Read more.]]> http://hdl.handle.net/1889/1772]]> One note dated 2001 sketches out the idea of an exhibition of artists who developed ideas similar to Pietroiusti's ones or who even accused him of stealing their ideas. With this project Pietroiusti continues his reflection on the concept of authenticity, uniqueness, physical and intellectual property of the art work.
One more hypothesis, dating back to 2002, rather refers to an exhibition in which the artist planned to exhibit all his art works and to exchange them with new projects realized in collaborations with the visitors or inspired by them.
Read more.]]> http://hdl.handle.net/1889/1778]]> In 2000 Pietroiusti prepares the draft of a project for a "Museum of forgotten artists”; the idea was to look for artists which were very valuable but forgotten, in order to write an alternative history of italian contemporary art for the last three decades. This project was never realized, but it is possible to find similarities with some other projects realized by the artist. Coherently with his research on the art system, Pietroiusti has indeed imagined an exhibition of artists who gave up working. This idea too is linked to the enquiry on the social role of the artist and his function; for this reason, the idea described in a notebook comes together with a later note that refers to an exhibition of artists that are not recognized by the system, but by a limited and non influential number of people or even just one single person, simply because they produced some art works. Through this project Pietroiusti underlines the importance of one element of the system, that is the necessity to be recognized as an artist, an event that in most cases requires a first acknowledgement by the members of the system itself, a theme on which the artists returns with the institution of a Museum of exiled Italian contemporary art, an itinerant museum without a place that collects marginal and ignored artistic experiences. The project of an exhibition of artists who gave up working was then partially realized thanks to the collaboration with two curators, M. Clark and M. Dickenson, on the occasion of the exhibition democracy! Socially Engaged Art at London's Royal College of Arts in May 2000.
Read more.
]]> http://hdl.handle.net/1889/1777]]> The project, part of the author's critique of the system, addresses the issue of how contemporary art is experienced and of the so-called art system in general.
An initial version of the project was developed starting in 1991. In one of the artist’s notebooks, we can find notes about a solo exhibition that was supposed to take place in a private gallery in Rome at the beginning of 1992 but was never realized, probably because the art dealer feared a possible misunderstanding of the performance.
The project, in fact, was based on the participation of a group of prostitutes, invited and paid to attend as guests. Their presence was meant to provoke a sense of alienation in the spectators, who would perceive something unusual compared to a typical vernissage.
The performance was to be documented through photographs and audio recordings, but it was canceled by the commissioner a few days before the opening.
An alternative version of the project appeared in a book published by the Jartrakor Study Center in 1992. It was based on the idea of inviting people with distinctive, easily recognizable features (such as clergymen), but dressed “normally,” in order to evoke in the viewers a subtle sense of unease or strangeness.
The same project was later described in the catalogue of the exhibition Exhibit A at the Serpentine Gallery in London, which focused on the question of the role and meaning of the “exhibition.

]]> http://hdl.handle.net/1889/1775]]> Read more.]]> http://hdl.handle.net/1889/1774]]> Finestre since its first conception, has undergone several revisions and can be considered only partially realised. The idea of opening windows on adjoining rooms to offer the spectators an unusual continuity of vision between contiguous spaces is conceived initially as a real demolition of the walls of the building hosting one of the seats of Vivita 2 Gallery of Ciotti and Camillo D'Afflitto in Florence (adjacent to an old abandoned cinema). This idea was abandoned for technical and practical difficulties, and in January 1990 the artist realized a different version of the project (inside Vivita 1 gallery in Florence) by exhibiting on the walls of the gallery pictures of the adjoining rooms that were recessed inside the walls that should have been tore down to produce a kind of trompe l’oeil effect (as can be seen in an undated sketch found among the artist's papers that probably dates back to 1989).
Read more.]]> http://hdl.handle.net/1889/1773]]> A partial realisation of the project has been the creation, together with a team of curators, of an invented artist who realised some works and took part to some experimental exhibitions.
Read more.]]> http://hdl.handle.net/1889/1776]]>