Read more.]]> http://hdl.handle.net/1889/2449]]> 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]]> Project for a book (2017) consists of three A4 sheets of paper, the draft for a book which was never published, donated as source of inspiration and research.
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]]> Read more.]]> http://hdl.handle.net/1889/2421]]> Scott King developed this project as CRASH!, together with historian and writer Matthew Worley, for the Serpentine Map Marathon event.
A Better Britain is a series of 12 projects, published inside what appeared to be the programme for the Map Marathon, along with information about the event. Each project features an image—designed by Scott King with a xerox, collage-like aesthetic—and a text written by Matthew Worley presenting the idea. Each proposal addresses a specific aspect of contemporary Britain, adopting a utopian/dystopian and often satirical perspective.
MoRE also conducted an interview with the authors about the projects, which was published on the museum’s website.
Read more.]]> http://hdl.handle.net/1889/2410]]> Roue de bicyclette, a ready-made exhibited in several museums all around the world (Centre Pompidou in Paris, Tate Gallery in London, Moma in NY...). Considering that his work is a reproduction itself, a copy of the lost original, the idea of a “posthumous homage-enrichment” is really close to Duchamp spirit. The introduction of a credit card establishes a link with other artist who changed the art world, investigating the role of money and material goods, such as Dali (Avida Dollars) but above all Wharol. There is a recreational element in this gadget: the artist took inspiration from the playing cards that children put on their bikes to simulate the sound of an engine. The kit, made of a copy of the artist’s credit card and a clothes peg to decorate Duchamp’s work according to Bonacorsi’s instructions, is sold apart in the museum shop.
This work was planned by the artist on the occasion of the re-opening of Centre Pompidou collections in 2000, but he never proposed it to the museum: a typical development of Bonacorsi’s work, really influenced by the concept of dépense.
Read more.]]> http://hdl.handle.net/1889/2000]]> The project A Lighting System attempts to bring together the discourse on security and the machinery for producing good conscience — and control — into a single structure, as the ecological discourse is often used for that purpose.
Read more.]]> Read more.]]> http://hdl.handle.net/1889/2448]]> Five projects of environmental intervention in a interior space, formed by two walls ending in a corner and a floor, named from A to E.
The first one, A, is dated 1978 and accompanied by the autograph and handwritten note of the artist: “Ambiguità dell’angolo contrapposta alla sua indicazione” [Ambiguity of the corner opposite to its indication] is a graphic reproduction of a parietal corner on which is drawn, joining the two walls, a straight line of dots. On the floor is drawn straight line of dots converging in the corner itself.
The second, named B, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted passage of rectangular shape, open and not dotted on the base that ideally stays on the floor.
The third, named C, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted rectangular shape whose base rests on the floor.
The fourth, named D, consists in a graphical representation of a parietal corner, the two walls joined by a dotted triangle, with the base that joins horizontally the walls, and vertex which coincides with the corner in the meeting point between the two walls and the floor.
The fifth, named E, consists of a graphic duplication of a double dotted parallel line that crosses the two walls and perpendicularly the corner of the environment.
Through the use of a projector, the artist would have reproduced the pattern formed from points in succession using likely graphite. The dotted drawings deny the environmental depth and build illusively another perceptual space, a new environmental perspective.
The project Ambiguità dell’angolo [Ambiguity of the Corner] critically analyses the real space and its theoretical conceiving through the perceptive operation, thus witnessing the enviromental vocation of the entire research by Scaccabarozzi.
In 1986 was held a partial realization of the project for the exhibition “Die Ecke=the corner=le coin”, at Galerie Hoffmann, Friedberg, and in 1988 at Wallis Kantonsmuseum, Sitten, Switzerland. There, Scaccabarozzi tries to represent the direct intervention in the space, using pictorial dots on a corner of the room, and publishing on the catalog six different projects of enviromental intervention, called Ambiguità dell’angolo [Ambiguity of the Corner], and dated 1978.Only the first one of those published, has been realized by the artist in the gallery and consisted in a simple horizontal line of dots, that crossed the corner and reached the two walls, proceeding in parallel with the floor.
The other projects, united in the book of unrealised projects by the artist, had more tecnical difficult for their realization, and they have never been realized.
Recently, for the recent two-men show at Galerie Hoffmann in Friedberg, and dedicated to Scaccabarozzi and Gary Woodley in july-september 2016, Anastasia Rouchota, heir of the artist and founder and director of the Scaccabarozzi archive, reproduced in a room only the project already made in 1986.
Coming back to this historical exhibition, and coherently with the exhibition program of the gallery, among the invited artists were the protagonist of the North and East European neo-concretist and conceptual: Getulio Alviani, Gianni Colombo, Maurizio Nannucci and Antonio Scaccabarozzi from Italy, François Morellet from France, Klaus Staudt and Ludwig Wilding from Germany, Julije Knifer from Yugoslavia, and Herman De Vries from Netherland.
The catalog plays, also graphically, wuith the exhibition topics, containing handwritten texts, sketches and conceptual drawings. In her text, Verena Auffermann starts quoting the Philosophische Bemerkungen by Ludwig Wittgensteinand, and through the philosophical lens of the XIX century, from Artur C. Danto, Richard Serra to Gertrude Stein, she reflects on the relation between space and thought of space, retracing the function and the projectual and metaphoric meaning of the corner in the painting of the last century, starting from Cézanne and Malevich for introducing the 109 artists of the exhibition in 1986.

“The corner
Separates outside from inside
The corner
is dimensional
The corner
defines limits
The corner
Is a man-made design
The corner
Is a closure
The corner
Separates itself from the ‘out-there’
The corner
Is essential to a triangle
The corner
Is the corset for spatial thinking
The corner
Is an ideal playground for optical illusion”.
(Die Ecke = the corner = le coin 1986, s.p.)

]]> ]]> Ambivalentna tautologija is dated 2013. The idea was to display a picture of Martek’s studio in the studio of Goran Trbuljak (Varaždin, Croatia, 1948). Although it was never carried out, thanks to documents describing it, we can say that the work was realised in the form of a statement.
Read more.]]> The project never won the competition.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2055]]> arte arte arte (art art art) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized.
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]]> Artisti coraggiosi proposed by Pablo Echaurren in 1974 to Galleria La Margherita in Rome, involved the participation of the artist who, seating at a table inside the bare spaces of the gallery, equipped with papers, scissors and glue, would have asked the audience to join him in a performance: the visitors were asked to buy one of his work, deciding the price in advance, without knowing what they were going to buy. The hypothetical buyer was supposed to pay the artist in cash, with one or more notes, depending on his choice. The banknotes would become the artwork: cut, torn or intact, they would have been glued to sheets of paper and signed, as if they were traditional still lifes.
Read more.]]> 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.
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.
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.
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]]> http://dspace-unipr.cineca.it/handle/1889/2998]]> The project involves the construction of a 33-meter observation tower as an open construction (the construction method should have included a steel skeleton frame) at the highest point of a landscape. The tower should have been open to the public at all times.
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]]> Big Suit Departing was conceived for Berlin Schönefeld Airport. The project consisted of a giant figure—10 × 3.5 m—suspended inside the airport hall at a 50% tilt.

The “dummy” has neither head nor limbs and is completely hollow, allowing passengers to see through it. The work is highly realistic, with details such as buttons, eyelets, and fabric meticulously rendered.

This characteristic is typical of Erwin Wurm’s work, which partially distorts the reality we live in.

This type of “monument” is not intended to celebrate the common man; rather, as in all of Wurm’s work, it seeks to glorify an exorcism of everyday life—a celebration of a different reality, of visionary and distorted perceptions.

Read more.]]> http://hdl.handle.net/1889/2327]]> The invited artists were Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli, and Marco Vaglieri.
For the hospital department, Losi conceived two projects: Caleidoscopi — colored prisms to play with, enclosed in balsa wood cases — and Allora la luna, a sort of luminous sign about two meters in diameter, designed for outdoor installation on one of the buildings facing the department windows. Both projects were meant to stimulate the imagination of young patients and help them forget their condition, even if only for a moment.
The project was never realized due to various economic, technical, and logistical reasons.
Read more.]]> http://hdl.handle.net/1889/2444]]> 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.
Read more.]]> http://hdl.handle.net/1889/1998]]> CAPTCHA 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.
The FIAC Committee rejected the project, which should have been also supported by the Swarovski company, within the off program of the fair. However the artist was asked if he would make and install it anyway with his commercial galleries resources.
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]]> http://hdl.handle.net/1889/2655]]> The idea behind Cartoneros, which came to him whilst travelling to Argentina in 2006 to implement the project on the Fasinpat ceramic factory (Fabrica sin patrones), 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.
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]]> http://dspace-unipr.cineca.it/handle/1889/3000]]> Read more.]]> http://hdl.handle.net/1889/1770]]> Read more.]]> http://hdl.handle.net/1889/1772]]> Ciel illuminé / Cielo non illuminato consists of the faithful reproduction of Horace-Bénédict de Saussure’s cyanometer on the internal walls of the Mont Blanc Tunnel. Brognon Rollin’s project originates from the idea of making the mountain disappear, while at the same time offering a visual reference to drivers passing through the tunnel by indicating the approaching end of it. The work stems from an actual fact: Stéphanie Rollin suffers from claustrophobia, and every crossing of the tunnel is a painful experience for her—made a little more bearable thanks to long conversations with David Brognon. Ciel illuminé / Cielo non illuminato is an exact translation of a historical fact, filtered through a personal experience that transforms it into a poetic gesture.
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]]> Ritz, a project for the realization of an outdoor movie theatre inside a park in Trento proposed the year before (2004), and it consist in the proposal to place of a permanent movie theatre at the P.A.V. (Parco d’Arte Vivente) of Torino, project of the artist Piero Gilardi realized in collaboration with the landscape architect Gianluca Cosmacini.
The project, unrealized due lack of sponsorship, consisted in the facade of a movie theatre in deco style outlined in black on a white background, that recalls a movie theatre seen by the artist in the small city of Anzola Emilia (Bo), on a 4 x 3 meters wing made of painted bricks (as “a big A4 paper sheet”), as can be seen in the sketch that documents this work. On the facade are two entrance doors with their tents and lamps placed on each side, while on the top of it can be seen a decoration with three figures that ironically represent three reindeers as they usually appear on Christmas illuminations and decorations and that frame the sign “Cinema Italia”.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2418]]> In 1997, Aleksandra Mir proposed to the Public Art Fund to collect trees thrown away from the streets of New York City after the Christmas holidays and replant them in a common area until they had dried out completely. The project, while welcomed, was blocked by the city's fire department.
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]]> The unrealized work by Marta Pierobon, born in Brescia in 1979, unfolds as a ten-day artistic performance where clay plays a central role in delving into the concept of space through "performative sculpture." Utilizing clay as her primary medium, Pierobon sculpts not just the space but also a series of metamorphosed characters and objects that enliven an environment teeming with symbolism and evocation. Through deliberate gestures and adept handling of the clay, the artist weaves a narrative that prompts viewers to engage actively, reshaping segments of the performative space by employing clay to craft fleeting figures, images, and sculptures that both materialize and disintegrate, thus molding and reshaping the space.
The performance appears to evolve into a ritual, enhanced by a collection of costumes conceived by the artist herself, actively engaging the audience. This transformation turns the setting into a dynamic tableau vivant, a continually shifting scene where artist and audience coalesce as co-authors of the artistic endeavor. Within this context, space unveils its dynamic and active essence, assuming a pivotal role in the transformative journey of the artwork. The piece encourages a multifaceted reflection on space as a physical, mental, and emotional realm, spotlighting the intricate interplay between the individual, art, and spatial environment. Moreover, it seeks to exalt clay as a natural element intimately connected to the artist's sculptural practice and to the earth itself.
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]]> 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.
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]]> http://hdl.handle.net/1889/2860]]> Read more.]]> http://dspace-unipr.cineca.it/handle/1889/3004]]> ]]> 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.
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).
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]]> http://hdl.handle.net/1889/3005]]> 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, Still the Same Place by Petra Feriancová and Zbyněk Baladrán inside the Czech pavilion.
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]]> http://hdl.handle.net/1889/2900]]> Read more.]]> http://hdl.handle.net/1889/2089]]> D.X XY is a dialogue on painting between two subjects, X and Y, presented in the first file, while in the second file provided by the artist the dialogue becomes a performance, enacted by two actors who perform a text written by the artist himself.
The project thus consists of a dialogue between two figures who, somewhat in the vein of Didi and Gogo – the protagonists of Waiting for Godot by Samuel Beckett – develop a surreal, sarcastic, and often sensual discourse. The two interlocutors challenge each other in a nonsensical exchange in which the act of painting becomes the central generative force behind a series of references to painterly action, and often to the impossibility of bringing that action to completion.
The performance revolves around a movable structure designed to display Baruzzi’s drawings, which are continuously replaced by the two performers.
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]]> 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.

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”, 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 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”.
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]]> http://dspace-unipr.cineca.it/handle/1889/3241http]]> This project for an unrealised film was based on a Reiner Werner Fassbinder 1975 piece, Der Muell, die Stadt und der Tod (Garbage, the City and Death), an adaptation of Gerhard Zwerenz's novel Erde ist unbewohnbar wie der Mond (1973). The film's working title, Degna di Goebbels, is taken from one of the signs exposed during the violent protests that broke out in Germany and prevented the show from being staged in the country until 2009, due to accusations of anti-Semitism, linked to the character of the rich Jewish businessman, one of the main character of the representation, and the violent monologues on this theme. MASBEDO's work consisted in staging and shooting a performance with an actress, Silvia Calderoni, in a wood performing the theatrical text with a megaphone, until she reach a tombstone where the title phrase has been engraved, surrounded by a pack of wolves. The film should have had an original soundtrack composed by Carlo Boccadoro. This project is particularly significant inside the research of Nicolò Massazza and Iacopo Bedogni between video and performative, and can now be reconstructed through some photos from the set - -, several e-mails excerpts which reconstruct the various processing and - also graphic - design phases of the tombstone. As declared by the same artists, "The shooting was interrupted during the first day, and the tombstone thrown into the trash”.
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]]> http://hdl.handle.net/1889/3448]]> Read more.]]> http://hdl.handle.net/1889/2902]]> Die Kristallader (The Crystal Vein) is a project in public space that Helen Mirra developed in 2014 as part of a competition for the city of St. Gallen in Switzerland.
The assignment of the competition was that the artistic intervention should connect the newly built Natural History Museum, which is located in the periphery, with the city center.
Helen Mirra's project proposal was an irregular "line", a crack in the asphalt filled with a shiny metal that leads from the city center to the Natural History Museum on a path carefully defined by the artist. The shiny crystal vein guides the visitors on a 3 km long walk through St. Gallen, allowing them to perceive the surroundings, time and movement in a different way.
The jury ultimately chose another submitted project, so that the Crystal Vein was never realised.
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]]> Do it yourself confession is the idea of a confessional in which it is possible to self-administer the sacrament of confession. Conceived by Gianfranco Baruchello in 1967, the project is unrealised, like many others of the author, and it can be considered a theoretical exercise. In this proposal Baruchello borrowed the philosophy of DIY (Do it yourself), which at the end of the 1960s was growing in popularity, preaching self-sufficiency and opposition to consumerism: a complex of positions of libertarian and anti-capitalist orientation extended to various fields - from housework to cultural production - canonized after a few years by the punk movement. With a paradoxical approach, the artist extends this ethics to the spiritual sphere, implicitly moving a critique to the ecclesiastical institution to which he opposes the values of self-determination of the individual ("CHOOSE YOURSELF TO WHOM OR TO WHAT YOU CONFESS!" as stated in the text of the project). Do it yourself confession is a project created during the period of political militancy of the artist, close to the revolutionary left and to groups like Potere Operaio and Lotta Continua, which brings together the protesting forces that will culminate the following year in the 1968 season. The proposal is made of two drawings, which present different elaborations of the same project.
Read more.]]> This project was submitted as a proposal for the soft play commission at the Abbey Leisure Centre 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.
The Committee discarded the proposal, in favour of one by Marvin Gaye Chetwynd.
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]]> http://hdl.handle.net/1889/2654]]> The project consists of a combined installation of two spinning wheels that move a system of threads, the threads descend from a chrysalis attached to the ceiling. The quote is clear and obvious. In fact, Echaurren mentions the famous ready-made of 1912 but also the International Surrealist Exhibition held in 1942 at the Whitelaw Reid mansion in New York, organized by André Breton with the collaboration of Marcel Duchamp. This exhibition, in addition to being considered a "landmark exhibition" (Tate Papers, 2009; Stedelijk Studies Issue, 2015), presents an installation curated by Marcel Duchamp and created through a complex system of ropes woven throughout the exhibition space. This system allowed the visitor a partial and complicated view of the pictorial works set up on the wall. The French artist's operation was entitled “Sixteen Miles of String”. Echaurren's work combines the two Duchampian operations through the creation of an installation that, like the original design, wanted to occupy the entire exhibition space.
In addition to the combination of these two famous works by Duchamp, Echaurren also mentions “The Large Glass”, not directly but by elaborating an installation in which the string came out of the chrysalis that define the sex of the insects.
In fact, the threads would have started from the chrysalis to be subsequently taken from the two spinning wheels placed in the center of the room. Echaurren writes a handwritten note: “The insect bride Þ the male molds Þ females with wings”. This reference to the chrysalis also brings out the artist's attention to entomology. In fact, Echaurren has stated several times that as a young man he wanted to be an entomologist.
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]]> Read more.]]> http://hdl.handle.net/1889/2659]]> The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008, for the creation of two works of art for the MAXXI Museo nazionale delle arti del XXI secolo, Rome: one had to be designed for the atrium of the museum and another one for the outdoor areas.
The light work Esser Spazio had to be placed outside the MAXXI Museum, integrating the architectural environment with discretion and inhabiting the final steps of the square above the entrance to the museum. Uberti, coherent with its artistic research which often aims at drawing symbolic shapes and signs on the architectural and urban public space – sometimes with effects of displacement, sometimes to emphasize the characteristics and peculiarities of the place - in this case suggested a sentence, a motto and at the same time a call, asking the public to actively participate in the construction of the museum: then reflecting on the meaning of this new space for contemporary art, on its role in respect to the culture, but also on the shape of the city itself. The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008 by the Provveditorato interregionale per le opere pubbliche per il Lazio, l’Abruzzo e la Sardegna, in agreement with the PARC Direzione generale per la qualità e la tutela del paesaggio, l’architettura e l’arte contemporanee.
The work didn't win the competition.
Read more.]]> http://hdl.handle.net/1889/2333]]> 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]]> Foglie al vento is a project realised for the contest Arte per piazza Matteotti, 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.

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.
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]]> http://hdl.handle.net/1889/2658]]> 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.
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]]> http://dspace-unipr.cineca.it/handle/1889/3245]]> official page. Erwin Wurm declared that the project has been officially refused for formal reasons.
Read more.]]> http://hdl.handle.net/1889/2331]]> Jeremy Deller with these two projects, both developed in 2008 for the public art project connected to the Fourth Plinth in Trafalgar Square, proposes an anti-monumental and deeply political vision, working – in his own words – more from the perspective of a citizen than from that of an artist, and remaining closely connected to the contemporary situation of a country, then involved in the Iraq War.

The first proposal is a life-size statue of David Kelly, the British scientist whose death, officially ruled a suicide, followed statements he had made to the media expressing doubts about the alleged presence of weapons of mass destruction in Iraq and the subsequent parliamentary inquiry.

The second proposal, entitled The Spoils of War, consists of exhibiting the wreckage of a car destroyed by a bomb in Iraq, thus bringing a trace of the war to what has for centuries been the heart of the British Empire and is still universally recognized as a place of strong monumental character.