1 50 1 http://www.moremuseum.org/omeka/files/original/1f2bc61042982b6343fe67f09e461917.jpg a8acc6f2956bbd72560e50728d0c5214 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ASE-1968-20.jpg http://www.moremuseum.org/omeka/files/original/8f155bd484d65e705a6e533ae536c82d.jpg f1fcc4d05634d550501fd7c9392846fd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ASE-1968-9.jpg Format The file format, physical medium, or dimensions of the resource letter to Paolo Scheggi, typewritten on the front, signed by T. Ferraris, Secretary of the Ente, undated but possibly written after the other one archived, dedicated to the answer sent to Scheggi from the Ente about the project of the Cannocchiale ottico, which is considered too expensive: Ferrarsi asked the artist to think about a possibile alternative project, just in case this first one would have been refused. http://www.moremuseum.org/omeka/files/original/7d539db0077f86e11fb105f71c9448b3.jpg 2f59f5ebbdb7cb16de3715ba6d2aeca0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ASE-1968-5v.jpg Format The file format, physical medium, or dimensions of the resource letter to Paolo Scheggi, typewritten on the back, signed by T. Ferraris, Secretary of the Ente, dated 3rd april 1968, dedicated to the invitation to Paolo Scheggi to participate with a project. http://www.moremuseum.org/omeka/files/original/eef6310adc200e8cf5ca327a38c5f0d8.jpg a4227ce51411984ba1d943892d53545c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ASE-1968-5r.jpg Format The file format, physical medium, or dimensions of the resource letter to Paolo Scheggi, typewritten on the front, signed by T. Ferraris, Secretary of the Ente, dated 3rd april 1968, dedicated to the invitation to Paolo Scheggi to participate with a project. http://www.moremuseum.org/omeka/files/original/a4d2b5e81256202435d27013d9376d4c.jpg f95e0fa1eb518c8ce2494b7eeb6dbdb6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 014 Maquette.jpg Format The file format, physical medium, or dimensions of the resource photographic print B/W, the subject is the maquette of the Cannocchiale ottico percorribile, 18×24 cm. http://www.moremuseum.org/omeka/files/original/01ffee251246ab6dcae8723c2396c5e4.jpg 354716d965a59ecc690612a82d045690 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 013 Maquette.jpg Format The file format, physical medium, or dimensions of the resource photographic print B/W, the subject is the maquette of the Cannocchiale ottico percorribile, 18×24 cm. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paolo Scheggi Description An account of the resource Born in Florence in 1940, died in Rome in 1971. Within a “long” decade (1958-1971) the research of Paolo Scheggi went through different fields of knowledge and different disciplines, from visual arts to architecture to fashion, from poetry to urban and theatrical performances to arrive at a conceptual and metaphysics reflection. Characterized by a strong interdisciplinary approach, the route taken by Paolo Scheggi may be condensed in interpretation given by by Giovanni Maria Accame in 1976: from the exhibition of the project to project of the exhibition. In Milan since 1961, he holds a vibrant collaborative relationship with Germana Marucelli for whose redesign the spaces of her tailoring, that will be inaugurated with the parade of optical dresses in the spring of 1965; then comes into contact with new research in the Lombard capital, attending the group around Azimuth and the first exponents of arte programmata, while Lucio Fontana, since 1962, follows his research carefully. In 1964 Carlo Belloli ascribes him among the i 44 protagonisti della visualità strutturata, in 1965 he’s ascribed by Dorfles among members of the Pittura Oggetto, in the same year he joined the movement nove tendencije, and holds international contacts, especially in northern European area, where he exhibited more occasions and participated in group exhibitions Zero and Nul. Fundamental is also the architectural and environmental direction that his research undertaken since 1964, working and confronting with Nizzoli Associates (Mendini, Oliveri, Fronzoni), Bruno Munari (Sala Experimental Film, Milan Triennale in 1964) and resulting in the Intercamera plastica created by the end of the 1966 and presented in Milan at Galleria del Naviglio in January 1967. Since 1968 he opened his investigation towards theater and performing arts, addressing the overcoming of the traditional space of the stage and the gallery and extending it into the city (note his Marcia Funebre o della geometria for Campo Urbano in Como, in 1969, and the performance Oplà Stick held in Milan’s -Galleria del Naviglio, Firenze-Galleria Flori and city streets, Zagreb Student Center Gallery, for nove tendencije 4, 1969). During the last two years he is engaged in a conceptual research culminating in the Sette spazi recursivi autopunitivi (never realized), the seiprofetiperseigeometrie and the Ondosa environment, yet to be investigated in their complexity. He was present at the Venice Biennale in 1966, 1972, 1976, 1986, Scheggi exhibited in some of the major artistic events of the time, from Paris to Buenos Aires from New York to Hamburg, Dusseldorf to Zagreb. Creator An entity primarily responsible for making the resource Scheggi, Paolo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cannocchiale Ottico Percorribile Description An account of the resource The Cannocchiale ottico percorribile was designed by the artist for the 1968 Milan Triennale, dedicated to the theme of the Grande Numero, in the never-realised exhibition Interventi nel paesaggio. Inside this project artworks by young artists should have been exposed in town and city centers to offer an artistic vision of the world in scale with the physical environment.  In the oral reconstruction provided by his wife Franca Scheggi Dall’Acqua, in support of the two photographs of the project, the optical telescope should have been  made in chromed steel and in collaboration with Italsider. Scheggi of this project produced a maquette, also in chromed steel. The Cannocchiale ottico percorribile was to be shown in Florence, between the Cathedral of Santa Maria del Fiore and the Baptistery, in line with Via de ‘Calzaiuoli and Via dei Martelli. The dimensions hypothesized by the artist had to be such as to accommodate about a man of medium height in it, who could have been following the inside path in all its lenght. The work unravels itself in a zigzag and irregular shape, such as to produce an effect of disorientation on the viewer, increased by a very dramatic interior lighting; in addition responding to the theme of the exhibition inside the Triennale it was also a reflection on the Florentine Renaissance perspective, made explicit with its placing in the square in Florence (Scheggi was a native of the city and soaked in humanities); but we can also place it among the top experiences of Paolo Scheggi related to the concept of tunnel and path in the dark that would then be developed in the following years, bringing us the environment ONDOSA (as reported in the bibliographies and biographies of the artist) or ONDOSA NERA (as shown on the projects of the artist himself) otherwise made for the show Eurodomus in Milan, 1970, and then destroyed. <a href="https://www.repository.unipr.it/bitstream/1889/1998/1/scheggi_cannocchiale%20ottico%20percorribile.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Scheggi, Paolo Date A point or period of time associated with an event in the lifecycle of the resource 1968 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource English Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/1998" target="_blank" rel="noopener">http://hdl.handle.net/1889/1998</a> Rights Holder A person or organization owning or managing rights over the resource. Paolo Scheggi MoRE Museum Financial reasons