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                  <text>&lt;p class="ModulovuotoBA"&gt;&lt;span lang="it"&gt;Jeremy Deller (born 30 March 1966) is an English conceptual, video and installation artist. Much of Deller's work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. He won the Turner Prize in 2004 and represented Great Britain at the 55th Venice Biennale in 2013.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;span&gt;Jeremy Deller proposed a structure similar to Stonehenge, or simply menhir-like, to mark the entrances and exits of the Olympic Park, which was to host stadiums and other facilities in London in 2012. The deliberate ambiguity lay in creating a structure—although contemporary—that appeared to pre-exist its context and to foreshadow a possible fate of ruin for all the structures within this high-tech area. At the same time, it referred to the values associated with Stonehenge, an icon of British identity whose meaning remains largely unknown.&lt;/span&gt;&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2103/1/deller_proposal%20for%20the%20olympic%20park%20gateways.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                <text>&lt;p data-start="242" data-end="645"&gt;Jeremy Deller, invited to the Carnegie International in 2004, presented this project—which can be linked to a broader series of research and reflections on the contemporary war in Iraq—with the intention of displaying one of his large banners on the museum’s façade, recalling the one used as a backdrop by President George W. Bush during a speech. This banner bore the words &lt;em data-start="618" data-end="643"&gt;“Mission Accomplished.”&lt;/em&gt;&lt;/p&gt;&#13;
&lt;p data-start="647" data-end="1269"&gt;In the image, beside the banner, there are two Post-it notes referring, respectively, to the display—also on the façade—of a photograph (taken from existing documentation) showing Donald Rumsfeld, then President Reagan’s special envoy to the Middle East, meeting Saddam Hussein in 1983; and to an ambiguous flyer posted on the doors of some houses in Florida during the 2000 presidential election, which refers to what the artist considers a Republican Party strategy to discourage opposing voters. The flyer falsely stated that, in order to vote, all fines had to be paid, and also indicated an incorrect election date.&lt;/p&gt;&#13;
&lt;p data-start="1271" data-end="1675"&gt;As reported by the artist himself, the theme of the work was “just too raw at the time.” Instead, for the exhibition &lt;em data-start="1388" data-end="1432"&gt;Breaking News (Dedicated to Peter Watkins)&lt;/em&gt;, he created a site-specific work for the miniature rooms at the Carnegie Museum of Art, where he overlapped models and reconstructions of ancient battles with architectural elements, period furnishings, and a television transmitting images.&lt;/p&gt;&#13;
&lt;a href="https://www.repository.unipr.it/bitstream/1889/2097/1/deller_mission%20accomplished.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                  <text>Erwin Wurm&lt;span&gt; (born 1954) is an Austrian artist. He lives and works in Vienna and Limberg in Austria; Hydra, Greece; and in New York City.&lt;/span&gt;</text>
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                <text>The Venus project was studied for the Patscherkofel mountain, which is part of the Tux Alps – near Innsbruck, Austria, and consists in a proposal for positioning a classic wooden table of dimensions of 100x120x76 cm, but actually made in bronze, alongside a dish made of bronze and glossy, coated aluminum, and one knödel, a typical Austrian dish, realized in paginated white bronze. he work is conceived according to the almost theatrical setting,the sculpture creates a kind of suspension between the real and the unreal caused by the decontextualization conceived by the artist. &lt;br /&gt;The possible commissioners and the reasons why the project remained unrealized haven’t been specified by the artist. &lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2332/1/Wurm_Venus.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                <text>This project started as a cooperation with Coop Himmelb(l)au: the idea was to fill up the consisting building of the so called Adlerhof with reinforced concrete and build new rooms within the huge banana, that should be arranged above that “Sarkophag”. The criticism in this project lies exactly in the relationship with the context and with the place itself: Vogelsang, indeed, once called Ordernsburg, was built from 1934 to 1936, as a former training institution for young party members of the National Socialist German Workers’ Party (NSDAP). The artist himself underlined the historical references, which are also summarised at the &lt;a href="http://www.vogelsang-ip.de/nextshopcms/show.asp?lang=en&amp;amp;e1=902&amp;amp;ssid=1&amp;amp;mdocid=803" target="_blank" rel="noopener"&gt;official page&lt;/a&gt;.&amp;nbsp;Erwin Wurm declared that the project has been officially refused for formal reasons.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2331/1/Wurm_Forum%20Vogelsang.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                <text>&lt;span&gt;The project consisted of inviting an icon of popular culture – such as Iggy Pop – to pose, without revealing his identity to the students, as a model for a drawing class. The results of these sessions would then be donated and preserved at the Smithsonian Institution. The artist’s research here focuses on the importance of preserving the social content and values related to pop music and its enjoyment, placing them in a broader cultural context, and, in particular, on the role that certain bands and musicians play for specific communities of fans or, as in this case, for a heterogeneous and often unaware public.&lt;/span&gt;&lt;br data-start="854" data-end="857" /&gt;&lt;span&gt;The document is a drawing by Sarah Tynan and serves as an example of what could have been the outcome of the class’s work.&lt;br /&gt;&lt;/span&gt;The project was&lt;span&gt; organized by the Brooklyn Museum in 2016.&lt;/span&gt;&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2099/1/deller_iggy%20pop%20life%20drawing%20class.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                    <text>rendering, section of the building with the lateral view of the sculpture.</text>
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                <text>Karlsruhe Boat is a project for the main venue in the German city of EnBW, a society dealing with and trading energy, and consists of a real size boat – situated in a small fountain-like pool of water indoor – that paradoxically deforms itself climbing up on the wall of the building. Even this sculpture creates a decompensation of perception, which is typical of the Austrian artist, where an object totally defunctionalized subverts its normal role and does something ironic and totally out of the ordinary logic. In this case the boat stands on a small and thin layer of water, placed almost vertically to the floor itself, and magically folds, almost crashing against the wall, in a process of deformation that we can find in some important series of the artist’s work. This “absurd” situation reflects a kind of broken up narrative that is typical of the way the artist operates; his works seem to tell a story that suddenly stops and whose ending is left to the interpretation of the viewer. Instead of the classic final apotheosis of the happy ending, for Wurm’s project we could talk about the apotheosis of paradox; the end is certainly not dictated by the victory of good over evil but rather an event that subverts the rules of the classic interpretation of the user. The artist is giving us a different interpretation of reality, that subverts the traditional forms of sculpture and perception. The reasons why the project remained unrealized aren't specified. &lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2330/1/Wurm_Karlsruhe%20Boat.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                  <text>&lt;p style="font-weight: 400;"&gt;Jonathan Monk, 1969, born in Leicester, Great Britain. Lives and works in Berlin, Germany. Monk replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent means. Speaking in 2009, he said, “Appropriation is something I have used or worked with in my art since starting art school in 1987. At this time (and still now) I realised that being original was almost impossible, so I tried using what was already available as source material for my own work.” Through wall paintings, monochromes, ephemeral sculpture and photography he reflects on the tendency of contemporary art to devour references, simultaneously paying homage to figures such as Sol LeWitt, Ed Ruscha, Bruce Nauman and Lawrence Weiner, while demystifying the creative process. Monk is constantly asking ‘what next?’. His stainless steel series entitled &lt;em&gt;Deflated Sculpture&lt;/em&gt; (2009) refigures Jeff Koon’s iconic balloon rabbit in various stages of collapse; letting the air out isn’t an act of iconoclasm so much as giving the original idea new life. So too Monk documented the period he lived in Los Angeles with a series of photographs titled &lt;em&gt;None of the Buildings on Sunset Strip&lt;/em&gt; (1997–99), showing only the roads between buildings – a follow-up to Ed Ruscha’s artist book from 30 years before, &lt;em&gt;All of the Buildings on Sunset Strip&lt;/em&gt;. But his conceptual configurations are also grounded in the personal: ‘what next?’ takes on a poignancy in the slide projection &lt;em&gt;In Search of Gregory Peck &lt;/em&gt;(1997), where Monk brought together a collection of photographs taken by his late father in the 1950s, preceding him as a tourist in the US.&lt;/p&gt;</text>
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                <text>&lt;p style="font-weight: 400;"&gt;This project represents, first and foremost, a reflection on the feasibility of art projects and on the relationship between the artist and the commissioning body within the contemporary art system. Through the irony and poetic approach that would characterize his later projects, the artist ultimately questions broader dynamics and meanings.&lt;br /&gt;In this work, conceived when Jonathan Monk was still a student at the Glasgow School of Art, the artist presents a series of proposals for projects that are, by their very nature, impossible to realize — crazy, as he himself describes them. Closely connected to the designation of Glasgow as European Capital of Culture in 1990, Small Proposals Book is a handmade book containing the presentation of six public art interventions for the Scottish city. These are bound together with a (fake) response letter for each proposal from the official to whom the artist would supposedly have submitted the project, the Visual Arts Officer Tessa Jackson. Both the images and the response letters were, of course, produced by the artist himself.&lt;br /&gt;The visual part, through the reuse of everyday images that are exaggerated and stereotypical, aims to emphasize the deep irony and the implicit critique of the dynamics associated with this type of intervention. Jonathan Monk pretends to propose bringing the pyramids to Glasgow Green, moving the Golden Gate Bridge over the River Clyde (although the image used was actually that of the Humber Bridge, which is why the proposal is rejected in the fictional response letter), restoring driving orientation to continental standards, transplanting one of the giant sequoias from Redwood National and State Parks, moving Stonehenge to redevelop the fountain in Kelvingrove Park, and finally relocating Disneyland for a year to the parking lot of the St. Enoch Centre.&lt;br /&gt;&lt;a href="https://moremuseum.org/omeka/files/original/00bf38f32cebed71d4258eef52319e4e.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.&lt;/p&gt;</text>
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                    <text>&lt;em&gt;Dr David Kelly Fourth Plinth Proposal&lt;/em&gt;.&amp;nbsp;&lt;br /&gt;Artist&amp;rsquo;s rendering of Dr David Kelly sculpture on the plinth.</text>
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                  <text>&lt;p class="ModulovuotoBA"&gt;&lt;span lang="it"&gt;Jeremy Deller (born 30 March 1966) is an English conceptual, video and installation artist. Much of Deller's work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. He won the Turner Prize in 2004 and represented Great Britain at the 55th Venice Biennale in 2013.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;p style="font-weight: 400;"&gt;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.&lt;/p&gt;&#13;
&lt;p style="font-weight: 400;"&gt;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.&lt;/p&gt;&#13;
&lt;p style="font-weight: 400;"&gt;The second proposal, entitled &lt;em&gt;The Spoils of War&lt;/em&gt;, 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.&lt;/p&gt;&#13;
&lt;p style="font-weight: 400;"&gt;&lt;a href="https://moremuseum.org/omeka/files/original/37659bf36a0b77d57dd6275c48534df1.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;&lt;em&gt;.&lt;/em&gt;&lt;/p&gt;</text>
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                <text>Scotti, Marco</text>
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                <text>&lt;a href="http://hdl.handle.net/1889/2094" target="_blank" rel="noopener"&gt;http://hdl.handle.net/1889/2094&lt;/a&gt;</text>
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                <text>Jeremy Deller</text>
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