Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches.
Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018.
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Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches.
Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018.
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Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches.
Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018.
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D.X XY is a dialogue on painting between two subjects X and Y, which is reported in the file number one, while in the second file donated by the artist the dialogue becomes a performance thanks to two actors who recite the text written by the artist himself. The two interlocutors impel a nonsense conversation where the act of painting is the fulcrum generating a series of references to pictorial action and often to the impossibility of the termination of this act. The performance revolves around a movable structure that lends itself to expose the Baruzzi designs that are changed from time to time by the two performers.
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Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto is an unrealized pictorial work that returns to a “live" pictorial modality, in fact the project consists in painting Giovane che guarda Lorenzo Lotto by Giulio Paolini from 1967. The project Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto is therefore a short-circuit of meaning because Paolini’s work reproduces the Ritratto di giovane by Lorenzo Lotto.
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Invited to submit a project for a medieval hall in the UK, that should have been a  collaboration with either local people or an organization, Annika Ström decided to present a performance based upon the idea of lonely men in their cars, supposed to be lonely dads. Fathers who were divorced and estranged from their children. Starting, as the artist states, from a reflection upon the car as a place of solitude and from her direct experience - a common trait to several of her artworks, here derived from her travels and from her recent experience of moving to England - this project was designed as a collaboration with local Father’s Rights organizations. The artist report and the preparatory collage archived here contains all the details of the performance, of the accompanying music - a popular culture quotation, playing a crucial role as it frequently happens in Annika Ström works - and of the way everything should have been filmed and documented:

“I planned  to get at least 50 Dads. They would drive in to the square outside the medieval hall. One car for each dad. They would stop and remain in their car. They would all simultaneously pull down their car windows and play the same song; The very romantic Pietro Mascagni, as used as the sound track in Raging Bull by Scorsese.

When the song was finished, they were to slowly pull away, head to the motorway in a line towards Southampton, where I also had commission as part of the same project.

We were to hire helicopters to film the motorway, like a “News Copter” where the Lonely Dads would parade with their cars, missing their children.”

Reflecting upon roles and structures inside the families and in the society, here Annika Ström investigate in particular relationships, self-doubts and failures, designing the staging of a dramatic scene where cars would have invaded the historical setting.

The artist also wanted to install enormous disco balls inside the hall, but this project too remained unrealised.
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http://dspace-unipr.cineca.it/handle/1889/3244]]>
Read more.]]> http://hdl.handle.net/1889/2659]]> Read more.]]> http://hdl.handle.net/1889/2664]]> Read more.]]> http://hdl.handle.net/1889/2660]]> Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - La Livre, which was never completed.
During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive.
At Brunnenburg, Knifer proposed his classic "meander" theme, a geometric structure characterized by the contrasts between black and white, which he introduced at the end of 1959 as a form of "anti-painting". Nena Dimitrijević identified it as a synonym of his "artistic identity" and claimed that he, inspired by Primary Painting and Hard Edge aesthetics, adopted a form of conceptualization of the artistic practice which identifies with a single pictorial solution, a symbol that is the sublimation of radical will.
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http://dspace-unipr.cineca.it/handle/1889/2662]]>
Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - La Livre, which was never completed.
During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive.
Conz decided to include the works of Mangelos, who died in 1987, asking the remaining members of the group to place their signature on the back as sort of an homage. The three works signed by the members of Gorgona and presented for the exhibition are respectively attributed to the manifesto for energy, the series of landscapes dedicated to Pythagoras and the series dedicated to the dialogues.
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http://dspace-unipr.cineca.it/handle/1889/2661]]>
La Livre, which was never completed.
During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive.
During his stay, Jevšovar created three different works of art. In two of them, both dated March 5th, he placed a quadrangular figure on the center of a white background, while in his third work, dated March 6th, he proposed a rectangular strip of color on a brown background. The works are therefore linked to the central theme of the artist's research, which is an attack on tradition - not ironically as it was in Dadaism, but rather looking at the surface as a central problem of pictorial structure.
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http://hdl.handle.net/1889/2663]]>
As reported by the artist himself, the theme of the work was “just too raw at the time”, so instead he realized for the exhibition Breaking News (Dedicated to Peter Watkins), a site-specific work for the miniature rooms at the Carnegie Museum of Art, where he overlapped the rooms and reconstructions of ancient battles with architectural elements, coeval furnishing and a television for the transmission of images.
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http://hdl.handle.net/1889/2097]]>