ström
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3240" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3240</a>
Failure to meet the commissioner's demands
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Dublin Core
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Title
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green.docx
Description
An account of the resource
Collage with portraits of the protagonists of the film and a sketch of the agency.
Format
The file format, physical medium, or dimensions of the resource
MS word file/PDF
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Dublin Core
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Title
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The Travel Agency The script.docx
Description
An account of the resource
Artist report of the different phases the project went through.
Format
The file format, physical medium, or dimensions of the resource
MS word file/PDF
Dublin Core
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Title
A name given to the resource
Annika Ström
Description
An account of the resource
<p>Annika Ström was born in Helsingborg, Sweden in 1964. She studied at the Royal Academy of Fine arts in Copenhagen until 1997, but moved already to Berlin 1993. <br /> 2005 she left Berlin and moved to United Kingdom where she now lives. Ström works predominately with films, soundtrack, performances and text works but has also written a feature film script. In 2010 Ström staged the performance "Ten embarrassed men" at the London Frieze art fair where ten identically dressed men walked around together at the fair looking embarrassed. The cause of the embarrassment was the low number of work produced by women artists that are represented at commercial art fairs. The work was followed by a series of other performances such as "The Upset Man” 2010 and "The Inept Five", <em>2012, </em>“Six Lovely People” 2015.An ongoing performance is the "Seven Women Standing In The Way"where seven women in their 60s gently block the entrance of an art space, by talking, drinking and being oblivious to other visitor's attempts to enter the space. So far 10 performances with these women has taken place around Europe Since 2000 Ström has also worked extensively with text phrases, painted on both paper and canvas. In 2014 the Swedish Art Agency commissioned her to do 10 texts works for the new build extension of LUX, the Humanities Departmentat <a title="Lund University" href="https://en.wikipedia.org/wiki/Lund_University">Lund University</a>. On the roof of the building a 10 meter long text in metal says; "men vänta nu". (Direct English translation is; "but wait now " meaning, “hold on”). The work is permanent. In 2015 she composed music with her text works for the Jonkoping Chamber choir in Sweden for a commission for Konsthall Jonkoping. A film was made of the performance and can be seen on <a href="https://vimeo.com/annikastrom">vimeo</a> .She is currently working on new paintings and a new film. A common subject for her work is “fear of failure”. For a solo exhibition in New York 2003, her title for the show was called “Everything in this show can be used against me”.</p>
Creator
An entity primarily responsible for making the resource
Ström, Annika
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Travel Agency
Description
An account of the resource
<p><em>The Travel Agency</em> is the title of a film Annika Ström started working at in 2006. As the artist recalls in the report donated to the MoRE museum, it went through several phases and two productors, without never being realised: the script ”was about two women, one of which, wants to die, and one who wants to live. They contact an agency, which assists suicide. It is a Special Agency”. After a first financial failure, the project was sent to a new producer, who met the artist in 2014 and showed interest: unfortunately, as the artist recalls, nine months after the meeting, a director in the producer’s company announced in a radio interview her next film, with “thesame pitch as in Ström’s script”. The producer produce the new film. Annika Ström also states that “the producer and the director deny any plagiarism”.</p>
<p>The themes of fragility, uncertainty, sadness, the interest in the act of travelling and in the condition of the traveller, the focus on female protagonists, these are just a few hints we can grasp from the brief description of the artist showed here, that can also easily be found inside Annika Ström film production.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3243/1/Ström_The%20Travel%20Agency.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Ström, Annika
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-2014
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3243" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3243</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Annika Ström
MoRE Musuem
Type
The nature or genre of the resource
Still Image
Text
Financial reasons
-
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Dublin Core
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Title
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guerzoni_A010266_S_.tif
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Format
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file tiff, 41,204 x 28,54 cm, 72 dpi
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Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
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Dublin Core
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An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
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An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
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A name given to the resource
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Dublin Core
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An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
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A name given to the resource
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An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
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A name given to the resource
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An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
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Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010278_S.tif
Format
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file tiff, 13,189 x 8,814 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010279_S_NR15.tif
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file tiff, 24,028 x 18,072 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010280_S_NR16.tif
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file tiff, 17,983 x 23,539 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
The file format, physical medium, or dimensions of the resource
file tiff, 24,13 x 18,104 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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file tiff, 23,603 x 17,342 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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file tiff, 23,978 x 17,342 cm, 400 dpi
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Description
An account of the resource
Recto scan of a letter, including a sketch drawing by Franco Guerzoni used to visualize the "fountain" in the space of a gallery
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file tiff, 22,86 x 29,058 cm, 400 dpi
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Description
An account of the resource
Verso scan of a letter, including an handwritten message to a friend to present the project.
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guerzoni_A010286_S_NR02Verso.tif
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file tiff, 22,86 x 29,058 cm, 400 dpi
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Title
A name given to the resource
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Fontana in galleria
Description
An account of the resource
<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>
Creator
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Guerzoni, Franco
Date
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1969
Contributor
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Casero, Cristina
Format
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image/tiff
Type
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Still Image
Text
Identifier
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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>
Rights Holder
A person or organization owning or managing rights over the resource.
Franco Guerzoni
MoRE Museum
Technical reasons
Theoretical exercise
-
http://moremuseum.org/omeka/files/original/ec86686afba9ea7a07c21a3398b4a10c.pdf
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Dublin Core
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Title
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Il palazzo di Atlante.pdf
Description
An account of the resource
Project document containing the premises, perspectives and drawings, the study of the timing and context and a work diary, divided into eight sections dating from 07.11.12 to 25.08.12.
Format
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pdf file
Dublin Core
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Title
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Gian Maria Tosatti
Description
An account of the resource
<p>Gian Maria Tosatti (Roma, 16.04.1980 - lives in New York) made his first steps in 2002 at the Centre for Theatrical Research and Experimentation of Pontedera working on performances. In 2005 Tosatti moved back to Rome to undertake an artistic research between architecture and visual arts which inspired all subsequent works resulting in site specific installations. His projects usually are long term investigations on specific topics related with the concept of identity, from the political to the spiritual standpoint. The first cycles of works he developed have been «Devozioni» (2005-2011) - ten installations for ten buildings of Rome about the archetipes of the modern era - and «Landscapes (2006-) - a project of public art in conflictual areas.</p>
<p>Tosatti is currently working on two new projects, «Fondamenta» (2011-), based on the identification of contemporary age archetypes and «Le considerazioni...» (2009-) dedicated to the aenigmas of personal memories and to the traces that human beings leave behind them.</p>
<p>Between 2013 and 2016 his research focused on a work that has embodied the entire city of Naples. It’s title is “Sette Stagioni dello Spirito”.</p>
<p>Tosatti is also a journalist. He had been editor chief of the weekly cultural newspaper <a href="http://www.differenza.org/">«La Differenza»</a> and has collaborated with several italian newspapers and magazines as columnist. Currently he’s columnist for Artribune and writes on Opera Viva. He writes essays about art and politics.</p>
<p>In 2011 he curated RELOAD, prototype of cultural urban intervention about the temporary use of improductive spaces and he’s founder of the project "La costruzione di una cosmologia". His work has been shown at the Hessel Museum of CCS BARD (New York – 2014), the LMCC (New York - 2011), American Academy in Rome (Roma – 2013), Museo Villa Croce (Genova – 2012) Andrew Freedman Home (New York - 2012), Tenuta dello Scompiglio (Lucca - 2012), Palazzo delle Esposizioni (Roma - 2008), Chelsea Art Museum (New York - 2009), BJCEM (2014), Centrale Montemartini – Musei Capitolini (Roma – 2007), Wilfredo Lam Museum (La Habana - 2015), Casa Testori (Milano - 2014), MAAM (Roma - permenent), Castel Sant’Elmo (Napoli - permanent), Museo Madre (Napoli, 2016).</p>
Creator
An entity primarily responsible for making the resource
Tosatti, Gian Maria
Dublin Core
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Title
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Il palazzo di Atlante
Description
An account of the resource
<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>
Creator
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Tosatti, Gian Maria
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
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Scotti, Marco
Format
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application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3246" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3246</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Gian Maria Tosatti
MoRE Museum
Financial reasons
Logistical reasons
-
http://moremuseum.org/omeka/files/original/83d6ec93eb64c7bd12a9b96ad1b43c98.pdf
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Dublin Core
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Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Dublin Core
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Title
A name given to the resource
Preferisco il rumore del mare. Concorso di progettazione Piazza Verdi - La Spezia
Description
An account of the resource
The project, realised in collaboration with Studio 5 + 1 AA, was presented in 2009 on the occasion of the design contest to renovate Piazza Giuseppe Verdi from an architectural and artistic point of view. The contest was promoted by city of di La Spezia and P.A.A.L.M.A. (Premio Artista Architetto La Marrana Arte Ambientale) in collaboration with Fondazione Cassa di Risparmio della Spezia. The project was shortlisted among the top five entries. <br />The title-manifesto of the project, <em>I prefer the sound of the sea</em>, is the title of a film directed by Mimmo <span class="st">Calopresti</span> (2000), inspired by a verse of Dino Campana.<br />The idea was to realise a flooring with a decoration made of tiles and rubberized asphalt whose colours were inspired by the mosaics of Fillia, Prampolini e Mazzoni inside Palazzo della Posta. Moreover, they wanted to place inside the square 99 red and blue trumpets, connected to the tide predictions centre in Genoa. The trumpets would have emitted a whistle, registered by the artist, in case of high tide.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3444/1/Liliana%20Moro_Concorso%20di%20progettazione%20Piazza%20Verdi%20-%20La%20Spezia%20def.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
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Moro, Liliana
Studio 5+1AA
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
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Modena, Elisabetta
Format
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image/jpeg
application/pdf
Language
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Italian
Type
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Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE Museum
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/3444" target="_blank" rel="noopener">http://hdl.handle.net/1889/3444</a>
Project which wasn’t selected in a prize or competition
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
In bocca al lupo
Description
An account of the resource
<p><span><em>In bocca al lupo </em>– (ed. “in the mouth of wolf” that is a way to wish good luck in Italian) isan artwork proposed by Liliana Moro for the 3rd International Sculpture Award of the Piemonte Region in Italy, promoted by the Piemonte Region and organized by the Association Piemontese Arte.<br /></span>The project included the creation of a large sculpture in the shape of a wolf in the public park of Savigliano, which could be accessed through a spiral staircase.<br />Like <em>Testa di Pinocchio</em> (the Pinocchio's Head), in this work Moro referred to an iconographic repertoire linked to the world of childhood, combining it with a reflection on public space and with the relationship between interior and exterior.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3442/1/Liliana%20Moro_In%20bocca%20al%20lupo.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Date
A point or period of time associated with an event in the lifecycle of the resource
2002
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
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE Museum
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cineca.it/handle/1889/3442" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3442</a>
Project which wasn’t selected in a prize or competition