1 50 4 http://www.moremuseum.org/omeka/files/original/cd26d873740f865927a316e61324c468.jpg c5c82ee5653b790142c844cfbdc219ff http://www.moremuseum.org/omeka/files/original/a2f1f69ff4ab01e648588612dd483f7c.pdf efe11c4c174dc7c8c8e5776109bdca83 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 Franco Guerzoni was born in Modena in 1948. In the early 1970s, he began using photography as a means of representation. His Affreschi date from 1972, followed in 1973 by his Archeologie and subsequently by Antropologie, a body of research concerned with processes of cultural stratification and the idea of the “ancient” as loss. <o:p></o:p>During the 1980s, he focused on the production of large wall maps exploring the idea of an imaginary geography, including Carte di viaggio, Grotteschi, and La parete dimenticata. Towards the end of the decade, he began investigating the surface understood as depth. In 1990, he presented Decorazioni e rovine in a solo presentation at the Venice Biennale. <o:p></o:p>From that point onwards, through a series of large-scale cycles of works, he continued his investigation into time and the poetics of the ruin, developing a kind of archaeology without restoration. In 2006, following the rediscovery of a body of photographic works produced by the artist in the 1970s, he presented Paesaggi in polvere at the GAM in Turin. <o:p></o:p>From that moment, his research was accompanied by a sustained practice of reconnection and transfer, moving from the painted image towards the physical wall itself. This pursuit follows the dream that links his earlier attempts to create a kind of bas-relief—an element that has remained constant throughout his work—to an idea of light sculpture born from his renewed attention to the wall. <o:p></o:p>Parete dimenticata thus becomes the privileged physical site of his most recent work.<o:p></o: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 The project Stelle e lucciole was conceived between 1969 and the early 1970s and thus represents one of the earliest episodes in the fruitful collaboration between Franco Guerzoni and Luigi Ghirri, which produced such significant results. The idea behind these photographic images was for the two artists and friends to capture the starry sky and the fireflies, which left luminous trails across it, in a single image. Ghirri did in fact take numerous photographs of the scene, but for purely technical reasons, the outcome – the photographs that Guerzoni donated to MoRE – was not what had been intended. Strictly speaking, therefore, it would not be entirely accurate to say that this project was never realised. Rather, as Guerzoni himself has stated, it can be classified as an unresolved or suspended project that never reached the completion originally envisaged. <a href="http://moremuseum.org/omeka/files/original/a2f1f69ff4ab01e648588612dd483f7c.pdf" target="_blank" rel="noopener">Read more.</a> 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://www.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 Franco Guerzoni was born in Modena in 1948. In the early 1970s, he began using photography as a means of representation. His Affreschi date from 1972, followed in 1973 by his Archeologie and subsequently by Antropologie, a body of research concerned with processes of cultural stratification and the idea of the “ancient” as loss. <o:p></o:p>During the 1980s, he focused on the production of large wall maps exploring the idea of an imaginary geography, including Carte di viaggio, Grotteschi, and La parete dimenticata. Towards the end of the decade, he began investigating the surface understood as depth. In 1990, he presented Decorazioni e rovine in a solo presentation at the Venice Biennale. <o:p></o:p>From that point onwards, through a series of large-scale cycles of works, he continued his investigation into time and the poetics of the ruin, developing a kind of archaeology without restoration. In 2006, following the rediscovery of a body of photographic works produced by the artist in the 1970s, he presented Paesaggi in polvere at the GAM in Turin. <o:p></o:p>From that moment, his research was accompanied by a sustained practice of reconnection and transfer, moving from the painted image towards the physical wall itself. This pursuit follows the dream that links his earlier attempts to create a kind of bas-relief—an element that has remained constant throughout his work—to an idea of light sculpture born from his renewed attention to the wall. <o:p></o:p>Parete dimenticata thus becomes the privileged physical site of his most recent work.<o:p></o: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 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 power of thoughts, 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. <a href="https://www.repository.unipr.it/bitstream/1889/2704/1/Franco%20Guerzoni_Sovrapposizioni%20culturali.pdf" target="_blank" rel="noopener">Read more.</a> 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://www.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 Franco Guerzoni was born in Modena in 1948. In the early 1970s, he began using photography as a means of representation. His Affreschi date from 1972, followed in 1973 by his Archeologie and subsequently by Antropologie, a body of research concerned with processes of cultural stratification and the idea of the “ancient” as loss. <o:p></o:p>During the 1980s, he focused on the production of large wall maps exploring the idea of an imaginary geography, including Carte di viaggio, Grotteschi, and La parete dimenticata. Towards the end of the decade, he began investigating the surface understood as depth. In 1990, he presented Decorazioni e rovine in a solo presentation at the Venice Biennale. <o:p></o:p>From that point onwards, through a series of large-scale cycles of works, he continued his investigation into time and the poetics of the ruin, developing a kind of archaeology without restoration. In 2006, following the rediscovery of a body of photographic works produced by the artist in the 1970s, he presented Paesaggi in polvere at the GAM in Turin. <o:p></o:p>From that moment, his research was accompanied by a sustained practice of reconnection and transfer, moving from the painted image towards the physical wall itself. This pursuit follows the dream that links his earlier attempts to create a kind of bas-relief—an element that has remained constant throughout his work—to an idea of light sculpture born from his renewed attention to the wall. <o:p></o:p>Parete dimenticata thus becomes the privileged physical site of his most recent work.<o:p></o: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 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. <a href="https://www.repository.unipr.it/bitstream/1889/2703/1/Franco%20Guerzoni_Tappeti%20volanti.pdf" target="_blank" rel="noopener">Read more.</a> 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://www.moremuseum.org/omeka/files/original/d730477ddf23102b53417d7eb9f09884.tiff b116d744423ef001253c69a3c4fcca41 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 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 The file format, physical medium, or dimensions of the resource file tiff, 41,204 x 28,54 cm, 72 dpi http://www.moremuseum.org/omeka/files/original/7d21d90696b7c89351f608d4c9a954eb.tiff 3d05c5344d18beaa8fa6147ad07c4a13 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. 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Title A name given to the resource guerzoni_A010277_S_SNR14.tif Format The file format, physical medium, or dimensions of the resource file tiff, 9,227 x 12,992 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/58c0f4d780405b391e3a61641281f9b5.tiff 89bcd6c0b4dd79116376135e90891926 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_A010278_S.tif Format The file format, physical medium, or dimensions of the resource file tiff, 13,189 x 8,814 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/b590c2866548f8d3cb8972f70a6ee4f2.tiff 6e525fb4c4edbe9bfb2355cec64addb0 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 Format The file format, physical medium, or dimensions of the resource file tiff, 24,028 x 18,072 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/af0033114efc601651238d02219ce48d.tiff 3fc7fb22f5abf3b2c42135229c79e3df 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 Format The file format, physical medium, or dimensions of the resource file tiff, 17,983 x 23,539 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/1bba47f25d083451ba7e26eeb4fecf1d.tiff a7bee4254a86fe6d65c59e23bfc801b2 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_A010281_S_NR21.tif Format The file format, physical medium, or dimensions of the resource file tiff, 24,13 x 18,104 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/b243e877d6bd28fe4b1f8bfa02825a71.tiff 580492dad63cc3f65e528ff9b3316a09 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_A010282_S_NR20.tif Format The file format, physical medium, or dimensions of the resource file tiff, 23,603 x 17,342 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/902826de6e51c49f10129dddd2c1089e.tiff 40dca0a0614a65d131477b55c0ef6632 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_A010283_S_NR19.tif Format The file format, physical medium, or dimensions of the resource file tiff, 23,603 x 17,342 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/1391b5f9d5c87ec0801d76980f4c7717.tiff 063eca4c371ff0563e55feb73fa853e7 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_A010284_S_NR18.tif Format The file format, physical medium, or dimensions of the resource file tiff, 23,99 x 18,218 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/22f1d36b0ed0726f918e4fe1f79b44be.tiff 01b0431d9d7f0b3e2b1d652354d04948 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_A010285_S_NR17.tif Format The file format, physical medium, or dimensions of the resource file tiff, 23,978 x 17,342 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/1b4a136df0f30418f7ce6494b072e1ab.tiff 9f0a5317f5837b26650617e41d18395c 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 Recto scan of a letter, including a sketch drawing by Franco Guerzoni used to visualize the "fountain" in the space of a gallery Title A name given to the resource guerzoni_A010286_S_NR02recto.tif Format The file format, physical medium, or dimensions of the resource file tiff, 22,86 x 29,058 cm, 400 dpi http://www.moremuseum.org/omeka/files/original/c442626eb38e8360bd6953125ce1043e.tiff 50ac49d28ceff7ce7cbd6ad46dccd460 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 Verso scan of a letter, including an handwritten message to a friend to present the project. Title A name given to the resource guerzoni_A010286_S_NR02Verso.tif Format The file format, physical medium, or dimensions of the resource file tiff, 22,86 x 29,058 cm, 400 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 Franco Guerzoni Description An account of the resource Franco Guerzoni was born in Modena in 1948. In the early 1970s, he began using photography as a means of representation. His Affreschi date from 1972, followed in 1973 by his Archeologie and subsequently by Antropologie, a body of research concerned with processes of cultural stratification and the idea of the “ancient” as loss. <o:p></o:p>During the 1980s, he focused on the production of large wall maps exploring the idea of an imaginary geography, including Carte di viaggio, Grotteschi, and La parete dimenticata. Towards the end of the decade, he began investigating the surface understood as depth. In 1990, he presented Decorazioni e rovine in a solo presentation at the Venice Biennale. <o:p></o:p>From that point onwards, through a series of large-scale cycles of works, he continued his investigation into time and the poetics of the ruin, developing a kind of archaeology without restoration. In 2006, following the rediscovery of a body of photographic works produced by the artist in the 1970s, he presented Paesaggi in polvere at the GAM in Turin. <o:p></o:p>From that moment, his research was accompanied by a sustained practice of reconnection and transfer, moving from the painted image towards the physical wall itself. This pursuit follows the dream that links his earlier attempts to create a kind of bas-relief—an element that has remained constant throughout his work—to an idea of light sculpture born from his renewed attention to the wall. <o:p></o:p>Parete dimenticata thus becomes the privileged physical site of his most recent work.<o:p></o: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 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. 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. 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. 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. <a href="https://www.repository.unipr.it/bitstream/1889/3245/1/Guerzoni_Fontana%20in%20galleria.pdf" target="_blank" rel="noopener">Read more.</a> 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 1969 Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/tiff 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/1889/3245" 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