1
50
28
-
http://www.moremuseum.org/omeka/files/original/3d05f323cbcb4da530806c13b334b175.jpg
1489c87ca50056b9cb67b49553b1c4e9
Dublin Core
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Title
A name given to the resource
1_...una volta, 2004, veduta generale saletta svago.jpg
Description
An account of the resource
Picture of the project entertainment room
Format
The file format, physical medium, or dimensions of the resource
file jpg, 14,82x21 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/316c11fe1aa34bb1f653c855917373cb.jpg
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Title
A name given to the resource
2_...una volta, 2004, pianta soffitto saletta svago.jpg
Description
An account of the resource
Picture of the project entertainment room: plant on the ceiling of the entertainment room
Format
The file format, physical medium, or dimensions of the resource
file jpg, 13,91x21 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/4aa6213cc8d4b39a10c7540ff5bad99b.jpg
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Title
A name given to the resource
3_...una volta, 2004, dettaglio soffitta saletta svago.jpg
Description
An account of the resource
Picture of the project entertainment room: detail
Format
The file format, physical medium, or dimensions of the resource
.file jpg, 13,92x21 cm, 300 dpi
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Title
A name given to the resource
Marco Vaglieri
Creator
An entity primarily responsible for making the resource
Vaglieri, Marco
Description
An account of the resource
Marco Vaglieri (Milan, 1959). Lives and works in Oslo. He has exhibited in Italy and abroad. His research is mainly based on the theme of the encounter and of the relationship, as well as the memory (Il tempo che serve, 2002), identity and family (Fallowing John, 2000). Among the solo exhibitions: Il tempo che serve (Luigi Franco Contemporary Art Gallery, Turin, 2000), Metafisica della carne (Galleria Milano, Milan, 2008), and Her han ikke en længere (Rum 46, Aarhus, Denmark); between the numerous group exhibitions: La parola nell’arte (Mart, Rovereto, 2007) and Multitudes & solitudes (Museion, Bolzano, 2003).
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Title
A name given to the resource
...una volta
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Vaglieri with the project ...una volta (...once upon a time) planned to create a model representing the map of the world to be installed on the ceiling of the entertainment room of the new department.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2449/1/Vaglieri_Una%20volta.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
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Vaglieri, Marco
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
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Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
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Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Marco Vaglieri
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2449" target="_blank" rel="noopener">http://hdl.handle.net/1889/2449</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
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Dublin Core
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Description
An account of the resource
Page catalog with an introduction to the project.
Title
A name given to the resource
1_img024.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,53 x17,83 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/6cee13598511c52a09da30164034a7bf.jpg
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Title
A name given to the resource
2_img025.jpg
Description
An account of the resource
Catalog page with render of a baby in a bed in a dark room.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,53 x 17,99 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/d67c17ac269ce5a2d28d5694316b58f8.jpg
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Title
A name given to the resource
3_img026.jpg
Description
An account of the resource
Catalog page with the story of the project of the table lamp.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,53 x 17,72 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/4239dff8c58ae75523e7a89e3ae0cfba.jpg
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Dublin Core
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Title
A name given to the resource
4_img027.jpg
Description
An account of the resource
Catalog page with render of a baby in a bed in a bright room with the bedside
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,53x18,31 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/e73b4dd07dbdff70964a7d54baba8e94.jpg
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Title
A name given to the resource
5_img028.jpg
Description
An account of the resource
Render color of the table lamp in which they are distinguishable designs imagined for the lamp itself.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,15x18,31 cm, 300 dpi
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Title
A name given to the resource
Sabrina Mezzaqui
Creator
An entity primarily responsible for making the resource
Mezzaqui, Sabrina
Description
An account of the resource
<p>Sabrina Mezzaqui (Bologna, 1964) lives and works in Marzabotto (BO ).</p>
<p>Many of her works are a materialization of the passing of time, bringing into play the sense of manual works in the repetition of little gestures for hours and hours (stringing beads, cutting, bending, drawing small motifs...). Writing often appears in the works (in the form of short texts, memoirs, literary references, rearranged books...). Even her videos tell of slow times, recording changes in the light or simple natural phenomena like the dust near a window or the stars reflected on the waves from the sun or the falling snow.<br /><br />She work with Galleria Massimo Minini Brescia (<em>Messaggi inviati, </em>1999; <em>Il pomeriggio è troppo azzurro</em>, 2001; <em>Quando le parole atterrano,</em> 2006; <em>Giocatori di perle</em>, 2010) and the Galleria Continua in San Gimignano (<em>Carezze, </em>2001; <em>Ecco adesso</em>, 2004; <em>Sottolineature</em>, 2005; <em>Mettere a dimora</em>, 2008; <em>ciò che la primavera fa con i ciliegi,</em> 2011).<br />She has exhibited in public spaces and cultural associations in Italy (GAM - Civic Gallery of Modern Art in Turin; Maxxi, Rome; Castel Sant 'Elmo, Naples; Papesse Palace, Siena; Museion, Bolzano; Open Space - GAM, Bologna; ViaFarini and Care of Milan; Scratch Gallery, Bologna ...) and abroad (PS1, New York; INOVA, Milwaukee, Wisconsin - WI; Modern Art Museum, Saint-Etienne - F; One Severn Street, Birmingham – UK; Raid Projects Gallery, Los Angeles - CA; Italian Institute of Culture - MOCA, Buenos Aires; Bengal Art Lounge, Dhaka - Bangladesh ...).</p>
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Title
A name given to the resource
Abat-jour
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Mezzaqui proposes the creation of an abat-jour lamp to the placed on the bedside tables of the patients’ rooms, in the memory of her childhood. The project was not realized as a result of a number of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2448/1/Mezzaqui_Abat%20jour.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Mezzaqui, Sabrina
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Language
A language of the resource
Italian
Rights Holder
A person or organization owning or managing rights over the resource.
Sabrina Mezzaqui
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2448" target="_blank" rel="noopener">http://hdl.handle.net/1889/2448</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/8e73550559a3942846930ecf1ec87325.jpg
5fde344e62f4d8b294944beaf886a48e
Dublin Core
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Title
A name given to the resource
Pablo Echaurren
Description
An account of the resource
<p>Pablo Echaurren was born in Rome in 1951. He started to paint at the age of 18, inspired by Gianfranco Baruchello, and was soon discovered by the critic and gallerist Arturo Schwarz, who promoted his work in Italy and abroad. His work was initially characterized by a certain minimalism, with a conceptual approach and a rejection of pictorial conventions, offering an alternative to the idea of the work of art as fetish. Since then, he has always been looking for new languages and new forms of expression, never resting on his laurels. </p>
<p>Not just a painter, he has engaged in a wide range of activities, such as illustrations, writing, as well as the creation of “metacomics” that investigate the possible relationship between avant-garde and popular art, seeking that necessary and fertile short-circuit between “high” and “low,” culture and frivolity. His work has been presented in numerous museums. Among the most recent exhibitions: <i>Contropittura</i>(La Galleria Nazionale d’Arte Moderna di Roma 2015-2016) and <i>Du champ magnétique</i>(Scala Contarini del Bovolo, Venezia 2017), <i>Pablo Echaurren</i>(Mart, Rovereto 2019).</p>
Creator
An entity primarily responsible for making the resource
Echaurren, Pablo
Dublin Core
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Title
A name given to the resource
Artisti coraggiosi. Natura morta - 2
Description
An account of the resource
The unrealised project <em>Artisti coraggiosi</em> 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. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3842/1/echaurren_perna.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
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Echaurren, Pablo
Date
A point or period of time associated with an event in the lifecycle of the resource
1971-1974
Contributor
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Perna, Raffaella
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
Rights Holder
A person or organization owning or managing rights over the resource.
Pablo Echaurren
MoRE Museum
Financial reasons
Logistical reasons
-
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Title
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fasilunari.jpg
Description
An account of the resource
Images of the various phases of the moon from full moon to waning moon to crescent moon.
Format
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file jpg, 4,86x28,01 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/0fe49878a91bad7f6b4fc0019dde9217.JPG
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Title
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Luna BN.jpg.
Description
An account of the resource
Image of the lunar surface visible.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18x18 cm, 150 dpi
http://www.moremuseum.org/omeka/files/original/db6216a78861f8d53abae6e80ce52fb1.jpg
879e6b648e0bfd40703274ddbf43180e
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Title
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Prima.jpg.
Description
An account of the resource
Face of a boy with image of the moon.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 53,56x48,58, 150 dpi
http://www.moremuseum.org/omeka/files/original/94f9722f297931989acef134dfeca719.jpg
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Title
A name given to the resource
Seconda.jpg
Description
An account of the resource
Face of a girl with image of the moon.
Format
The file format, physical medium, or dimensions of the resource
file jpg 53,34x48,26 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/43368bbec920a6d39223bad079ab7a0e.jpg
a22a2afdb730c4d96410e2217b01458a
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Title
A name given to the resource
Quarta.jpg
Description
An account of the resource
Face of a girl with image of the moon.
Format
The file format, physical medium, or dimensions of the resource
file jpg 53,34x48,26 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/a411ec4ba01b97ba5f40328c86eee324.pdf
e987cd5428d1794cae6a3c3d5e3bc64f
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Title
A name given to the resource
6_Testi.pdf
Description
An account of the resource
Texts relating to the four-page catalog published on the Spa-SALUS PER ART, exhibition catalog edited by Roberto Daolio, Galleria d'Arte Moderna, Bologna, Italy, 16 June to 5 September 2004 Book no. 36, Bologna, Danilo Montanari Publisher 2004.
Format
The file format, physical medium, or dimensions of the resource
file pdf
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Title
A name given to the resource
Claudia Losi
Creator
An entity primarily responsible for making the resource
Losi, Claudia
Description
An account of the resource
Claudia Losi (Piacenza, 1971). Her interest focuses on the relationship between man and the environment that surrounds him, on the relation between the individual and the community to which he belongs, the collective imagination in which he is identified. She has a strong interest in natural sciences and literature and is often involved in multidisciplinary projects and collaborations. Among the recent solo and group exhibitions: Biology of Proximity, Monica de Cardenas Gallery, Zuoz, Switzerland; Women for Life. Regina José Galindo - Claudia Losi , The Maréchalerie - center d'art contemporain de l' ENSA V, Versailles, 2013; "More from things", Musei Civici, Modena, 2012; "Les Funérailles de la Baleine " _Balena Project, at Viafarini - Docva, Milan; Cinema Massimo, Turin; Cesac CESAC _Il Filatoio di Caraglio Museum, Caraglio, Cuneo, 2011; Monica de Cardenas, Milan and Les Funerailles de la Baleine, Biella, 2010; Here and nowhere else. Here, a local communities project, ArtePollino, Basilicata, 2009; Museo Marino Marini, Florence, Stenersen Museum, Oslo, Ikon Gallery, Birmingham, 2008; Space, MAXXI, Rome, GSK -Aware, Royal Academy, London, SI Sindrome Italiana, MAGASIN, Grenoble; AiuolaTransatlantico, Mirafiori North, Turin, New Principals program, sponsored by the Fondation de France, 2008. In 2007 participates in the Sharjah Biennial 8, United Arab Emirates.
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Title
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Caleidoscopi; Allora la luna
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. For the Hospital department Losi imagined two projects: <em>Caleidoscopi (Kaleidoscopes)</em>, colored prisms to play with, enclosed in balsa wood cases, and <em>Allora la luna (Then the moon)</em>, a sort of luminous sign with a diameter of about two meters designed for outdoor installation, to be placed on one of the buildings in front of the windows of department: both projects were meant to stimulate the imagination of young patients and to allow them to forget their condition for a moment. The project was not realized as a result of a number of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2444/1/Losi_Caleidoscopi%20e%20Allora%20la%20luna..pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Losi, Claudia
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Claudia Losi
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2444" target="_blank" rel="noopener">http://hdl.handle.net/1889/2444</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/1f2bc61042982b6343fe67f09e461917.jpg
a8acc6f2956bbd72560e50728d0c5214
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Title
A name given to the resource
ASE-1968-20.jpg
http://www.moremuseum.org/omeka/files/original/8f155bd484d65e705a6e533ae536c82d.jpg
f1fcc4d05634d550501fd7c9392846fd
Dublin Core
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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
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ASE-1968-5v.jpg
Format
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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
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ASE-1968-5r.jpg
Format
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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
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014 Maquette.jpg
Format
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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
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013 Maquette.jpg
Format
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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 <em>Intercamera plastica</em> 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 <em>Marcia Funebre o della geometria</em> for<em> Campo Urbano</em> 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 <em>Sette spazi recursivi autopunitiv</em>i (never realized), the <em>seiprofetiperseigeometrie</em> and the <em>Ondosa</em> 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.
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Scheggi, Paolo
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Cannocchiale Ottico Percorribile
Description
An account of the resource
The <em>Cannocchiale ottico percorribile</em> 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. <br />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 <em>Cannocchiale ottico percorribile</em> 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 <em>ONDOSA</em> (as reported in the bibliographies and biographies of the artist) or <em>ONDOSA NERA</em> (as shown on the projects of the artist himself) otherwise made for the show Eurodomus in Milan, 1970, and then destroyed.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1998/1/scheggi_cannocchiale%20ottico%20percorribile.pdf" target="_blank" rel="noopener">Read more</a>.
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Scheggi, Paolo
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1968
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Bignotti, Ilaria
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image/jpeg
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English
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Still Image
Identifier
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<a href="http://hdl.handle.net/1889/1998" target="_blank" rel="noopener">http://hdl.handle.net/1889/1998</a>
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Paolo Scheggi
MoRE Museum
Financial reasons
-
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Title
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Sandro Mele
Description
An account of the resource
<p>Born in Melendugno (Lecce) 1970, he lives and works in Rome. After graduating from the Academy of Fine Arts in Venice in 1994, he worked as an assistant to Fabio Mauri. Solo exhibitions: <em>Aquì todo bien</em>, 2016, Morelli Contemporary, Brussels; “Spunti per l’avvenire” Galleria Artforum Contemporary, Bologna 2015; "The American Brothers" Galleria Michela Rizzo, Venice, 2013; "Ventinovegiorni (di resistenza)" Menexa,Rome, 2012; “Lucha” fondazione Volume!, Rome, 2010; “Campo Argentino” galleria L’Union-fondazione Volume! Rome, 2006; “Argentina 2000” SACI Gallery, Florence, 2001. His works have been included in the following collettive exhibitions: "Lavoro/Work/Vore" Villa di Toppo Florio, Buttrio (UD), 2013; “GAP Generazioni a confronto” MAXXI B.A.S.E. Rome – 2012; Video Arte Italiana 2004-2012_Mamba Buenos Aires, 2012; “Hear Me Out” Castello Colonna, Genazzano, Rome, 2011; “Premiata officina trevana” Palazzo Lucarini Contemporary – Centro per l’arte contemporanea, 2011; “Non tutto è in vendita” via farini 33, Bologna 2011; Ente comunale di consumo” Galleria Nazionale palazzo Arnone, Cosenza, 2011; “Ente comunale di consumo” Palazzo Vittoriano, Rome – curated by Claudi Libero Pisano, 2011; “Ente comunale di consumo” castello Colonna, Genazzano (Rome), 2010; “I colori del territorio”, Spoltore (Pe) 2010;</p>
<p> “Arts for the Earth/Natura Naturans”, Cellino San Marco, Brindisi, 2010; “Il caos” Isola di San Servolo, Venice, 2009; “Mediterranean” Roma the road to contemporary art, Rome, 2009; Social forum europeo, Malmo –Sweden, 2008; “Latinolatino” Castello di Barletta, 2008; “Tracce del contemporaneo” Bos’art, Bosa, Alghero, 2007; “Todi arte festival “, Todi, 2006; “Querria cambiar el color a vuestro objeto mas querido?“, Puerto Lumbreras, Spain, 1999. </p>
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Mele, Sandro
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Cartoneros - Buenos Aires
Description
An account of the resource
<p>The idea behind <em>Cartoneros</em>, which came to him whilst travelling to Argentina in 2006 to implement the project on the Fasinpat ceramic factory (<em>Fabrica sin patrones</em>), 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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3000/1/Sandro%20Mele_Cartoneros%20–%20Buenos%20Aires.pdf" target="_blank" rel="noopener">Read more</a>.</p>
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Mele, Sandro
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2006
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Scipioni, Lydia Elena
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image/tiff
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Italian
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Still Image
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/3000" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3000</a>
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Sandro Mele
MoRE Museum
Financial reasons
Logistical reasons
-
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a7af8d0f7da11ee4e5b4ac42e3644061
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2005_progetto pav.jpg
Description
An account of the resource
The artist realises a sketch of the facade outlined on a white-painted wall. 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”.
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file jpeg, 25,3×19,78 cm 300 dpi
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Eva Marisaldi
Description
An account of the resource
Eva Marisaldi was born in 1966. She lives and works in Bologna. She graduated from the Academy of Fine Arts in Bologna. Her research is articulated, frequently through an open and participatory process, through different languages and media, such as drawings, videos, installations, performances, photography and sculpture, to approachdifferent and multiple perspectives on usual things and everyday life. Amongst her most recent solo show we can recall Gestein-gestalt, MIMA, Newcastle (2012), Democratic Psychedelia, Galleria Minini, Brescia (2011), Tjoloholm Castle, Goteborg (2009), Ghost track #2, S.A.L.E.S., Roma (2008), Jumps, MAMbo, Bologna (2007), Services, Galleria Massimo De Carlo, Milano (2007), Parties 3, Art positions, Art Basel Miami, Miami, USA (2006). Her works have been included in many important exhibitions, such as the 1993 and 2001 Venice Biennale; Soggetto Soggetto, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (1994), L’hiver de l’amour, ARC Musèe d’Arte Moderne de la Ville de Paris and PS1, New York (1994), Manifesta, Witte de With, Rotterdam (1996), Exchanging interiors, Museum van Loon, Amsterdam (1996), Fatto in Italia, Centre d’Art Contemporain, Geneva and ICA London (1997), The 504 show, Braunschweig Kunsthalle, Zentrum fur Kunst, Brauschweig (1997), Che cosa sono le nuvole, Fondazione Sandretto Re Rebaudengo, Guarene-Torino (1997), Officina Italia, Galleria Comunale d’Arte Moderna, Bologna (1997), La ville, le jardin, la memoire, Villa Medici, Rome (1998), Istanbul Biennial (1999), Alessandria Biennial, Egypt (1999), Gwangju Biennial, South Korea, (2004), Invisible Exports, New York (2007), Voyage Sentimentale, FRAC Languedoc Roussillon, (2009), Il confine evanescente, MAXXI, Roma (2011), No Soul for Sale, Tate Modern, London (2011), Think Twice, Whitechapel, London (2012), The Wordly House, Documenta, Kassel (2012).
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Marisaldi, Eva
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Cinema Italia
Description
An account of the resource
This unrealised project has to be considered in relation with <a href="http://moremuseum.org/omeka/items/show/id/29" target="_blank" rel="noopener">Ritz</a>, 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. <br />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”. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2418/1/Marisaldi_cinema%20italia.pdf" target="_blank" rel="noopener">Read more</a>.
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Marisaldi, Eva
Date
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2005
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Modena, Elisabetta
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image/jpeg
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Still Image
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DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2418" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2418</a>
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Eva Marisaldi
MoRE Museum
Financial reasons
-
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03 Interno.tif
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Digital image (.tif)
http://www.moremuseum.org/omeka/files/original/8c15fa9c38f84ae15e2e341254552781.jpg
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Digital image (.tif)
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02 Esterno.tif
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01 Esterno.tif
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Digital image (.tif)
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Silvio Wolf
Description
An account of the resource
Silvio Wolf was born in 1952 in Milano, where lives and works. He studied Philosophy and Psychology in Italy. He received a Higher Diploma in Advanced Photography at the London College of Printing. He realizes photo-works, multimedia projects and sound installations. His works appear in galleries, museums, and public spaces in Belgium, Canada, England, France, Germany, Italy, Korea, Luxembourg, Spain, Switzerland and the United States. He teaches Photography at the European Institute of Design in Milan, and at the School of Visual Arts in New York. Web-site: <a href="http://www.silviowolf.com/">http://www.silviowolf.com</a>
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Wolf, Silvio
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I Nomi del tempo
Description
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<p>Installation in 2 parts, 2009. Venice, Basin of the Arsenale, Gaggiandre, and Tese delle Vergini, Italian Pavilion.</p>
<p>Environmental dimensions. Light, water, photography, sound.</p>
<p>A) Outside: A semi-submerged photographic image of 60x20m. occupies the stretch of water of one of two ancient covered basins of the Arsenale. The image represents simultaneously two circles of water and the symbol of Infinity. A stone thrown in water has created the splitting of the first cell, giving rise to a multiplicative process. The photographic act freezes the action and renders eternal the instant and the becoming of time, Past and present, stasis and change, finite and infinite are simultaneously present: the place is real and virtual at the same time.</p>
<p>B) Inside: 12 light-boxes placed in the niches of the left wall of the Theater of the Virgin transform the wall in a great self-illuminating façade. Light and architecture are welded into a single radiating structure that transmits light within the building. On the floor in front, a water tank of about 16×16 m. reflects the architecture of light, generating the virtual image space. The still surface of the water is perturbed by the undulatory motion of concentric waves that propagate rhythmically from the center of the tank. The vibration of this liquid surface corresponds with the intangible sounds diffused into the great emptiness of the room: visual and sound waves interact, creating the vibrating movement of the water.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2001/1/wolf_i%20nomi%20del%20tempo.pdf" target="_blank" rel="noopener">Read more</a>.</p>
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Wolf, Silvio
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Longari, Elisabetta
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image/jpeg
Language
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English
Type
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Still Image
Date
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2009
Identifier
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<a href="http://hdl.handle.net/1889/2001" target="_blank" rel="noopener">http://hdl.handle.net/1889/2001</a>
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Silvio Wolf
MoRE Museum
Financial reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/8f716b008525ab533e60d4d8dd02945a.pdf
10c8407e51dc74b80127bd6361ef04d5
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Foto 01.doc
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First of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
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file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/99ac8e2d27d5da8f565f769988488680.pdf
a3ef5d7bd5040d6a42c71c758b69b63a
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Foto02.doc
Description
An account of the resource
Second of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
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file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/32ad58ab7d71fa99a65eb8fa6176b3a4.pdf
5f251dbf79f9ce441744da233036fd86
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Foto 03.doc
Description
An account of the resource
Third of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
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file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/5004aa9b2da843b900830cbf5a844a0a.pdf
9817dabaff3cc0c34afe43b0aab753bd
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Foto 04.doc
Description
An account of the resource
Fourth of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
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file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/6cbdf68abc57222bfdbc5d0c351fb7fd.pdf
66c1716037d85b6d063cfe49646ecd96
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Progetto.doc
Description
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Project presented by the artist for the contest, including an installation description, a poetics that reveals its objectives and its artistic and theoretical motivations, a detailed technical description with its realization costs and a four-page drawing of the project itself and of the “The Flower”.
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file doc, archived in pdf.
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Title
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Debora Hirsch
Description
An account of the resource
Born in São Paulo 19th August 1967. Lives and works between Milan and São Paulo.<br /><a href="http://www.deborahirsch.com" target="_blank">http://www.deborahirsch.com</a>
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Hirsch, Debora
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Il fiore e la pietra
Description
An account of the resource
<em>Il fiore e la pietra</em> is a project of a urban sculpture for square in Turin, Italy. It was presented by the artist, on invitation by Gianni Romano, at the contest for young artists «Premio Artegiovane/Torino Incontra. Una porta per Torino» curated by Guido Curto, 6th Edition, 2002. <br />The theme draws its first inspiration from B.C. comics by Johnny Hart: a frail flower dialogues with a stone. The ambiguity between solidity and frailty is symbolically set aside the then very adverse situation of FIAT, the most important manufacturing company of Turin, and the problem of the blue collar sleeping area. <br />The environment in which the project was developed is typical of a still common situation in contemporary art: conceived to apply to a contest, it was never realized, as well as all the other projects presented, due to lack of funds. <br /><a href="https://www.repository.unipr.it/bitstream/1889/1996/1/hirsch_il%20fiore%20e%20la%20pietra.pdf" target="_blank" rel="noopener">Read more</a>.
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Hirsch, Debora
Date
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2002
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Bignotti, Ilaria
Language
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Italian
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application/pdf
Type
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Still Image
Text
Identifier
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<a href="http://hdl.handle.net/1889/1996" target="_blank" rel="noopener"><strong><code>http://hdl.handle.net/1889/1996</code></strong></a>
Rights Holder
A person or organization owning or managing rights over the resource.
Debora Hirsch
MoRE Museum
Financial reasons
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/ec86686afba9ea7a07c21a3398b4a10c.pdf
967aa3a994df4db637fe9cf09129cd32
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Title
A name given to the resource
Il palazzo di Atlante.pdf
Description
An account of the resource
Project document containing the premises, perspectives and drawings, the study of the timing and context and a work diary, divided into eight sections dating from 07.11.12 to 25.08.12.
Format
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pdf file
Dublin Core
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Title
A name given to the resource
Gian Maria Tosatti
Description
An account of the resource
<p>Gian Maria Tosatti (Roma, 16.04.1980 - lives in New York) made his first steps in 2002 at the Centre for Theatrical Research and Experimentation of Pontedera working on performances. In 2005 Tosatti moved back to Rome to undertake an artistic research between architecture and visual arts which inspired all subsequent works resulting in site specific installations. His projects usually are long term investigations on specific topics related with the concept of identity, from the political to the spiritual standpoint. The first cycles of works he developed have been «Devozioni» (2005-2011) - ten installations for ten buildings of Rome about the archetipes of the modern era - and «Landscapes (2006-) - a project of public art in conflictual areas.</p>
<p>Tosatti is currently working on two new projects, «Fondamenta» (2011-), based on the identification of contemporary age archetypes and «Le considerazioni...» (2009-) dedicated to the aenigmas of personal memories and to the traces that human beings leave behind them.</p>
<p>Between 2013 and 2016 his research focused on a work that has embodied the entire city of Naples. It’s title is “Sette Stagioni dello Spirito”.</p>
<p>Tosatti is also a journalist. He had been editor chief of the weekly cultural newspaper <a href="http://www.differenza.org/">«La Differenza»</a> and has collaborated with several italian newspapers and magazines as columnist. Currently he’s columnist for Artribune and writes on Opera Viva. He writes essays about art and politics.</p>
<p>In 2011 he curated RELOAD, prototype of cultural urban intervention about the temporary use of improductive spaces and he’s founder of the project "La costruzione di una cosmologia". His work has been shown at the Hessel Museum of CCS BARD (New York – 2014), the LMCC (New York - 2011), American Academy in Rome (Roma – 2013), Museo Villa Croce (Genova – 2012) Andrew Freedman Home (New York - 2012), Tenuta dello Scompiglio (Lucca - 2012), Palazzo delle Esposizioni (Roma - 2008), Chelsea Art Museum (New York - 2009), BJCEM (2014), Centrale Montemartini – Musei Capitolini (Roma – 2007), Wilfredo Lam Museum (La Habana - 2015), Casa Testori (Milano - 2014), MAAM (Roma - permenent), Castel Sant’Elmo (Napoli - permanent), Museo Madre (Napoli, 2016).</p>
Creator
An entity primarily responsible for making the resource
Tosatti, Gian Maria
Dublin Core
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Title
A name given to the resource
Il palazzo di Atlante
Description
An account of the resource
<p><em>Il palazzo di Atlante</em> is a project for an environmental scale intervention, designed for the <em>Ufficio </em>Geologico building located at largo Santa Susanna, Rome. The place is currently abandoned, and was designed between 1873 and 1879 by the engineer Raffaele Canevari: this space is the starting point for a research that Tosatti documents in the attached file donated to MoRE, through a project and several diary entries corresponding to the different stages of the design process. It is possible to consider this artwork within a path that includes several works the artist dedicated to abandoned spaces - in particular we can mention <em>Tetralogia della polvere</em> (Novara, Casa Bossi, 2012) and also the recent cycle realized in Naples, <em>Sette Stagioni dello Spirito</em> (2013 - 2016) -: this ambitious work is considered by Gian Maria Tosatti as an arrival point he can face only after a series of experience, where he "started building rooms, larger or smaller, then dedicating myself to buildings and then finally building larger and larger artworks, sometimes even bigger than myself, and therefore requiring every time an evolution, a development of myself as an artist. "</p>
<p>The title refers to the Atlas Palace, a myth that appears in the Boiardo and Ariosto Orlando, and that here acquires a personal value for Tosatti as a place to deal with, but also in a relationship with the visitors, though the symbols of the labyrinth and the mirror, a central theme in the artist's research between 2011 and 2012. Through a practice divided between art and architecture, often described by Tosatti himself with an analogy with the room in the middle of the "zone" in the Andrei Tarkovsky film <em>Stalker</em>, a model of superimposition of identity and desire, here the artist tries to make the apparition of “castles and monuments” true, introducing in the project the themes of electricity and illusion:</p>
<p>“The culmination of the work will consist precisely in a large switch that visitors could turn off, letting darkness and silence fall over the entire building. It will therefore be necessary - also from the visual point of view – to rely on certain image of technology, related to electricity. Obviously the kind of technology that should be used is not be the most modern one, but the one that is present in a shared imaginary, consequently machines and tools form several decades ago, which aren’t used anymore”.</p>
<p>Studying the construction diary and the preparatory drawings we can also highlight the particular attention dedicated to the façade, upon which two “mirror flags” should have been installed to make "the invisible building" recognizable, and the structuring of a path through the different floors. A room should have contained, upon one of the tables that are already present inside the building, a glass of water and a bottle of Novalgina, a painkiller, together with an hidden mechanism that would have created a light and steady vibration to shake the water surface when placed upon the table. Another room was designed to provide the optical illusion of a rhino freely moving inside the space, so to anticipate the top floor switch, where the machinery would have been placed. Classical statues - originals or copies - should also have been present alongside the path, as an archetype of man and as a mirror for the visitor, while at the ground floor, currently occupied by an archaeological excavation, an artist intervention would have been necessary to turn it into a sculptural space.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3246/1/Tosatti_Il%20palazzo%20di%20Atlante.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Tosatti, Gian Maria
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
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application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3246" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3246</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Gian Maria Tosatti
MoRE Museum
Financial reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/ee7e885a802af75c439b77a102af61fc.pdf
47083568ac621c185835e177d4c43786
Dublin Core
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Title
A name given to the resource
il pop up che non si apre.pdf
Description
An account of the resource
Pdf file containing the presentation of the project, a description of the materials that would be part of the work and the technical aspects of edition.
Format
The file format, physical medium, or dimensions of the resource
file pdf
Dublin Core
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Title
A name given to the resource
Luca Trevisani
Creator
An entity primarily responsible for making the resource
Trevisani, Luca
Description
An account of the resource
Luca Trevisani (Verona, 1979) has exhibited in many public and private spaces, in Italy and abroad, including: MACRO Rome, Magasin in Grenoble, Mart, Rovereto, Biennale d’Architettura di Venezia , Museion, Bolzano, MOT Tokyo, Daimler Kunstsammlung Berlin, CCA Andratx Mallorca, Gio Marconi, Milan, Pinksummer, Genoa, Mambo, Bologna, Mehdi Chouakri, Berlin, Fondazione Sandretto Re Rebaudengo Turin, MAXXI, Rome, Valentina Bonomo, Rome and Museo Marino Marini, Florence. He won prestigious awards including the Furla Prize in 2007 and the New York Prize in 2010, has also published two personal catalogs <em>The effort took ist tools</em> (Argobooks, Berlin 2008), <em>Luca Trevisani</em> (Silvana Editoriale, Milan, 2009) and the book <em>Water Ikebana Stories about solid & liquid things</em> (Humboldt Books, Milan in 2014). In 2013 he released his first feature film <em>Glaucocamaleo</em>, presented in the same year at the Rome Film Festival.
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Title
A name given to the resource
Il pop up che non si apre
Description
An account of the resource
<em>Il pop up che non si apre (The pop up that will not open)</em> is an artist's book designed by Luca Trevisani in 2011. The artist starts from his series of works, printed on copper and cardboard, named <em>Fly fishing</em> (2010), to elaborate the structure of a pop up book. In this editorial project many of the attitudes and characteristics of the artist's work are visible, such as the sculptural gesture, the condition of equilibrium, manual skills and the chosen material: the paper. The project was initially designed as a self-production by the artist himself, and then proposed to the publishe cura.books, but it has never been realized for the high costs and because of the many difficulties in finding the necessary financial coverage. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2443/1/Luca%20Trevisani_Il%20pop%20up%20che%20non%20si%20apre.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Trevisani, Luca
Date
A point or period of time associated with an event in the lifecycle of the resource
2011
Contributor
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Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Luca Trevisani
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2443" target="_blank" rel="noopener">http://hdl.handle.net/1889/2443</a>
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/aed1e134c1134f8c75d1cdbfae1c148c.jpg
46e339fe0120afe81a875ea36795c047
http://www.moremuseum.org/omeka/files/original/5d83dd5eb53541d4382c62597e3c2302.pdf
16b64667c13faf3891b856bc6e2a547e
http://www.moremuseum.org/omeka/files/original/ecd4126b6d14d6d6ed27fa8460e77991.pdf
71099e61342357f1f044c1e2f7ed5633
Dublin Core
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Title
A name given to the resource
Ettore Favini
Description
An account of the resource
<p style="font-weight: 400;">Born in Cremona in 1974, Ettore Favini teaches Visual Arts at the Nuova Accademia Belle Arti NABA in Milan and Painting at the Accademia di Belle Arti G. Carrara in Bergamo.</p>
<p style="font-weight: 400;">His works are characterized by a narrative dimension and a relationship with the context and history of places; they often spring from personally lived experiences and individual memory, which is useful for proposing general reflections. Also central is the question of identity, probed through participatory and public art projects.<br />He was recently awarded by the Pollock Krasner Foundation in New York and the General Directorate for Contemporary Creativity of the Italian Ministry of Cultural Heritage and Activities and Tourism (MiBACT - DGCC) as part of the Italian Council project.<br />His works have been exhibited in prestigious Italian and international institutions, including: Kunst Meran Arte, Merano; Carré d'Art Contemporaine, Nîmes (F); PAC, Milan; Museo del Novecento, Milan; GAMeC, Bergamo; Museo MAN, Nuoro; Museo di Villa Croce, Genoa; Autostrada Biennale, Prizren (K); OCAT, Shanghai (RC); SongEun Art Space, Seoul (ROK); Najing International Art Festival, Nanjing (RC); Italian Academy, New York (USA); Fondazione Sandretto, Turin; Villa Medici, Rome.</p>
Creator
An entity primarily responsible for making the resource
Favini, Ettore
Dublin Core
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Title
A name given to the resource
La vera rivoluzione è non cambiare il mondo(?)
Description
An account of the resource
<p style="font-weight: 400;">The project involved the creation of a huge sign – <em>La vera rivoluzione è non cambiare il mondo(?)</em> – in every way equal to a claim launched by ENEL, but lacking the question mark and immediately withdrawn due to Greenpeace's denunciation. At least fifteen meters long and composed of green-painted aluminium box letters about eighty centimeters high and six hundred incandescent light bulbs, the lighted work would have involved an energy consumption of three kilowatt-hours, equal to that supplied for the utility of any Italian home. Designed by the artist to denounce the company's false ecological message, the work would remain off until ENEL produced more than 60% clean energy from renewable sources. In 2007, Favini proposed its creation for the <em>Greenwashing</em> exhibition, which was to be held at the Fondazione Sandretto Re Rebaudengo the following year. It was not realized for budget reasons.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5203/1/Ettore%20Favini_La%20vera%20rivoluzione.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Favini, Ettore
Date
A point or period of time associated with an event in the lifecycle of the resource
2007
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Ettore Favini
MoRE museum
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/fa0de8cbe1aa0e70f8637a712e28f466.pdf
bf7567e76fa6766c31e45be9ed1af503
Dublin Core
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Title
A name given to the resource
Il mio progetto.pdf
Description
An account of the resource
File describing the project and its objectives
Format
The file format, physical medium, or dimensions of the resource
File pdf
http://www.moremuseum.org/omeka/files/original/a2b3ea573488a222a5949ef7ca82369d.pdf
ac2075de0044af5dbf21a3ef1be63989
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Title
A name given to the resource
E’ così anacronistico.pdf
Description
An account of the resource
File describing the project and its objectives
Format
The file format, physical medium, or dimensions of the resource
File pdf
http://www.moremuseum.org/omeka/files/original/afae2fa3c5a83dbbb400a0de3da8ad65.pdf
2a1e2ca9aa7ee6eb9e426fcaa33f6813
Dublin Core
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Title
A name given to the resource
Incontrare la fiaba e rappresentarla.pdf
Description
An account of the resource
Project of the first laboratory
Relation
A related resource
File pdf
http://www.moremuseum.org/omeka/files/original/c0a9d300fa59f5326ec2718d3c1ec493.pdf
bcb47986cc52da67157fca20e79e5875
Dublin Core
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Title
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Prendersi cura.pdf
Description
An account of the resource
Project of the second laboratory
Format
The file format, physical medium, or dimensions of the resource
file pdf
http://www.moremuseum.org/omeka/files/original/1ddc359ea39e3d33164268686d3f82e0.pdf
ab256bcc764d47e4ed5feb7ab7209af6
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Title
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Modellaggio.pdf
Description
An account of the resource
Project of the third workshop
Format
The file format, physical medium, or dimensions of the resource
file pdf
http://www.moremuseum.org/omeka/files/original/984230f59c2141f48463d1783c360047.jpg
0ba2df4c5e6aaadb3491de1b27f63dbc
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Title
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Puppe ageop.jpg
Description
An account of the resource
Dolls made to the Waldorf school in the course of the manual arts teacher Patrizia Solina
Format
The file format, physical medium, or dimensions of the resource
file jpg, 10,16x13,55 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/b833737f5c96e70c84a9385bdd6cf320.jpg
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teatrino.jpg
Description
An account of the resource
Dolls made to the Waldorf school in the course of the manual arts teacher Patrizia Solina
Format
The file format, physical medium, or dimensions of the resource
file jpg, 8,79x13,55 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/e8128af17306e10baebb44aa0ba7f742.jpg
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Title
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Steiner oncologia.jpg
Description
An account of the resource
Dolls made to the Waldorf school in the course of the manual arts teacher Patrizia Solina
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29x20,99 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/b64463d326dbccb0563a368dd15096db.jpg
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Title
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Favola.jpg
Description
An account of the resource
Sketch artist in the preparation of fairy tales.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 50,59x72,25 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/d49cc4390d75893121e4840c6d874aa0.jpg
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Dublin Core
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Favola 1.jpg
Description
An account of the resource
Sketch artist in the preparation of fairy tales.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 54,19x72,25, 72 dpi
http://www.moremuseum.org/omeka/files/original/5341aac84dd54de4d8aae51335505b4b.jpg
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Favola 2.jpg
Description
An account of the resource
Sketch artist in the preparation of fairy tales.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 54,19x72,25 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/5d8a3875ee6421e41f9e22488cf99306.jpg
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steiner oncfavola-1.jpg
Description
An account of the resource
Sketch artist in the preparation of fairy tales.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29x20,99 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/3d1c2c959123b2eb58bf4ff152b30a0c.jpg
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Title
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steineroncobambfav.jpg
Description
An account of the resource
Sketch artist in the preparation of fairy tales.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29x20,99 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/84981779689ac6d3d2ae61103455c6c0.jpg
51061b684dbbc0db461c31d175a00148
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Title
A name given to the resource
Emilio Fantin
Creator
An entity primarily responsible for making the resource
Fantin, Emilio
Description
An account of the resource
Emilio Fantin (Bassano del Grappa, 1954), lives and works in Bologna. Fantin creates spaces for participation where the educational aspect is combined with the artistic one. In his work he often creates links between art and other disciplines. He has worked with institutions, universities and museums around the world. In 2012, he realized with Lu Cafausu the project "The Celebration of Living" for And, And, And, Documenta 13 in Kassel and gave lectures at the Art Institute of Chicago. In 2013 he organized meetings and projects in public spaces in Phoenix in partnership with ASU (Arizona State University) Art Museum. He took part to several exhibitions and international events including the Venice Biennale (1993, 1999, 2008), Performa, International Festival of Performance, New York, 2007; Frasq, International Festival of Performance, Paris 2011. Since 2005 he has been teaching "Perception and Visual Communication" at the Polytechnic of Milan. He currently holds workshop “Representation 2: Architecture and Art” in public spaces with Ricciarda Belgiojoso and Franco Vaccari.
Dublin Core
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Title
A name given to the resource
Laboratori
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Fantin aims at creating a great book on the fairy tale "The Bremen Town Musicians" and a series of workshops for children in collaboration with the teachers of the school Garagnani Maria Steiner of Bologna (<em>Meet the tale and represent it; Take care; Sculpting with hot beeswax</em>). The book was made and donated to the department , while the laboratories were not realized, due to a series of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2446/1/Fantin_Laboratori.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Fantin, Emilio
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
application/pdf
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Emilio Fantin
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2446" target="_blank" rel="noopener">http://hdl.handle.net/1889/2446</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/70aafe69febc270b40bd91ac4320bc5a.jpg
23e3fadc0944c01a4da276f86047810d
Dublin Core
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Title
A name given to the resource
Ibro Hasanović
Description
An account of the resource
Ibro Hasanović was born in Ljubovija (Yugoslavia) in 1981. He currently lives in Pristina, Kosovo. His works have been recently exhibited at Austrian Cultural Forum, New York, Künstlerhaus Vienna, Vienna; Munchner Stadtmuseum, Munich; Garage Museum of Contemporary Art, Moscow; Museum of Fine Arts, Split; Kunsthalle Wien, Wien; the 55th October Salon, Belgrade; National Gallery of Kosovo; Museum of Contemporary Art, Zagreb; Künstlerhaus - Halle für Kunst & Medien, Graz; the 2nd Project Biennial D-0 ARK Underground, Bosnia and Villa Romana, Florence.
Creator
An entity primarily responsible for making the resource
Hasanović, Ibro
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
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Lilium Bosniacum
Description
An account of the resource
<p><em>Lilium Bosniacum</em> is a project that was thought to be realized in collaboration with scientists (e.g. botanist). It would include experiments in order to see if the Bosnian constitution - based upon the Dayton Peace Agreement in 1995 - could be translated, one way or another, into “natural law”.<br />Dayton Peace Agreement was reached in November 1995 at USA Air Force Base near Dayton (Ohio), and formally signed on 14th December 1995 in Paris. It brought peace to the country torn up by war which started on 6th of April 1992. Today, this peace agreement which also serves as the Bosnian constitution has become a political nightmare. Its complex structure makes any kind of progress in Bosnia seem impossible.<br />Lilium Bosniacum (a.k.a. golden lily or Bosnian lily) is a lily native to Bosnia and Herzegovina. Bosnian Lily is also a symbol that has been used in Bosnia since Middle Ages and it became especially popular during the rule of Bosnian king Tvrtko I Kotromanić. With the invasion of Ottomans into the region and the fall of Kotromanić Dynasty, the symbol went out of use. On 1st of March 1992, when Bosnia and Herzegovina gained independence from Yugoslavia, lilies were brought back onto the Bosnian flag. In 1998, after the protests of political representatives of the former Herceg-Bosna and Republika Srpska, the flag of the Republic of Bosnia and Herzegovina was replaced. The idea of the project is to try and create a set of rules and genetically modify Bosnian Lily in order that it complies with the complex structure of Dayton Peace Agreement. In collaboration with scientists (e.g. botanist), the project includes experiments in order to see if this specific “constitutional law” can be translated, one way or another, into “natural law”. All of the process would be photographically and video documented, in order to produce a book/herbarium and a short video documentary. Finally the goal would be to register this “hybrid lily”, if successfully created, to the EU database of registered plant varieties. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2999/1/Ibro%20Hasanović_Lilium%20Bosniacum.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
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Hasanović , Ibro
Date
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2014
Contributor
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Scipioni, Elena Lydia
Format
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image/jpeg
Language
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English
Type
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Still Image
Rights Holder
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Ibro Hasanović
MoRE museum
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/2999" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2999</a>
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/78873126c7feb55ddc667e235190ad54.jpg
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Title
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Untitled 1.jpg
Description
An account of the resource
Watercolor, specifically realised for MoRE by goldiechiari, that represent the Garbage Patch, subject of the unrealised work.
Format
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70 x 70 cm, 84,473dpi
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Title
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Untitled 2.jpg
Description
An account of the resource
Watercolor, specifically realised for MoRE by goldiechiari, that represent the Garbage Patch, subject of the unrealised work.
Format
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75 x 75 cm, 76,638dpi
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Title
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Untitled 3.jpg
Description
An account of the resource
Watercolor, specifically realised for MoRE by goldiechiari, that represent the Garbage Patch, subject of the unrealised work.
Format
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50 x 50 cm, 104,851dpi
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Title
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Untitled 4.jpg
Description
An account of the resource
Watercolor, specifically realised for MoRE by goldiechiari, that represent the Garbage Patch, subject of the unrealised work.
Format
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50 x 50 cm, 111,76dpi
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Title
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Untitled 5.jpg
Description
An account of the resource
Watercolor, specifically realised for MoRE by goldiechiari, that represent the Garbage Patch, subject of the unrealised work.
Format
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50 x 50 cm, 110,947dpi
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Title
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Grafico 1.jpg
Description
An account of the resource
Chart that analyze ocean currents, a preliminary study for the video.
Format
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28,22 x 15,91 cm, 72dpi
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Title
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Grafico 2.jpg
Description
An account of the resource
Chart that analyze ocean currents, a preliminary study for the video.
Format
The file format, physical medium, or dimensions of the resource
17,99 x 13,26 cm, 72dpi
http://www.moremuseum.org/omeka/files/original/288ddb38e05e0c83c2af3543fcce49c8.pdf
bb34d98f890ebe548b49caa687373464
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Title
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vortex.docx
Description
An account of the resource
Project report.
Format
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file docx, archived in pdf.
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Title
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Goldschmied & Chiari
Description
An account of the resource
<p>Sara Goldschmied (1975, Arzignano VI) and Eleonora Chiari (1971, Roma), work as an artistic duo since 1997. They actually live and work between Rome and Milano.<br />They gained critical success thanks to some selected national and international exhibitions.<br /><a href="http://www.goldiechiari.com" target="_blank">http://www.goldiechiari.com</a></p>
<p> </p>
Creator
An entity primarily responsible for making the resource
Goldschmied & Chiari
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Title
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Looking for the Island
Description
An account of the resource
<em>Looking for the island</em> is a video project dedicated to the Garbage Patch, an ‘island “dump” located in the Pacific Ocean that began to form around 1950. This particular island, composed of polymers in the form of bottles, packaging, networks and other kinds of junk, is moved constantly by ocean waves that wear the matter down by reducing it to tiny particles dissolved in water. The floating mass of “particle waste”, which apparently resembles plankton becomes food for fish and birds, reintroduced into our food chain and consequently in our bodies. <br />The artists projects is based right on this contrast between natural and artificial, landscape and industry; through the video they want to document the journey of these plastic particles that paradoxically become feed for fishes, and therefore food for human beings. Challenging the common perception of this place, that is often considered improperly as a real island, this video wanted to place a videocamera waving slowly inside the water, extending and shortening the length of the take from time to time through these fragments of memory. The artists realised specifically for MoRE a series of watercolors that represent the Garbage Patch; moreover, they donated two charts, part of the project, that analyze the ocean and its currents. All the five sketches present a circular design that reminds, indeed, the island or cloud of garbage, while the lines in subtle colors seem to remind a rarefied and immaterial universe The artists were invited to realise this project by Fondazione Hermes in 2007, but it wasn’t selected in the end. It's still unrealized due lack of funds. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2329/1/goldiechiari_Looking%20for%20the%20Island.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
goldiechiari
Date
A point or period of time associated with an event in the lifecycle of the resource
2007
Contributor
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Rossi, Valentina
Format
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image/jpeg
application/pdf
Language
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English
Type
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Still Image
Text
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2329" target="_blank" rel="noopener">http://hdl.handle.net/1889/2329</a>
Rights Holder
A person or organization owning or managing rights over the resource.
goldiechiari
MoRE museum
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/896d08072766b25940ad0b536f0093b6.pdf
4b22e223ca01c29b0d410e17cf4f47cf
Dublin Core
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Title
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Meteoritealcontrario.pdf
Description
An account of the resource
Adobe PDF file
Format
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Adobe PDF file, 500x700mm.
Dublin Core
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Title
A name given to the resource
Davide Bertocchi
Description
An account of the resource
Davide Bertocchi was born in Modena, Italy in 1969. From 1988 through 1993, he studied at the Academy of Fine Arts in Bologna with Alberto Garutti: his teaching had a big influence on the development of his future work. He concurrently also attended the University of Bologna’s DAMS (Discipline Art Music e Show). From 1993 through 1994, he studied at the Hogeschool voor de Kunsten, in Utrecht, Holland, and he started to experiment with sound and music. In 1996, after a short period in New York and Los Angeles, he moved to Milan, in Via Fiuggi. He shared this basement, converted into working and living space, with many contemporaries artists: Diego Perrone, Giuseppe Gabellone, Debora Ligorio, Sara Ciraci, Simone Berti, Stefania Galegati, Ettore Favini and Lara Favaretto. Later, a lot of people considered this the starting point of a new dynamic artistic scene in Milan. During this period he worked as a gallery assistant to Massimo De Carlo, where he collaborated with many artists that would make an important impact on his later work. From 1998 through 2000, he lived in the Milan flat of Maurizio Cattelan, who also advised him to apply to an artist in residence program at the Ecole de Beaux Arts de Nantes, France, and that was directed by Robert Fleck, Stephanie Moisdon and Philippe Lepeut. From that point to the present, he has lived and worked mainly in Paris. In 2000, he was chosen as one of the 10 Italian artists for the Studio Program at PS1-MoMa in New York. In 2002, he was an artist in residence at the National Contemporary Art Centre Villa Arson, Nice, France. From 2003 through 2004, he participated in the artist in residence program, “Le Pavillon”, at Palais De Tokyo, Paris.
Creator
An entity primarily responsible for making the resource
Bertocchi, Davide
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Title
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Meteorite al contrario
Description
An account of the resource
David Bertocchi’s project, <em>Meteorite al contrario</em> (2010) is the launch into space of a normal stone of medium size, which would constitute a kind of meteorite, according to a trajectory opposite the one that usually leads an asteroid to accidentally stumble on our planet. With this project, in addition a to normal challenging of the scientific premises that describes the trajectory and the ablation with the atmosphere of an extraterrestrial impact directly on the ground, the artist is trying to subvert the classic paradigm of contemporary technology: the maximum technology in minimum space, which in this case would be the minimum technology in maximum “space”. The project is closely related to the poetic of the artist, since long time resident in Paris, and it is referable to a system of signs and meanings, an interest in the universe that started with a work in progres born in 1999 entitled precisely Space, which in more than ten years has involved Bertocchi in the creation of a parallel universe: around 3000 images of galaxies and planets invented by the artist. The project has not been realized yet because of its high costs. <br /><a href="https://www.repository.unipr.it/bitstream/1889/1997/1/bertocchi_meteorite%20al%20contrario.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
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Bertocchi, Davide
Date
A point or period of time associated with an event in the lifecycle of the resource
2010
Contributor
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Rossi, Valentina
Format
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application/pdf
Language
A language of the resource
Italian
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/1889/1997" target="_blank" rel="noopener">http://hdl.handle.net/1889/1997</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Davide Bertocchi
MoRE Museum
Financial reasons
-
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Dublin Core
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Title
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1_2004_progetto ageop EVA.jpg
Description
An account of the resource
Photos selected by the artist for the booklet to be printed and placed in the bedside tables.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 13,38x19,69 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/b76c601de2ebcffff9cdf2a9dad5de5f.jpg
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Dublin Core
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Title
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2_2004_progetto ageop enrico.jpg
Description
An account of the resource
Photo donated by artist Enrico Serotti.
Format
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file jpg, 13,55x10,16 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/f3954cf03151bed8af0fccbb12edb045.JPG
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Title
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3_2004_progetto ageop.jpg.
Description
An account of the resource
Photos of the textile suitcase
Format
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file jpg, 8,67x10,84 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/9996023161b153eb9657fbce9260c0c5.jpg
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Title
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4_2004_progetto ageop.jpg
Description
An account of the resource
Photos of the textile suitcase
Format
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file jpg, 12, 7x15,88 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/c7707f101ce210e213cafaecca4f7dee.JPG
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Title
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5_2004_progetto ageop LAYOUT.jpg
Description
An account of the resource
Sketches and project notes
Format
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file jpg, 29, 7x21 cm, 150 dpi
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Title
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Eva Marisaldi
Description
An account of the resource
Eva Marisaldi was born in 1966. She lives and works in Bologna. She graduated from the Academy of Fine Arts in Bologna. Her research is articulated, frequently through an open and participatory process, through different languages and media, such as drawings, videos, installations, performances, photography and sculpture, to approachdifferent and multiple perspectives on usual things and everyday life. Amongst her most recent solo show we can recall Gestein-gestalt, MIMA, Newcastle (2012), Democratic Psychedelia, Galleria Minini, Brescia (2011), Tjoloholm Castle, Goteborg (2009), Ghost track #2, S.A.L.E.S., Roma (2008), Jumps, MAMbo, Bologna (2007), Services, Galleria Massimo De Carlo, Milano (2007), Parties 3, Art positions, Art Basel Miami, Miami, USA (2006). Her works have been included in many important exhibitions, such as the 1993 and 2001 Venice Biennale; Soggetto Soggetto, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (1994), L’hiver de l’amour, ARC Musèe d’Arte Moderne de la Ville de Paris and PS1, New York (1994), Manifesta, Witte de With, Rotterdam (1996), Exchanging interiors, Museum van Loon, Amsterdam (1996), Fatto in Italia, Centre d’Art Contemporain, Geneva and ICA London (1997), The 504 show, Braunschweig Kunsthalle, Zentrum fur Kunst, Brauschweig (1997), Che cosa sono le nuvole, Fondazione Sandretto Re Rebaudengo, Guarene-Torino (1997), Officina Italia, Galleria Comunale d’Arte Moderna, Bologna (1997), La ville, le jardin, la memoire, Villa Medici, Rome (1998), Istanbul Biennial (1999), Alessandria Biennial, Egypt (1999), Gwangju Biennial, South Korea, (2004), Invisible Exports, New York (2007), Voyage Sentimentale, FRAC Languedoc Roussillon, (2009), Il confine evanescente, MAXXI, Roma (2011), No Soul for Sale, Tate Modern, London (2011), Think Twice, Whitechapel, London (2012), The Wordly House, Documenta, Kassel (2012).
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
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Title
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Metto in moto il prato e partiamo
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Marisaldi structures the project into two proposals: the first consists in the publication of a book of pictures to be placed in the bedside tables of the rooms of the parents of the children staying in the hospital, while the second is the production of a textile bag – convertible into a chair - to be filled with toys that could be taken home once the children recovered and were discharged from the hospital. The project was not realized due to a series of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2447/1/Marisaldi_Metto%20in%20moto%20il%20prato.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
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Marisaldi, Eva
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
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Modena, Elisabetta
Format
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image/jpeg
Type
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Still Image
Language
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Italian
Rights Holder
A person or organization owning or managing rights over the resource.
Eva Marisaldi
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2447" target="_blank" rel="noopener">http://hdl.handle.net/1889/2447</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
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http://www.moremuseum.org/omeka/files/original/a9647271bf5b9e49a400c14ffd48c2eb.jpg
5fbdcce26539b8933a7262587bed4dd1
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Title
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Petar Dabac
Description
An account of the resource
Petar Dabac was born in 1942 in Zagreb. He graduated from the Faculty of Mechanical Engineering and Naval Architecture in Zagreb. He started working in photography in 1960 as an associate in Tošo Dabac’s studio - Tošo Dabac is one of the most important Croa-tian photograph of the post-war period, documenting the cultural transformations and the artistic and social events of his country - which he took over after Tošo’s death in 1970. He’s been working as an independent artist since 1966 and he’s been a member of ULU-PUH (The Croatian Association of Artists of Applied Arts) since 1970. From 1980 to 1987, he organized around 40 photo exhibitions of local and international authors at the gallery established within Tošo Dabac’s Studio.
During the 1990s and early 2000s, it was increasingly difficult to maintain the Tošo Dabac Archive, so that Petar Dabac launched negotiations with the City of Zagreb on the purcha-se of the collection.
He is one of the founders of SPOT, a photography magazine, launched in 1972.
Frm 1990 to 2008, he teached Photography at the Academy of Fine Arts in Ljubljana. In the sixties, he began working on a series of black-and-white portraits of artists, acquaintances, friends and members of the art scene, which he continued to create during the following decades. He belongs to a generation of artists who introduced the conceptual approach to photography in the 1970s by creating spatial installations and doing experiments with photocopies and photograms.
Creator
An entity primarily responsible for making the resource
Dabac, Petar
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
paper
Dublin Core
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Title
A name given to the resource
Museum of Photography
Description
An account of the resource
<p>Petar Dabac began by tackling the issue of conserving photographic heritage to protect the legacy of Tošo Dabac, his uncle. He proposed the establishment of a Museum of Photography in Zagreb to collect, store and copy photographic documents. The Museum would also have exhibitions, a library and a permanent display. <a href="https://www.repository.unipr.it/bitstream/1889/3688/4/Petar%20Dabac_Museum%20of%20Photography.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Dabac, Petar
Date
A point or period of time associated with an event in the lifecycle of the resource
1986
Contributor
An entity responsible for making contributions to the resource
Bignotti, Ilaria
Remondina, Camilla
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Petar Dabac
MoRE museum
Financial reasons
Logistical reasons
-
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Dublin Core
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Title
A name given to the resource
Aleksandra Mir
Description
An account of the resource
<p style="font-weight: 400;">Aleksandra Mir (born 1967) is a Swedish-American contemporary artist known for her collaborative installations and projects. Her work deals with travel, time, placehood, language, gender, identity, locality, nationality, globality, mobility, connectivity, performativity, representation, transition, translation and transgression. She is known for her large scale collaborative projects and for her anthropological methods, involving rigorous archival research, oral history and field work.<br />She has exhibited at Kunsthaus Zurich (2006), Tate Modern, London (2014), Tate Liverpool (2017), Modern Art Oxford (2017), Schirn Kunsthalle, Frankfurt (2009), M – Museum Leuven (2013), Whitney Museum of American Art (2014), Solomon R. Guggenheim Museum (2007), MoMA, New York City (2012), YUZ Museum, Shanghai (2018), Whitney Biennial (2004), Biennale of Sydney (2002), Biennale di Venezia (2009), and Mercosul Biennial, Porto Alegre (2015), Tai Kwun Contemporary, Hong Kong (2020).</p>
Creator
An entity primarily responsible for making the resource
Mir, Alexandra
Dublin Core
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Title
A name given to the resource
Narvik Superstars
Description
An account of the resource
<p><span lang="EN-US">This project, commissioned by the Narvik City Council and Artscape Nordland, proposed to realise a star in the pavement for every child born in during the next 5-7 years in Narvik. This Norwegian city threatened to become vacated, with this work the </span><span lang="EN-US">harborfront</span><span lang="EN-US"> would have been covered in stars, made </span><span lang="EN-US">by the same company that provides </span><span lang="EN-US">those</span><span lang="EN-US"> for Hollywood's Walk of Fame</span><span lang="EN-US">, and </span><span lang="EN-US">every year a ceremony would have been held to reveal the new ones. The goal of the project is to turn the exclusive into the popular through a local recycling of the "star culture", where every newborn baby will become a star in its own life. Simultaneously the project represented a local mobilization to increase the population of Narvik. </span><span lang="EN-US">Due to budget cuts, the project was cancelled in 2006.<br /><o:p></o:p></span><a href="https://www.repository.unipr.it/bitstream/1889/5199/1/Aleksandra%20Mir_Narvik%20Superstars.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Mir, Aleksandra
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
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Mir, Aleksandra
Scotti, Marco
Format
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image/jpeg
Type
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Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Aleksandra Mir
MoRE museum
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/ebead3094cfe452c0707e1735872540b.jpg
17d5f4ec85376c8215c85e2953169a02
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Title
A name given to the resource
David Casini
Description
An account of the resource
David Casini (Montevarchi, 1973) is a visual artist, his work includes sculptures and site-specific installations. He has exhibited in several solo shows at Gallery CAR Projects (Bologna)MAR Museum of Modern and Contemporary Art (Ravenna), Analix Forever Gallery (Geneva), Galleria T293 (Naples). He has participated to important group exhibitions including <em>Everywhere but Now</em> Thessaloniki Biennale of Contemporary Art 4, 2013, <em>Oceanomania</em> at Nouveau Musée National de Monaco and <em>The Mediterranean Approach</em> (Zenobio Palace, Venice) in 2011, <em>Celebration</em> at Macedoniam Museum of Contemporary Art in Athens in 2010, <em>Through the Looking Glass</em> Italian Cultural Institute in Belgrade. He won the Talent Prize in 2009.
Creator
An entity primarily responsible for making the resource
Casini, David
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
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file jpeg, 25x15 cm, 192,024 dpi
Dublin Core
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Title
A name given to the resource
Non Piango Mai
Description
An account of the resource
<p>Drawing realized to design a children's playground. The elements of the game park are inspired by drawings of biologist, zoologist, philosopher and also German artist Ernst Haeckel, who designed more than 100 polychromatic illustrations of animals and sea creatures. Some elements of the drawings, in three-dimensional transposition, are designed to be modified with the aim of making movable some parts, recreate circular movements, extension and elastic.<br />The elements are designed with an internal steel frame to resist several requests, while the exterior is covered by colored rubber, resin, wood, concrete, to recreate different texture to the touch. The project is designed to be installed in a public place, park, square, museum or school.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2665/1/Casini%2c%20Non%20piango%20mai.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Casini, David
Date
A point or period of time associated with an event in the lifecycle of the resource
2010
Contributor
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Rossi, Valentina
Format
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image/jpeg
Language
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English
Type
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Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
David Casini
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2665" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2665</a>
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/333ffa0d21b98d436987c29e7809f97f.jpg
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Dublin Core
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Title
A name given to the resource
Plastic Oplalà 2004 - 1 - Gam Bologna Daolio.jpg
Description
An account of the resource
Details of the garden - 3D botanical garden
Format
The file format, physical medium, or dimensions of the resource
file jpg, 4,5x7,82 cm, 576 dpi
http://www.moremuseum.org/omeka/files/original/a312228291cd7f72f9a30d78ef787d0d.jpg
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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
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Plastic Oplalà 2004- 2- GAM R. Daolio Silvia Cini.jpg
Description
An account of the resource
Details of the garden - 3D botanical garden
Format
The file format, physical medium, or dimensions of the resource
file jpg, 4,49x7,82 cm, 576 dpi
http://www.moremuseum.org/omeka/files/original/6259e25a31d929f04c0327e826be9fdd.jpg
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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
Plastic Oplalà 2004- 3- Gam Bologna Daolio.jpg
Description
An account of the resource
Details of the garden - 3D botanical garden
Format
The file format, physical medium, or dimensions of the resource
file jpg, 2,16x3,75 cm, 576 dpi
http://www.moremuseum.org/omeka/files/original/d56a62c3c7babc9cfd80735b99b646c0.jpg
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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
Plastic Oplalà 2004-4- GAM R. Daolio Silvia Cini.jpg
Description
An account of the resource
Details of the garden - 3D botanical garden
Format
The file format, physical medium, or dimensions of the resource
file jpg, 7,14x7,14 cm, 576 dpi
http://www.moremuseum.org/omeka/files/original/29ef24a225d9bf873e7130754d13c990.jpg
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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
Plastic Oplalà 2004-5 cubi- GAM R. Daolio Silvia Cini.jpg
Description
An account of the resource
PlasticOplalà # 2 seven inflatable cubes covered with canvas
Format
The file format, physical medium, or dimensions of the resource
file jpg, 1,89x2,83 cm, 576 dpi
http://www.moremuseum.org/omeka/files/original/96724a329cfb66fb4120102f628d7499.pdf
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Dublin Core
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Title
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Intervista a Silvia Cini, Dialoghi, a cura di UnDo.net.pdf
Format
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file pdf
Dublin Core
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Title
A name given to the resource
Silvia Cini
Creator
An entity primarily responsible for making the resource
Cini, Silvia
Description
An account of the resource
<p>Silvia Cini (Pisa, 1972) is an artist and independent curator. She graduated from the Academy of Fine Arts in Rome and then continued her studies as an Operator of Cultural Heritage at the Pontifical Gregorian University; thanks to a thesis on the cataloging of contemporary art works, she started working at the ICCD Central Institute for Documentation and the Catalogue of the Ministry of Culture, contributing to the drafting of the law on cataloging OAC Opera contemporary Art as a consultant of the then director Maria Luisa Polichetti.</p>
<p>One of the founders of the Gruppo Immagini, she collaborated with Keith Haring to the event that lead to the mural of Pisa. At the same time she began studying theater with Stefano Vercelli and Luisa Pasello at the Piccolo Teatro di Pontedera, under the direction of Roberto Bacci and supervision of Jersy Grotosky.</p>
<p>Her first exhibition was in Milan in 1994, when she created the group AAVV with Salvatore Falci, then in Rome where she collaborated with Cesare Pietroiusti to DisorsordinAzioni il Gioco del Senso and Non senso (XII Quadrennial of Rome), and with the Gruppo Oreste with which she took part to the 48 Venice Biennale.</p>
<p>In 1997 she curated her first series of exhibitions at the Ferro di Cavallo, in collaboration with the Academy of Fine Arts in Rome, signing the beginning of the art of relationship and public art in Italy. She continued to work as a curator, as collaborator of Carolyn Christov Bakargiev and Hans Hulrich Obrist to the French Academy in Rome and in other curatorial activities (Milan Triennale, Invideo, Icityperiferiche, Palazzo Re Enzo, Bologna, Genoa Loggia of the Merchants, Cartabianca, Museum of Contemporary Art Villa Croce, Genoa) side by side with the exhibiting activity. Since the end of the nineties she works with the Neon Gallery, alternating solo and group exhibitions (Continua, Zero, GoldanKauf) in Italy and abroad.</p>
<p>Her works are inspired by the dialogue, often intimate, that they create with the audience. Her interest focuses often on the landscape as a metaphor of society, integrating environmental audio installations and botanical research. She collaborated over the years with the Faculty of Landscape Architecture in Genoa holding workshops and seminars. In 2000 she received the Prize Atelier from Fabio Mauri, at the Galleria Comunale d'Arte Moderna in Rome. The city of Genoa, on the occasion of Genoa 2004 European Capital of Culture, assigned her the Duchess Galliera Award for best artist working on the territory of Liguria.</p>
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
Plastic Oplalà
Description
An account of the resource
<p>The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. Cini was invited to be part of the project together with artists Emilio Fantin, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri.<br />For the department Cini thinks the project <em>PlasticOplalà 1, 2, 3</em>, a series of site-specific interventions whose idea is to create a small botanical garden outside of the pavilion, in the semi-abandoned garden of the pediatrics department. The project was not realized as a result of a number of economical, technical and logistic reasons.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2451/1/Cini_Plastic%20Oplalà.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Cini, Silvia
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Silvia Cini
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2451" target="_blank" rel="noopener">http://hdl.handle.net/1889/2451</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/fc1f86a74285dbcf9f2c8fe041869e33.pdf
a72c3642d000a930c6015f9c436b4c7e
Dublin Core
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Title
A name given to the resource
progetto S.T.02 de mi amor mi canto.pdf.
Description
An account of the resource
Project Description for AGEOP
Format
The file format, physical medium, or dimensions of the resource
file pdf
http://www.moremuseum.org/omeka/files/original/8347991c5d6c8374fd68218392495836.pdf
ac5148e9acb4ed66783e1f6fb2527765
Dublin Core
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Title
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Torelli Sabrina, intervista Ageop, progetto de mi amor mi canto.pdf
Description
An account of the resource
Interview AGEOP on the project.
Format
The file format, physical medium, or dimensions of the resource
File pdf
http://www.moremuseum.org/omeka/files/original/652e8e8f990829fc0ae9372a3ceb6367.jpg
6450652fbc6e35563e6903078bbae18d
Dublin Core
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Title
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Torelli Sabrina, de mi amor mi canto, 04, cat.1.jpg
Description
An account of the resource
Pages of the catalog published for the exhibition SPA Salus per Arte, GAM of Bologna
Format
The file format, physical medium, or dimensions of the resource
file jpg, 19x38 cm, 150 dpi
http://www.moremuseum.org/omeka/files/original/5fc39976bd0e36ef30f10772975773d8.jpg
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Dublin Core
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Title
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Torelli Sabrina, de mi amor mi canto, cat. 2.jpg
Description
An account of the resource
Pages of the catalog published for the exhibition SPA Salus per Arte, GAM of Bologna
Date
A point or period of time associated with an event in the lifecycle of the resource
file jpg, 19x38 cm, 150 dpi
http://www.moremuseum.org/omeka/files/original/71877170b9ff067de80111d4ff072f8a.jpg
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Dublin Core
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Title
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Torelli Sabrina, dettaglio de mi amor mi canto, 04,mostra Spazio Aperto, Gam, 04.jpg
Description
An account of the resource
Picture of the prototype work exhibited at GAM in Bologna
Format
The file format, physical medium, or dimensions of the resource
file jpg, 10,16x13,55 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/8717ff7a6374f4ad4902fda0875eb3c7.jpg
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Dublin Core
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Title
A name given to the resource
Torelli Sabrina, de mi amor mi canto, 04. Orto Botanico di Parma, Opera d'Amore, 2008.jpg
Description
An account of the resource
Picture of the prototype work exhibited at the Botanical Garden of Parma in 2008
Date
A point or period of time associated with an event in the lifecycle of the resource
file jpg, 29,67x19,78 cm, 150 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/.
Description
An account of the resource
Sabrina Torelli (Reggio Emilia, 1966). In 1996 she received her Bachelor's degree in Fine Arts in Bologna. In 1999, she was seleceted for the International Studio Program - PS1- New York. In 2001 she was finalist for the Premio Querini - Furla 2001 Fondazione Querini Stampalia, Venice, and in the same year she won the award Open Space by the Gallery of Modern Art of Bologna. Her work investigates the different aspects of the possible sensorial perceptions, in the everyday dimension of the human being, in those of disorder and disease and in the processes of communication of nature’s systems, through the use of a wide variety of mediums and expressive tools. In recent years, the philosophical and spiritual component is an "upward momentum" in a personal journey of adherence to beliefs in which coexist in a harmonious way the material and immaterial world, the earthly and the cosmic dimension. Since 2005 she works on alternative therapies and techniques, taking an interest in practices and tools. Among the recent solo and group exhibitions, we remember: 2013 Self-portraits. Inscriptions of the feminine in Italian contemporary art, Mambo, (Bo), 2012 The hidden harmony is greater than that manifested, MLB, Ferrara, 2011 Nothing is created, nothing is destroyed, everything is transformed, Garage42, Cecchini + Torelli, edited Francesca Referza, Velan Center, Turin; constructive Interference, Artists in Residence at the Company, curated by Giacinto di Pietrantonio and Francesca Referza (Airò, Isgrò, Pietroiusti, Parisi, Pivi, Sassolino, Spalletti, Stampone, Torelli) Foundation Malvina Menegaz, Castelbasso (Te); 2010 What does my soul while I'm working? Contemporary artwork by Consolandi Collection, curated by Francesca Pasini and Angela Vettese, MAGA, Museum Art Gallarate, Gallarate (Va); Languages and Trials, Young Artists in a contemporary collection. AgiVerona Collection of George and Anna Fasol, edited by George Verzotti Mart, Rovereto (Tn); 2009 At Mother Earth, permanent installation, Si- care in the park (Torelli - Ferraro), edited by Mili Romano, Savena District, Bologna, 2008 Artwork of love, Open Air by Marinella Paderni and Isolde Saccani, Botanical Garden of the University of Parma.
Creator
An entity primarily responsible for making the resource
Torelli, Sabrina
Title
A name given to the resource
Sabrina Torelli
Dublin Core
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Title
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Simpatia Cosmica; De mi amor mi canto
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Torelli proposed two projects: <em>Simpatia Cosmica (Cosmic sympathy)</em>, conceived for the communication room diagnosis (BCM), and <em>De mi amor mi canto</em>, for the area where the remains rest. The project was not realized due to a series of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2445/4/Torelli_Simpatia%20cosmica%20de%20mi%20amor%20mi%20canto.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Torelli, Sabrina
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
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application/pdf
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Sabrina Torelli
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2445" target="_blank" rel="noopener">http://hdl.handle.net/1889/2445</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/a74b34dd74c1ac755f3082b9bdf4e989.pdf
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Dublin Core
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Title
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Maria Adele Del Vecchio
Description
An account of the resource
<p>Maria Adele Del Vecchio (1976 Caserta), lives and works in Rome. She attended the Staedelschule Frankfurt in 2005/06, with Mark Leckey as her professor. In 2014, she ranked as a finalist in the tenth edition of the biennial Furla Prize, called <em>The Nude Prize</em>. Solo Exhibitions: <em>Whitin rather than above</em>, Gallerie Tiziana Di Caro, Naples, 2015; Tonite let's all make love in London, Supportico Lopez, Berlin, 2014; <em>Qui sembra ancora possibile</em>, curated by Maria Rosa Sossai, Parco del Pineto, Rome, 2011; <em>No end is limited</em>, curated by Stefania Palumbo, Galleria Enrico Fornello, Prato, 2008. Collective Exhibitions: <em>Pane Per Poveri</em>, Teatro Marinoni, Venice, 2015; <em>Journey to the end of the word</em>, curated by Antonello Tolve, Galleria Tiziana Di Caro, Salerno, 2014; <em>Se il dubbio nello spazio è dello spazio</em>, curated by Maria Adele Del Vecchio and Nemanja Cvijanovic, Museo MACRO, Rome 2014. <em>Die Dritte Dimension</em>, Frutta Gallery, Rome, 2013; <em>Door to Door</em>, curated by Maura Picciau, city centre, Salerno, 2012; <em>Badtime</em> <em>Stories Badtime Stories</em>, Supportico Lopez, Berlin, 2011; Classroom #1, curated by Salvatore Lacagnina, Museo MADRE, Naples, 2008; <em>Sistema Binario</em>, curated by Adriana Rispoli and Eugenio Viola, Mergellina Station, Naples, 2008; <em>A long time ago, last night</em>, curated by Francesca Boenzi, Galerjia Kortil, Rijeka, Croatia, 2008. <em>Falansterio</em>, Supportico Lopez, Naples, 2006<em>. Luogo/non-luogo = nuovo luogo</em>, visiting professor Richard Nonas, Fondazione Antonio Ratti, Como, 2003. </p>
Creator
An entity primarily responsible for making the resource
Del Vecchio, Maria Adele
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
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Subtext
Description
An account of the resource
<p>The project consists of an Artist’s book structured on several levels of interpretation which, through images and texts, outlines the moments in which the combination of signs reveal the "forms of the content."<br />The artist's book designed by Maria Adele Del Vecchio is a “personal and abnormal semiology", a product of culture which reveals the contradictory nature of signs and the message they express using a poetic approach, rather than a scientific one. The hypothesis proposed by the artist has been enriched by readings related to semiotics and structuralism, and is nurtured by the belief that reality is entirely composed of signs and that deciphering these signs, composes a more complete picture of reality.<br />The photographs taken are stumbles, glimpses beyond which the artist sees the grids on which life is structured: educated moments that reveal a karst essence along with underlying coordinates.<br />In a brief pastiche, the artist juxtaposes parts of texts by Witold Gombrowicz and James G. Ballard, tracking down a common vision. Well matched and mutually interpenetrating, photographs and texts compose a set of parallel references woven so as to form a large subtext.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3001/1/Maria%20Adele%20Del%20Vecchio_Subtext.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
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Del Vecchio, Maria Adele
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Contributor
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Scipioni, Lydia Elena
Format
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image/jpeg
application/pdf
Language
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English
Type
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Still Image
Text
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/3001" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3001</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Maria Adele Del Vecchio
MoRE Museum
Financial reasons
-
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Title
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Vjenceslav Richter
Description
An account of the resource
<p>Vjenceslav Richter (Drenova, 1917-Zagreb, 2002). He earned his degree in architecture at the Technical Faculty in Zagreb in 1949. He is one of the founders of EXAT 51 (1951), Studio of Industrial Design (1956) and the Centre for Industrial Design (1963) in Zagreb. Richter headed the Architecture Department at the Academy of Applied Arts in Zagreb (1950-1954). In all his activities, from designing the exhibition spaces Pavilion for the World Exhibition in Brussels 1958 and Triennale of Milan in 1964, to painting, Richter carried out the principle of artistic synthesis. After becoming internationally famous thanks to these latest interventions, he worked on designs for museums at Aleppo, Sarajevo, Belgrade, Skopje, and Krapina. Beginning in the early sixties, he developed a systematic approach to urban planning (S<i>inturbanizam</i>), which he further elaborated in the form of a theoretical project called Heliopolis, a four-dimensional megalopolis, of sculpture and painting between seventies and eighties. </p>
<p>His experiments in the field of visual arts associated him with the international movement of New Tendencies. During that period, between the seventies and the nineties, he created his cycles <i>Centre i centrije (Center and Centers), Sistemske skulpture (System Sculpture), Reljefometri (Reliefsmeters), Sistemske grafike (System graphic) </i>and<i>Prostorne grafike (Spatial graphic)</i>, which originated in his fascination with systems and his interest in the possibility of synthesis in the field of visual arts. In the thirty-odd pieces from his cycle on <i>Prostorne slike (Spatial image)</i>, created in the nineties, he finally managed to elide the borders between architecture, sculpture, and painting.</p>
<p>Vjenceslav Richter and his wife, Nada Kareš Richter, donated their artworks and their family house, Tte two-storey villa at 38 Vrhovac houses, to the city of Zagreb in 1980, with the intention of promoting research on Constructivist art and providing a place for young artists to meet, but also in order to improve cultural affairs outside the centre of Zagreb. In 1998, the Richter Collection, as it is commonly called, was entrusted to MSU for management. That was also the beginning of vigorous work on documenting Vjenceslav Richter's art, as well as of close cooperation between the Museum's curators and the artist, which aimed at creating the conditions for opening the collection for the general public. In Spring 2000, the collection was opened to the public, while close cooperation between Vjenceslav Richter and the Museum was continued with further donations made by the artist. In 2007, Nada Kareš Richter donated some valuable archival materials and a library, which is now preserved and documented on the premises of the Collection.<b></b></p>
Creator
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Richter, Vjenceslav
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.
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Title
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Synthurbanism
Creator
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Richter, Vjenceslav
Date
A point or period of time associated with an event in the lifecycle of the resource
1954-1964
Contributor
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Bignotti, Ilaria
Remondina, Camilla
Format
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image/jpeg
Type
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Still Image
Rights Holder
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Vjenceslav Richter
MoRE museum
Description
An account of the resource
Richter developed the idea of Synthurbanism in the early sixties as a result of his in-depth analysis of the legacy of the historical avant-gardes and the synthesis of arts, through the principles of Modernism, along with the experience he acquired working on several pavilion and urban planning projects . As the neologism suggests, it was a visionary, but not utopian project, synthesizing urbanism to provide for the lives of ten thousand people in a single, poly-functional, urban structure consisting of multiple units in the form of a ziggurat. This gave rise to the idea of the Heliopolis, a four-dimensional, constantly revolving residential structure which would provide its inhabitants with an constantly changing view.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3685/4/Vjenceslav%20Richter_Synthurbanism.pdf" target="_blank" rel="noopener">Read more.</a>
Financial reasons
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-
http://www.moremuseum.org/omeka/files/original/262dbd80b3143f1952424c19d4cdfe33.pdf
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Title
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green.docx
Description
An account of the resource
Collage with portraits of the protagonists of the film and a sketch of the agency.
Format
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MS word file/PDF
http://www.moremuseum.org/omeka/files/original/2da224cc348ca8a9ed62fbdb3002eb11.pdf
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Title
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The Travel Agency The script.docx
Description
An account of the resource
Artist report of the different phases the project went through.
Format
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MS word file/PDF
Dublin Core
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Title
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Annika Ström
Description
An account of the resource
<p>Annika Ström was born in Helsingborg, Sweden in 1964. She studied at the Royal Academy of Fine arts in Copenhagen until 1997, but moved already to Berlin 1993. <br /> 2005 she left Berlin and moved to United Kingdom where she now lives. Ström works predominately with films, soundtrack, performances and text works but has also written a feature film script. In 2010 Ström staged the performance "Ten embarrassed men" at the London Frieze art fair where ten identically dressed men walked around together at the fair looking embarrassed. The cause of the embarrassment was the low number of work produced by women artists that are represented at commercial art fairs. The work was followed by a series of other performances such as "The Upset Man” 2010 and "The Inept Five", <em>2012, </em>“Six Lovely People” 2015.An ongoing performance is the "Seven Women Standing In The Way"where seven women in their 60s gently block the entrance of an art space, by talking, drinking and being oblivious to other visitor's attempts to enter the space. So far 10 performances with these women has taken place around Europe Since 2000 Ström has also worked extensively with text phrases, painted on both paper and canvas. In 2014 the Swedish Art Agency commissioned her to do 10 texts works for the new build extension of LUX, the Humanities Departmentat <a title="Lund University" href="https://en.wikipedia.org/wiki/Lund_University">Lund University</a>. On the roof of the building a 10 meter long text in metal says; "men vänta nu". (Direct English translation is; "but wait now " meaning, “hold on”). The work is permanent. In 2015 she composed music with her text works for the Jonkoping Chamber choir in Sweden for a commission for Konsthall Jonkoping. A film was made of the performance and can be seen on <a href="https://vimeo.com/annikastrom">vimeo</a> .She is currently working on new paintings and a new film. A common subject for her work is “fear of failure”. For a solo exhibition in New York 2003, her title for the show was called “Everything in this show can be used against me”.</p>
Creator
An entity primarily responsible for making the resource
Ström, Annika
Dublin Core
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Title
A name given to the resource
The Travel Agency
Description
An account of the resource
<p><em>The Travel Agency</em> is the title of a film Annika Ström started working at in 2006. As the artist recalls in the report donated to the MoRE museum, it went through several phases and two productors, without never being realised: the script ”was about two women, one of which, wants to die, and one who wants to live. They contact an agency, which assists suicide. It is a Special Agency”. After a first financial failure, the project was sent to a new producer, who met the artist in 2014 and showed interest: unfortunately, as the artist recalls, nine months after the meeting, a director in the producer’s company announced in a radio interview her next film, with “thesame pitch as in Ström’s script”. The producer produce the new film. Annika Ström also states that “the producer and the director deny any plagiarism”.</p>
<p>The themes of fragility, uncertainty, sadness, the interest in the act of travelling and in the condition of the traveller, the focus on female protagonists, these are just a few hints we can grasp from the brief description of the artist showed here, that can also easily be found inside Annika Ström film production.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3243/1/Ström_The%20Travel%20Agency.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
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Ström, Annika
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-2014
Contributor
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Scotti, Marco
Format
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application/pdf
Language
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English
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/3243" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3243</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Annika Ström
MoRE Musuem
Type
The nature or genre of the resource
Still Image
Text
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/e8aa02d06ac9a357ae3647eeb79735c5.pdf
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Dublin Core
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Title
A name given to the resource
Triton1.pdf
Description
An account of the resource
A pdf file that reproduces the original 15 pages typescript of the project, a kind of articulated concept with small handwritten notations here and there.
Date
A point or period of time associated with an event in the lifecycle of the resource
1976-1977
http://www.moremuseum.org/omeka/files/original/054f142ed01a61ae22c38b8dc027187f.pdf
7438ee1517e0df3962f2ddc1efdb2a1c
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
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Triton.pdf
Description
An account of the resource
a pdf file that reproduces the typescript of the project in a detailed phase. In the 32 pages all the technical-musical infos needed to perform the songs are provided with precision.
Date
A point or period of time associated with an event in the lifecycle of the resource
1976-1977
http://www.moremuseum.org/omeka/files/original/415e39a64f7a4cf6654afa2d68be8e44.pdf
f2151e782b14d994800088ef13656ccc
Dublin Core
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Title
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Mosconi Ars Electronica.pdf
Description
An account of the resource
A pdf file that reproduces the typescript of the 11 pages proposition for Ars Electronica, complete with floor plans and diagrams depicting the positions of the various instruments.
Date
A point or period of time associated with an event in the lifecycle of the resource
1984-1986
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
Davide Mosconi
Description
An account of the resource
<em><span>D</span></em>avide Mosconi was born in 1941 in Milan, the same city where he died in 2002. After graduating in piano and composition at the Milan Conservatory, in 1961 he moved to London where he studied photography at the London College of Printing. Since 1963, in New York, he worked for four years as an assistant to Richard Avedon and Hiro. He returned to Milan in 1967, a year later took place at the Gallery Il Diaframma his first solo exhibition entitled <span><em>Il sogno di Davide</em></span><span>. </span>In the same year he opened the photographic studio “Studio X” which he will carry out advertising campaigns, fashion and lifestyle works, while working also for music and video art. In 1972 he participated to the exhibition “The New Domestic Landscape” at the MOMA in New York with the short film “Something to Believe In.” In 1974 he took part in “Fotomedia”, a traveling exhibition curated by Daniela Palazzoli in various venues, including the Museum am Ostwall in Dortmund, and, in 1975, the Rotonda della Besana in Milan. In the early eighties he began to work, following an invitation from Polaroid, with the new oversized camera 51×61 cm, focusing on the theme of coincidences in the 150 years of the history of photography. Randomness is one of the aspects which Mosconi devotes a particularattention. 1984 is the year of the first series of triptychs, <em>In Morte del Padre</em>. From 1986 to 1997 the main projects are the triptychs of Prague on the theme of the body, of still lifes and the Day skies and Night skies, then exhibited at the Guggenheim in New York and at the Museum voor Fotografie in Antwerp, as well as in private galleries in Europe and the United States. In 1991 and 1993 he participated at the Venice Biennale. Towards the end of the nineties he realised the two photographic cycles<em> Disegnare l’aria and Polveri</em>,dedicated to Bruno Munari and exhibited in 1997 at alla Galleria Milano as part of a solo exhibition (catalog published by Charta). The latest series of works <em>Autoritratti bucati</em>,was exhibited posthumously at the Galleria San Fedele in Milan in 2003. Mosconi has always flanked his photographic production with a thriving multi-disciplinary activity in performing arts, inside which musical improvisation has always had a strong centrality. In 1970 thas been published the volume <em>Lastoriadellamusicadidavidemosconi</em> that provides a set of recipes for the execution of sonic performances. Many of his projects remained unfulfilled, just because they were by far too ambitious imagining a much broader involvement of operational forces.
Creator
An entity primarily responsible for making the resource
Mosconi, Davide
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Title
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Triton / La Luce del Suono
Description
An account of the resource
TRITON, a 7 days-long event designed and proposed by the artist for the 1977 edition of the Bonn Beethoven Festival, was then restructured and partially reduced in 1984 to be presented under the title LA LUCE DEL SUONO at the 1986 edition of the “Ars Electronica” festival in Linz, Austria.<br /><br />The first two projects of the same title, <em>TRITON</em>, deal, on a different level of detail, with the same event that, mainly involving sound, designed for a duration of seven days, would have involved the entire city of Bonn, starting from the river, on which he passed on a barge that housed the orchestra. It would have been a form of homage to the great composer Beethoven not only in terms of sound/ environment, but also from a visual point of view, considering that in the project this aspect is lagerly considered.<br /><br /><em><span>LA LUCE DEL SUONO,</span></em> a project for “a concert of lights and sounds” that would have involved a vast area of the Danube river and nearby land, conceived by Mosconi in 1984 and presented for the 1986 edition of the festival “Ars Electronica” in Linz, is the result of the further development of a core part of the same imaginative unit that shaped<em><span> TRITON.<br /></span></em>Read more.
Creator
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Mosconi, Davide
Date
A point or period of time associated with an event in the lifecycle of the resource
<em>TRITON:</em> 1976-1977 <br /><em>LA LUCE DEL SUONO</em>: 1984-1986
Contributor
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Longari, Elisabetta
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/1999" target="_blank" rel="noopener">http://hdl.handle.net/1889/1999</a>
Format
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application/pdf
Language
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English
Type
The nature or genre of the resource
Document
Rights Holder
A person or organization owning or managing rights over the resource.
Davide Mosconi
MoRE Museum
Financial reasons
Logistical reasons
-
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90b23ab4e7ad1db57d44d88fc1292b85
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Title
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Cesare Viel
Description
An account of the resource
<p>Cesare Viel (Chivasso, TO, 1964) has exhibited his works in Italy and abroad since the late 80’s, in private galleries, museums and foundations. He lives and works in Genova. He teaches at the Academy of Fine Arts in Genova. </p>
<p>His work, mainly conceptual and performative, focuses on subjectivity, relations and gender identity and on the connection between the language of communication, literature and images. His artistic expression consists of performances and installations above all, making use of several media including sound, voice, writing, photography, video and drawing. During the Nineties he has been invited to important collectives such as: <i>Molteplici Culture, </i>curated by Carolyn Christov Bakargiev and Ludovico Pratesi, Convento Sant’Egidio/ Museo del Folklore, Roma, 1992; <i>Soggetto/Soggetto</i>, curated by Francesca Pasini and Giorgio Verzotti, Museo d’Arte Contemporanea, Castello di Rivoli, Torino, 1994;<i>Ultime generazioni</i>, XII Quadriennale d’Arte, Palazzo delle Esposizioni, Roma, 1996; <i>Officina Italia</i>, curated by Renato Barilli, GAM, Bologna and other locations, 1997; Subway, curated by Roberto Pinto, Metropolitana Milanese, Milano, 1998; <i>La Ville, le Jardin, la Mémoire</i>, curated by Carolyn Christov Bakargiev and Hans Ulbrich Obrist, Villa Medici, Roma, 1998; <i>Disidentico, maschile femminile e oltre</i>, curated by Achille Bonito Oliva, palazzo Branciforte, Palermo, 1998.</p>
<p>In 1998 he wins the Francesca Alinovi award in Bologna. In the same year, he is one of the organizers of the talk <i>Come spiegare a mia madre che ciò che faccio serve a qualcosa,</i>in Bologna.</p>
<p>In 1999, together with Cesare Pietroiusti, Luca Vitone, Eva Marisaldi and others, he takes part to the collective project <i>Oreste alla Biennale</i>, during the 48th edition of La Biennale d’Arte di Venezia, curated by Harald Szeemann.</p>
<p>In 2008, a monograph book about is performance art is published: <i>Cesare Viel. </i><i>Azioni 1996-2007, </i>curated by Carla Subrizi, Silvana editoriale and Fondazione Baruchello, Milano-Roma, 2008. In the same year, Villa Croce Museum of Contemporary Art in Genova stages a retrospective exhibition of his work, <i>Mi gioco fino in fondo. </i><i>Performance e installazioni, </i>with a catalogue featuring contributions of Emanuela De Cecco, Chiara Oliveri Bertola and Sandra Solimano. On October 2019, PAC in Milan will devote a major retrospective to his work, curated by Diego Sileo.</p>
<p>Among his most recent personal exhibitions and performances are: <i>Dar conto di sé. </i><i>Figure, corpi, parole nell’opera di Cesare Viel</i>, Fondazione Pier Luigi and Natalina Remotti, Camogli (GE) 2017. <i>Ab urbe Genua duo lykanthropi Romae</i>, (with Luca Vitone), Pinksummer goes to Rome, Roma, 2017. <i>Verso Jorn</i>, Casa Museo Asger Jorn, Albissola Marina (SV), 2016. <i>Infinita Ricomposizione, </i>Galleria<i></i>Pinksummer, Genova, 2015. <i>Virginia ai panni vecchi, </i>Palazzo Branciforte, Palermo, 2014. <i>Nel nome del Padre </i>(with Luca Vitone), Istituto Italiano di Cultura, Montevideo, 2014. <i>Tales and Things</i>, MLAC, Università La Sapienza, Roma, 2013. <i>Facciamo fluire via le nostre frasi</i>, Fondazione Pietro Rossini, Briosco (MB), 2011. <i>Solo ciò che accade</i>, CeSAC, Il Filatoio di Caraglio, Caraglio (CN), 2010. <i>Cesare Viel</i>, Galleria Pinksummer, Genova, 2008. <i>Domande per il corpo</i>, a site specific project in via San Lorenzo, Genova, Galleria Pinksummer, Genova, 2007. <i>Di nuovo una voce persiste</i>, Nuovo Teatro Colosseo and Fondazione Baruchello, Roma, 2007. <i>Progetto Bachmann, </i>Fondazione Baruchello, Roma, 2006. <i>Sogno Campana</i>, Rocca Sforzesca Imola, 2005. <i>Cesare Viel</i>, Galleria Pinksummer, Genova 2004. <i>VIM, Very Italian Macho,</i>(with Luca Vitone), Galleria Emi Fontana, Milano, 2001.</p>
<p>Among the most recent collective exhibitions: <i>Deposito d’arte italiana presente</i>, Artissima, Torino 2017. <i>Start up. Quattro agenzie per la produzione del possibile</i>, Fondazione Baruchello, Roma, 2016. <i>Frammenti di storie all’ascolto</i>, Casa di Reclusione di Paliano, Paliano (FR), 2016. <i>Zoom, </i>Fondazione Remotti, Camogli (GE), 2015. <i>Ha visto i colori divini del lago di Costanza?, </i>Spazio Thetis, Venezia, 2014. <i>Les Oiseaux</i>, Gaité Lyrique, Paris, 2013.<i>Forte Piano, </i>Auditorium Parco della Musica, Roma, 2012. <i>Hear me out, </i>CIAC, Castello Colonna, Genazzano, Roma, 2011. <i>Il Belpaese dell'Arte, </i>GAMeC, Bergamo, 2011. <i>Archetime</i>, Tank Space, New York, 2009. <i>Living with</i>, Galleria Raffaella Cortese, Milano, 2009. <i>La parola nell’arte</i>, MART, Rovereto, 2007. <i>Il vuoto al centro</i>, Comune di Montesilvano (PE), 2006. <i>Aperto per lavori in corso, </i>PAC, Milano, 2005. <i>The Mythological Machine</i>, Warwick Arts Centre, Coventry (UK), 2004. <i>Dimensione follia</i>, curated by Roberto Pinto, Galleria Civica d’Arte Contemporanea, Trento, 2004; <i>Imperfect Marriages</i>, Galleria Emi Fontana, Milano, 2003. <i>Moltitudini/Solitudini</i>, Museion, Bolzano, 2003; <i>Vis à vis</i>, MAN, Nuoro, 2002; <i>My Opinion</i>, Palazzo Lanfranchi, Pisa, 2001; <i>Short Stories</i>, La Fabbrica del Vapore, Milano, 2001.<i></i></p>
Creator
An entity primarily responsible for making the resource
Viel, Cesare
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Title
A name given to the resource
Tutto ciò che accade
Description
An account of the resource
<p>Two sentences, “Everything that happens” and “Always all around”, are printed on both sides of two banners, carried by two planes while performing some basic aerobatics manoeuvres. The two sentences are perceived as emotional quotes, auspicious signs, appearances in the sky of mind. An air show and an environmental, ephemeral art installation at the same time.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3720/1/Cesare%20Viel_Tutto%20ciò%20che%20accade.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Viel, Cesare
Date
A point or period of time associated with an event in the lifecycle of the resource
2011
Contributor
An entity responsible for making contributions to the resource
Viel, Cesare
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
Rights Holder
A person or organization owning or managing rights over the resource.
Cesare Viel
MoRE museum
Financial reasons
-
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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
Ivan Picelj
Description
An account of the resource
<p><b>Ivan Picelj </b>(Okučani, 1924-Zagreb, 2011). A student at the Fine Arts Academy in Zagreb between 1943 and 1946, he abandoned his studies to begin experimental research that moved away from the impositions of the official art language. In 1951, together with architects Bernardo Bernardi, Zdravko Bregovac, Zvonimir Radić, Božidar Rašica, Vjenceslav Richter and Vladimir Zarahović, and painters Vlado Kristl and Aleksandar Srnec, Picelj founded the EXAT 51 group (Experimental Atelier 1951). This was the first Yugoslavian abstract art group, active during the first half of the fifties in the then-dominant climate of socialist realism. The group played an important role in Croatian art; its program advocated the synthesis of all visual art, an idea inspired by the legacy of Russian constructivist avant-garde and Bauhaus experiences. In 1959, Picelj began a successful collaboration with the Denise René Gallery in Paris, as well as with international galleries such as Howard Wise in New York, Baruch Gallery in Chicago and Galleria del Cavallino in Venice. In the early sixties, he was one of the founders of the New Tendencies movement, which shared several central themes with Picelj’s work, covering for the group as the role of editor of the BIT international magazine, and for the designers of posters and publications that were linked to it. Since that time, Picelj has produced several limited-edition artists’ books, collaborating with Richter, Vasarely and Alviani artists, amongst others. His works have been exhibited in many renowned local and international institutions and are included in several international museum collections, including the Museum of Modern Art in New York, Tate Modern and Victoria & Albert Museum in London, Centre Georges Pompidou in Paris and Boymans Museum in Rotterdam. Since 2011, the Museum of Contemporary Art in Zagreb has maintained a collection of Picelj’s work, as well as his archives and library. These formed an important gift from the artist to the institution, contemporary art scholars and the public.</p>
Creator
An entity primarily responsible for making the resource
Picelj, Ivan
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.
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
Yugoslavian Pavilion in Paris
Description
An account of the resource
<p>The Yugoslav Pavilion designed for the Paris Exposition in 1950 reflected the social and cultural climate following the Second World War, when the country was distancing itself from Stalinism and embracing the ideology of real socialism. There was a strong cultural revival, and the abstract and concrete historical avant-gardes were being reclaimed and analysed, especially Constructivism and the Bauhaus method. The search for a synthesis in the visual arts and architecture characterised the EXAT 51 programme and related 1951 Manifesto, signed by the Pavilion’s authors.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3686/4/-Picelj%2c%20Radic%2c%20Richter%2c%20Srnec_Yugoslavian%20Pavilion%20in%20Paris.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Picelj, Ivan
Radic, Zvonimir
Richter, Vjenceslav
Srnec, Aleksandar
Date
A point or period of time associated with an event in the lifecycle of the resource
1950
Contributor
An entity responsible for making contributions to the resource
Bignotti, Ilaria
Remondina, Camilla
Format
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image/jpeg
Type
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Still Image
Rights Holder
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Ivan Picelj
MoRE museum
Financial reasons
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