1
50
52
-
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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
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Mir, Alexandra
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Title
A name given to the resource
CityForest
Description
An account of the resource
<p style="font-weight: 400;">In 1997, Aleksandra Mir proposed to the Public Art Fund to collect trees thrown away from the streets of New York City after the Christmas holidays and replant them in a common area until they had dried out completely. The project, while welcomed, was blocked by the city's fire department.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5198/1/Aleksandra%20Mir_CityForest.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
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Mir, Aleksandra
Date
A point or period of time associated with an event in the lifecycle of the resource
1997
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
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Aleksandra Mir
MoRE museum
Logistical reasons
-
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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
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Echaurren, Pablo
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Title
A name given to the resource
Looking for a Rembrandt
Description
An account of the resource
<p style="font-weight: 400;">This work by Echaurren also reflects some Duchampian elements and echoes. The unrealized project depicts a bronze sculpture of a monkey holding an iron with its right hand: if the animal is adherent to all the artist's work declined to the universe of primitives (such as the last film <em>Pablo di Neanderthal</em>, released in 2022 and directed by Antonello Matarazzo), the iron recalls in a veiled way Marcel Duchamp's famous phrase "Using a Rembrandt as an ironing board". As with the other works donated to MoRE, this project has no specific commission. The reasons for its not being realized are logistical and appear as theoretical exercises on which the artist continues to question himself.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5205/1/Pablo%20Echaurren_Looking%20for%20a%20Rembrandt.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
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Echaurren, Pablo
Date
A point or period of time associated with an event in the lifecycle of the resource
2018
Contributor
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Casero, Cristina
Rossi, Valentina
Format
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image/jpeg
Rights Holder
A person or organization owning or managing rights over the resource.
Pablo Echaurren
MoRE museum
Logistical reasons
Theoretical exercise
-
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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
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
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Title
A name given to the resource
Monumento Fortuito
Description
An account of the resource
<p style="font-weight: 400;">Pablo Echaurren's project, like many others, is elaborated through notes written in blue pen on a page of a squared notebook. The artist's intent is already clear from the title "Monumento Fortuito". In fact, in 2015 the artist plans to create a monument dedicated to Marcel Duchamp, an artistic operation that is rooted in the intentions and artistic methods typical of the French artist. For this work Echaurren thinks of the concept of “chance”, wanting to create the monument through the action of "picking up a leftover, a human waste from the street and electing it as an urban monument. The words "rectify it" and "place it on a pedestal" also emerges from the short text, all definitions come to Duchamp's work. With this operation, Echaurren works in the conceptual framework of the French artist, dedicating a work to him with his own design methods.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5207/1/Pablo%20Echaurren_Monumento%20Fortuito.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
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Echaurren, Pablo
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Contributor
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Casero, Cristina
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/tiff
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.
Pablo Echaurren
MoRE museum
Logistical reasons
Theoretical exercise
-
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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
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
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Title
A name given to the resource
En attendant la mariée
Description
An account of the resource
<p style="font-weight: 400;">The project consists of a combined installation of two spinning wheels that move a system of threads, the threads descend from a chrysalis attached to the ceiling. The quote is clear and obvious. In fact, Echaurren mentions the famous ready-made of 1912 but also the International Surrealist Exhibition held in 1942 at the Whitelaw Reid mansion in New York, organized by André Breton with the collaboration of Marcel Duchamp. This exhibition, in addition to being considered a "landmark exhibition" (Tate Papers, 2009; Stedelijk Studies Issue, 2015), presents an installation curated by Marcel Duchamp and created through a complex system of ropes woven throughout the exhibition space. This system allowed the visitor a partial and complicated view of the pictorial works set up on the wall. The French artist's operation was entitled “Sixteen Miles of String”. Echaurren's work combines the two Duchampian operations through the creation of an installation that, like the original design, wanted to occupy the entire exhibition space.<br />In addition to the combination of these two famous works by Duchamp, Echaurren also mentions “The Large Glass”, not directly but by elaborating an installation in which the string came out of the chrysalis that define the sex of the insects.<br />In fact, the threads would have started from the chrysalis to be subsequently taken from the two spinning wheels placed in the center of the room. Echaurren writes a handwritten note: “The insect bride <span>Þ</span> the male molds <span>Þ</span> females with wings”. This reference to the chrysalis also brings out the artist's attention to entomology. In fact, Echaurren has stated several times that as a young man he wanted to be an entomologist.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5204/1/Pablo%20Echaurren_En%20attendant%20la%20mariée.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Echaurren, Pablo
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Contributor
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Casero, Cristina
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/tiff
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.
Pablo Echaurren
MoRE museum
Logistical reasons
Theoretical exercise
-
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7c4c6b8dae326ef8ce91eee0249e983d
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
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
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Title
A name given to the resource
Rouge Selavy
Description
An account of the resource
<em>Rouge Selavy</em> is the title of a work that Echaurren designed in 1977, a fundamental year because on that very date the artist decided to (temporarily) abandon art to devote himself to politics. The artist writes with a blue pen over a lined notebook one of the first projects where the figure of Marcel Duchamp emerges. In fact, the unrealized work consisted of a performative action: to be exact, a parade. In the Eucharren notebook he writes: "making Duchamp banners", then creating "silent" banners (conceptual, we could say), which had to show only verbal elements such as the question mark and question mark made with a red marker. <br />This because? Echaurren explains the reasons in the points below. The artist speaks of the concept of imagination and develops it under various aspects, affirming that the imagination does not stop at a banner, that the imagination must be brought onto the banner itself and finally the same banner is defined as "doubtful" and "without certainties".<br />The title of the work is a distortion, one of the first distortions made by Echaurren on the titles of Duchamp's works (see Mon Alice, a project on display inside MoRE). Indeed, the famous portrait as a woman by the French artist <em>Rrose Selavy</em> is transformed into <em>Rouge Selavy</em>. There is a desire to highlight red as the color of life, in fact the marker strokes on the page that draw the exclamation and question marks on the banners are red.<br />Furthermore, this continuous use of the word imagination can only bring to the mind the famous slogan of the seventies "the imagination to power".<br /><a href="https://www.repository.unipr.it/bitstream/1889/5208/1/Pablo%20Echaurren_Rouge%20Selavy.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
1977
Contributor
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Casero, Cristina
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/tiff
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.
Pablo Echaurren
MoRE museum
Logistical reasons
Theoretical exercise
-
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http://www.moremuseum.org/omeka/files/original/ce36a40158104eb256955a39166ed015.pdf
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Dublin Core
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Title
A name given to the resource
David Horvitz
Description
An account of the resource
David Horvitz is an artist from Los Angeles
Creator
An entity primarily responsible for making the resource
Horvitz, David
Dublin Core
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Title
A name given to the resource
Untitled
Description
An account of the resource
<p>This project, which has been presented directly by the artist with an e-mail, consists of just an idea: to pull one of the old trolly car of Los Angeles out of the ocean where they had been dumped, after the closure of this transport system. Reflecting on his native city, today completely dedicated to cars, on its past and on the processes of forgetting, Horvitz wants to brings back to light an episode – the throwing of the trollies into the ocean – that clearly becomes a metaphor.<br />The Los Angeles Railway was a system of streetcars that operated in Central Los Angeles and surrounding neighborhoods between 1901 and 1963 and there are several articles and photos that can confirm that during the Fifties a few of the discarded streetcars from the Los Angeles Transit Lines, created in 1945, were thrown into the ocean: in particular the July, 1959 issue of “Mass Transportation” magazine<a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftn1" name="_ftnref1"><span>[1]</span></a> featured an informative article about six ‘old’ Los Angeles Transit Lines streetcars being placed off the coast at Redondo Beach to create an artificial reef.<br />This work by David Horvitz can also be considered part of a wider reflection from the artist on the concept of water and time, which considers conceptual practices and applies “the fluid and impermanent dimension of the Fluxus movement and of Oriental culture”<a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftn2" name="_ftnref2"><span>[2]</span></a>. The search and recovery of a dumped trolly car then also become a poetic and surreal performative gesture, an ephemeral action that should have left several different traces, just like David Horvitz postal artworks, his stamps or his attempts to mimic the sound of the ocean using the human voice.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3985/1/David%20Horvitz_untitled.pdf" target="_blank" rel="noopener">Read more</a>.</p>
<p></p>
<p><a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftnref1" name="_ftn1"><span>[1]</span></a> Metro Digital Resources Librarian, <em>Before “Subway To The Sea,” There Was “Streetcar In The Sea”: Creating Artificial Reefs Off The Los Angeles Coast In 1959</em>, <span> </span>Metro's Primary Resources, Los Angeles County Metropolitan Transportation Authority, May 18, 2011, Available at: <a href="https://metroprimaryresources.info/before-subway-to-the-sea-there-was-streetcar-in-the-sea-creating-artificial-reefs-off-the-los-angeles-coast-in-1959/1324/">https://metroprimaryresources.info/before-subway-to-the-sea-there-was-streetcar-in-the-sea-creating-artificial-reefs-off-the-los-angeles-coast-in-1959/1324/</a></p>
<p><a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftnref2" name="_ftn2"><span>[2]</span></a> <span>M. Vecellio, <em>The Water in you</em>, in David Horvitz, <em>nuvola, nuvola, oceano, nuvola, foschia, tu</em>, Loom Gallery, Milano, 2018, s.p.</span></p>
Creator
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Horvitz, David
Date
A point or period of time associated with an event in the lifecycle of the resource
2009-2019
Contributor
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Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
text/html
Language
A language of the resource
English
Type
The nature or genre of the resource
Email
Rights Holder
A person or organization owning or managing rights over the resource.
David Horvitz
MoRE Museum
Logistical reasons
-
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Dublin Core
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Title
A name given to the resource
Benni Bosetto
Description
An account of the resource
<p>Benni Bosetto (Milano, 1987), lives and works in Milano. She graduated from the Accademia di Brera, Milano and she studied at the Sandberg Institut, Amsterdam.</p>
<p>Her recent exhibitions include: 2018 - OGR, Torino; MAMbo, Bologna curated by Lorenzo Balbi; Fondazione Baruchello, Roma, a cura di Caterina Molteni; ADA, Roma. 2017 - Art Verona Collateral Project, organised by Mauro De Iorio; Dome, Milano, curated by Ginevra Bria; Tile Project Space, Milano; Placentia Arte, a project by Roberto Fassone. 2016 - DAMA, Torino, performance curated by Lorenzo Balbi; De Appel Art Center, Amsterdam; Marselleria, Milano. 2015 - Fanta Spazio, Milano. 2014 - Il Crepaccio, Milano. Her residencies include: Swan Station, curated by Zoe De Luca & Something Must Break, Buco del Piombo, Como (2019, upcoming); Fonderia Artistica Battaglia (Milano, 2018); Pavillon des Indes (Parigi, 2016) e VIR Via Farini, (Milano, 2014). She received the Premio Termoli in 2018. </p>
Creator
An entity primarily responsible for making the resource
Bosetto, Benni
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
Untitled
Description
An account of the resource
Bosetto worked for a whole year to design an exhibition presented through living sculptures in a few apartments in Via Eustachi, Milan. The exhibition should have been visited with a map that would have shown to the visitors a series of places, where they could have enjoyed a series of performances. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3841/4/bosetto_grulli.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Bosetto, Benni
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
Contributor
An entity responsible for making contributions to the resource
Grulli, Antonio
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Benni Bosetto
MoRE Museum
Logistical reasons
Organizational issues
-
http://www.moremuseum.org/omeka/files/original/8e73550559a3942846930ecf1ec87325.jpg
5fde344e62f4d8b294944beaf886a48e
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
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
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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
An entity primarily responsible for making the resource
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
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image/jpeg
Language
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Italian
Type
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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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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
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
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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
Thomas Braida
Description
An account of the resource
<p>Thomas Braida was born in Gorizia in 1982 and he graduated from the Academy of Fine Arts in Venice in 2010; currently he lives between Turin and Venice. He has exhibited in many institutional spaces such as the Galleria Civica, Modena, the Palazzo della Misericordia in Bergamo and the Bevilacqua La Masa Foundation in Venice. He has also already attended numerous solo exhibitions such as Solo at Palazzo Nani Bernardo in Venice, on the occasion of the 2017 Biennale, and - together with Valerio Nicolai - two personal double exhibitions in two Roman galleries such as the Galleria Monitor and the Galleria Furini.</p>
Creator
An entity primarily responsible for making the resource
Braida, Thomas
Dublin Core
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Title
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Studi per quadri non realizzati. Quaderno 18
Description
An account of the resource
<p>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.<br />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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3473/1/Thomas%20Braida_quaderno%2018.%20doc.pdf">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Braida, Thomas
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-2018
Contributor
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Rossi, Valentina
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.
Thomas Braida
MoRE Museum
Ideological reasons
Logistical 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
Thomas Braida
Description
An account of the resource
<p>Thomas Braida was born in Gorizia in 1982 and he graduated from the Academy of Fine Arts in Venice in 2010; currently he lives between Turin and Venice. He has exhibited in many institutional spaces such as the Galleria Civica, Modena, the Palazzo della Misericordia in Bergamo and the Bevilacqua La Masa Foundation in Venice. He has also already attended numerous solo exhibitions such as Solo at Palazzo Nani Bernardo in Venice, on the occasion of the 2017 Biennale, and - together with Valerio Nicolai - two personal double exhibitions in two Roman galleries such as the Galleria Monitor and the Galleria Furini.</p>
Creator
An entity primarily responsible for making the resource
Braida, Thomas
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
Studi per quadri non realizzati. Quaderno 17
Description
An account of the resource
<p>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.<br />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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3472/1/Thomas%20Braida_quaderno%2017.pdf">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Braida, Thomas
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-2017
Contributor
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Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Thomas Braida
MoRE Museum
Ideological reasons
Logistical 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
Thomas Braida
Description
An account of the resource
<p>Thomas Braida was born in Gorizia in 1982 and he graduated from the Academy of Fine Arts in Venice in 2010; currently he lives between Turin and Venice. He has exhibited in many institutional spaces such as the Galleria Civica, Modena, the Palazzo della Misericordia in Bergamo and the Bevilacqua La Masa Foundation in Venice. He has also already attended numerous solo exhibitions such as Solo at Palazzo Nani Bernardo in Venice, on the occasion of the 2017 Biennale, and - together with Valerio Nicolai - two personal double exhibitions in two Roman galleries such as the Galleria Monitor and the Galleria Furini.</p>
Creator
An entity primarily responsible for making the resource
Braida, Thomas
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
Studi per quadri non realizzati. Quaderno 16
Description
An account of the resource
<p>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.<br />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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3471/1/Thomas%20Braida_quaderno%2016.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Braida, Thomas
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-2016
Contributor
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Rossi, Valentina
Format
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image/tiff
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Thomas Braida
MoRE Museum
Ideological reasons
Logistical reasons
-
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Dublin Core
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Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Dublin Core
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Title
A name given to the resource
Viene e va
Description
An account of the resource
<p><span><em>Viene e va </em>is an installation by Liliana Moro that won the 7th edition of “</span><span>Premio <em>ArteGiovane</em> – <em>Torino</em> incontra l'arte. <em>Una porta per Torino” – </em>conceived for the Iveco roundabout in </span><span>Corso Giulio Cesare, Turin. The roundabout - that already presented two commas made of stone chippings on the grass – would host two groups of street lamps with a fixed light, one yellow and one white, with two street lamps with intermittent light at the centre, representing two lighthouses, whose function is to serve as a navigational aid for the sailors. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3446/1/Liliana%20Moro_Viene%20e%20va.%20Concorso%20Torino%20Arte%20Giovane%202005.pdf" target="_blank" rel="noopener">Read more.</a></span></p>
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Date
A point or period of time associated with an event in the lifecycle of the resource
2005
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
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.
Liliana Moro
MoRE museum
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/3446" target="_blank" rel="noopener">http://hdl.handle.net/1889/3446</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/ec86686afba9ea7a07c21a3398b4a10c.pdf
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Dublin Core
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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
The file format, physical medium, or dimensions of the resource
pdf file
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
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
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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
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Tosatti, Gian Maria
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
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Scotti, Marco
Format
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application/pdf
Language
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Italian
Type
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Text
Identifier
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<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
-
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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
Mathis Collins
Description
An account of the resource
<p>Mathis Collins was born in 1986 and is based in Paris and London. He studied at the Ecole d’Art de Cergy, then in Brussels, Montreal and Metz. Among the solo shows: “Wet French”, Levy.Delval, Brussels; 2016; “Dru-French”, Palais de Tokyo, 2016; “Dynasty”, Palais de Tokyo (with Cyril Verde), Paris, 2010. His works have been included in the group shows “Ce que raconte la solitude”, Friche Belle de Mai, Marseille, 2014 and in exhibitions at Astrup Fearnley Museum, Oslo, 2014 and Le Magasin, Grenoble, France. Mathis Collins takes part in the activities of the Parisian group Treize. </p>
Creator
An entity primarily responsible for making the resource
Collins, Mathis
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Title
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Quercus Suber Utopia
Description
An account of the resource
<p>For the past few years, Mathis Collins has worked with cork harvesters, local populations of Mediterranean forests and villages and artists, and conceived works that focus on ecology, culture and economy of cork regions. <em>Quercus Suber Utopia</em> is a project for the making of a collective artwork, in the regions of South Europe and North Africa where grows Cork trees.<br />The sculptures produced for <em>Quercus Suber Utopia</em>, based on a discussion on community buildings, would to be exhibited in each of the other participating communities in a continuous process of exchange and activity. Produced with cork, the sculptures or scale models of the communities utopian collective space, was to set a pan-regional discussion and understanding of the contemporary ecological and economical crisis of cork trees.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3003/1/Mathis%20Collins_Quercus%20Suber%20Utopia.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
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Collins, Mathis
Date
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2014
Contributor
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Scipioni, Lydia Elena
Format
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image/jpeg
Language
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English
Type
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Still Image
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/3003" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3003</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Mathis Collins
MoRE Museum
Logistical reasons
Technical reasons
-
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Title
A name given to the resource
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>
Creator
An entity primarily responsible for making the resource
Mele, Sandro
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Title
A name given to the resource
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>
Creator
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Mele, Sandro
Date
A point or period of time associated with an event in the lifecycle of the resource
2006
Contributor
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Scipioni, Lydia Elena
Format
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image/tiff
Language
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Italian
Type
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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>
Rights Holder
A person or organization owning or managing rights over the resource.
Sandro Mele
MoRE Museum
Financial reasons
Logistical 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
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L'omaggio - 2005.jpg
Format
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file jpeg, 10,837x7,214 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
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Title
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L'omaggio 2 - 2005.jpg
Format
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file jpeg, 25,468x 16,933 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
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Title
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L'omaggio 3 - 2005.jpg
Format
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file jpeg, 10,837x7,214 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
http://www.moremuseum.org/omeka/files/original/ef6f2b425710cc904856d60e08d1307d.pdf
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Title
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file.pdf
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File pdf
Description
An account of the resource
Online article published on EXIBART.com covering H.H. Lim's car accident.
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Title
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H.H. Lim
Creator
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Lim, H.H.
Description
An account of the resource
H.H. Lim was born in Malaysia and graduated from the Academy of Fine Arts in Rome. Since 1976 he has been living and working between Rome and Penang. He is the founder and organizer of the exhibition space Edicola Notte, which has been one of the most dynamic and proactive realities in the capital since 1990. He has participated in numerous solo and group exhibitions: Oltre. Il primo piano, Italian Cultural Institute, Budapest (2015); Brera in contemporaneo Accademy of Brera, Milan (2015); No coffee no cigarettes, Paola Verrengia Gallery, Salerno (2015); Passaggi, Musée d'Art Modern et Contemporain, Saint- Etienne (2015); Mirare Giacomo Leopardi, Idill'io No. 13, Recanati (2015); Mirare, Idill'io No. 11, Recanati (2015); RI-FLESSIONI, R.A.M. radioartemobile, Rome (2015); National Visual Arts Gallery, Kuala Lumpur, Malaysia (2015); Migrating Forms and Migrating Gods, The Museum of Goa, a side event of the Biennale of Muziris Kochi, India (2014); Tornare al Senso Costruttivo, performance at the Verdi Theatre, Milan (2014); Open Museum Open City, project for R.A.M. radioartemobile and for the collection Maxxi, Rome (2014); Sconfinamenti, the 57th Festival of the Two Worlds, Spoleto (2014), Politicamente Parlando, Bianconi Gallery, Milan (2014); La Nuit Blanche, La Gaite Lyrique, Paris (2013); 6th Prague Biennale, Prague (2013); 55th International Art Exhibition of the Venice Biennale, Pavilion of the Republic of Cuba, Venice (2013); John Cage Experiments And Its Context, NCCA National Center of Contemporary Art, Moscow (2013); Landscape on the Move, De Vleeshal & De Kabinetten van de Vleeshal, Middelburg, The Netherlands (2012); Il tesoro nascosto, GNAM National Gallery of Modern Art, Rome (2011); Hidden Treasure, Tang Gallery, Bangkok (2011); 12th International Architecture Exhibition of the Venice Biennale, Venice (2010); 3 Camere, R.A.M radioartemobile, Rome (2010); Gone with the Wind, UCCA Ullens Center for Contemporary Art, Beijing (2010); Onda Anomala, a side event of Manifesta 7, Von Morenberg, Trento (2008); Guangdong Station, Art Museum, Guangdong (2008); Emergency Biennale, the Istanbul Biennial, Istanbul (2007); Wherever We Go, Walter & McBean Galleries, San Francisco (2007); The 5th Ink Painting Biennial of Shenzhen, He Xiangning Art Museum, Shenzhen (2006); "Sweet Taboos" "Go Inside", 3rd Tirana Biennale, National Art Gallery, Tirana (2005); À l'ouest du sud de l'est, CRAC Regional Center of Contemporary Languedoc-Roussillon Art, Sète, France (2004); Villa Arson, Nice (2004); Le Opere e i Giorni, Certosa of San Lorenzo, Padula (2002); Tribù dell'Arte, MACRO Museum of Contemporary Art, Rome (2001).
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Title
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Omaggio a Wojtyla
Creator
An entity primarily responsible for making the resource
Lim, H.H.
Date
A point or period of time associated with an event in the lifecycle of the resource
2005
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
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image/jpeg
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Description
An account of the resource
<p>This project was born in the aftermath of HH Lim's car accident which occurred on the highway on March 26th in 2005, while he was on his way from Rome to Naples for the opening of the inaugural exhibition of the PAN - Palazzo delle Arti di Napoli, <em>The Giving Person. Il dono dell'artista</em>, curated by Lóránd Hegyi, invited by the artist Yan Pei Ming who had visited Lim's exhibition at Fondazione Volume! in Rome a few days earlier. Despite the severity of the accident, Lim was unharmed and decided to proceed his journey abandoning the destroyed car on the side of the highway. The project was inspired by a series of events that occurred before the departure and during the trip, as well as a work of art by his friend Yan Pei Ming on display in the exhibition - a large red figure of a Buddha, similar to the one Lim has always been wearing on his neck - and ultimately the death of the pope a few days later. The project was never actually developed as it remained a mere thought, an idea the artist had. Lim imagined a large public exhibition to thank the Pope: the work would have consisted of a series of montages made using Photoshop, showing some drawings of Lim – linked to the series of <em>Words</em> - superimposed on the front pages of the newspapers and posted during the funeral of Wojtyla, which took place on April 8th 2005 in the St. Peter's Square. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2898/1/HH%20Lim_Omaggio%20a%20Wojtyla.pdf" target="_blank" rel="noopener">Read more</a>.</p>
<p> </p>
Rights Holder
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H.H. Lim
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2898" target="_blank" rel="noopener">http://hdl.handle.net/1889/2898</a>
Logistical reasons
Theoretical exercise
-
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Dublin Core
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Title
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Progetto x Gibellina.jpg
Format
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file jpeg, 20,003 x 18,256 cm, 240 dpi
Subject
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Photo of the model of the sculpture
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Progetto x Gibellina 001.jpg
Format
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file jpeg, 6,363 x 10,173 cm, 200 dpi
Description
An account of the resource
Photo showing Elio Marchegiani and Carola Pandolfo during the presentation of the model to the mayor of Gibellina, Ludovico Corrao.
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Title
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Elio Marchegiani
Description
An account of the resource
Elio Marchegiani was born in Syracuse in 1929 to Sicilian parents. In 1934 his family settled in Livorno, where he spent his childhood and youth. He began painting as an autodidact. Following the family tradition, he received a classical eduction and enrolled at the Law Faculty of the University of Pisa. However, Mario Nigro's acquaintance made him change his path. He began to organize exhibitions and cultural events, but it's his friendship with Gianni Bertini that convinced him to leave the province behind and pursue artistic adventures in cities such as Paris, Milan, Rome and Bologna. The island of Favignana is where he preferred to spend the summers. For several years now he has been living in Pianoro Vecchio, a residential area on the hills, on Via Toscana, alternating the summers in Misano Adriatico and the island of Ischia. <a href="http://www.eliomarchegiani.com" target="_blank">http://www.eliomarchegiani.com</a><br /><br />
Creator
An entity primarily responsible for making the resource
Marchegiani, Elio
Dublin Core
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Title
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Monolite in bilico
Creator
An entity primarily responsible for making the resource
Marchegiani, Elio
Date
A point or period of time associated with an event in the lifecycle of the resource
1979
Contributor
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Scotti, Marco
Relation
A related resource
Dspace:
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p><em>Monolite in bilico </em>consists of a block of slate or lava stone resting on its edge on top of an egg made of travertine from Trapani, and placed on a pedestal of white cement destined for an open space in the city of Gibellina. The exact placement and measurements were yet to be determined. The artist donated his project to MoRE and – given the occasion - recounted the complex history of his work: "After visiting the new town of Gibellina way back in December of 1979, invited by the mayor Ludovico Corrao, I thought of erecting a large monolith made of slate or better yet of volcanic lava, balanced on top of a travertine egg, which was then to be placed in one of the city squares as a symbol of rebirth and a representation of the force of nature. The egg is an archetype of mysterious and symbolic significance, the Sun in the yolk and the Moon in the glare, gold and silver, a reassembled dualism. From this union life is born and perpetuated. The egg prevails over the force of nature by holding up the monolith. That's why it is in the balance. Enthusiastic about the idea, the mayor immediately ordered works to be carried out on the egg. I even had the chance to see it finished, but I never got an answer about the monolith itself, which therefore remained unexecuted. Each time I inquired about the project, I've been given excuses and evasive answers. Thus I ceased to insist because I realized that something or someone was hindering the project. They even went so far as to deny that the egg had ever been made."<br /><a href="https://www.repository.unipr.it/bitstream/1889/2901/1/Elio%20Marchegiani_Monolite%20in%20bilico.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Rights Holder
A person or organization owning or managing rights over the resource.
Elio Marchegiani
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="%20http://hdl.handle.net/1889/2901" target="_blank" rel="noopener">http://hdl.handle.net/1889/2901</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/22b899d900f152badd3425a757641211.tif
43078161016ff24f1edd92892ffb764f
Dublin Core
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Title
A name given to the resource
Paolini_Overview 2012_Model-1.tif
Description
An account of the resource
Photograph of the model taken for the project
Format
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file tiff, 33,158x 25,425 cm, 304,8 dpi
http://www.moremuseum.org/omeka/files/original/a2cd9a61615306f38845fa2f30e4885e.tif
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Title
A name given to the resource
Paolini_Overview 2012_Model-2.tif
Description
An account of the resource
Photographs of the model taken for the project
Format
The file format, physical medium, or dimensions of the resource
file tiff, 33,142x 22,283 cm, 304,8 dpi
http://www.moremuseum.org/omeka/files/original/822e337365404a92f870c71dcb5e5cb6.pdf
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Title
A name given to the resource
Paolini_Overview_Documentation.pdf
Description
An account of the resource
Documentation of the project
Format
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File pdf
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Title
A name given to the resource
Giulio Paolini
Description
An account of the resource
<p>Giulio Paolini was born on November 5th, 1940 in Genoa, and lives in Turin. Since his first participation in a group exhibition (1961) and his first solo show (1964), he has had countless exhibitions in galleries and museums the world over. His major retrospectives include: the Palazzo della Pilotta in Parma (1976), Stedelijk Museum in Amsterdam (1980), Nouveau Musée in Villeurbanne (1984), Staatsgalerie in Stuttgart (1986), Galleria Nazionale d’Arte Moderna in Rome (1988), Neue Galerie am Landesmuseum Joanneum in Graz (1998), GAM Galleria Civica d’Arte Moderna e Contemporanea in Turin (1999), Fondazione Prada in Milan (2003), Kunstmuseum in Winterthur (2005), MACRO Museo d’Arte Contemporanea Roma in Rome (2013) and Whitechapel Gallery in London (2014). He has participated in many Arte povera exhibitions and has been invited on several occasions to the Documenta in Kassel (1972, 1977, 1982, 1992) as well as to the Venice Biennale (1970, 1976, 1978, 1980, 1984, 1986, 1993, 1995, 1997, 2013). Since 1969 he has also designed sets and costumes for the theatre, notably projects devised with Carlo Quartucci in the eighties and the recent sets for two Wagner operas directed by Federico Tiezzi. Having trained as a graphic designer, he has always nurtured special interest in the field of publishing and writing. From the outset his artistic exploration has been accompanied by his thoughts, collected in books he has personally edited: from <em>Idem</em>, published in 1975 by Einaudi with an introduction by Italo Calvino, to his most recent publications, <em>Quattro passi. Nel museo senza muse</em> (Einaudi, Turin 2006), <em>Dall’Atlante al Vuoto in ordine alfabetico</em> (Electa, Milan 2010) and <em>L’autore che credeva di esistere</em> (Johan & Levi, Milan 2012). Many books have been published devoted to Paolini’s oeuvre: from the first monograph written by Germano Celant (Sonnabend Press, New York 1972) to the volume by Francesco Poli (Lindau, Turin 1990) and, lastly, the Catalogue Raisonné of the artist’s works dated from 1960 to 1999, edited by Maddalena Disch (Skira Editore, Milan 2008).</p>
<p>For further information, please see the artist’s website: <a href="http://www.fondazionepaolini.it" target="_blank">www.fondazionepaolini.it</a></p>
Creator
An entity primarily responsible for making the resource
Paolini, Giulio
Dublin Core
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Title
A name given to the resource
Quadro Generale
Description
An account of the resource
<p>The project by Giulio Paolini entitled <em>Quadro generale</em> (<em>Overview)</em> was developed by the artist between 2010 and 2012, and intended to be placed near the south steps within the Sully Wing of the Louvre Museum in Paris, which commissioned the piece. Although the artist's proposal had been approved in its final version in the summer of 2012, the initiative was not followed through for various reasons, including the appointment of a new director at the museum. The installation that Paolini had designed included a geometric structure in stainless steel, built around a square hanging from the ceiling in the center of the space. It contained fragments of plexiglass engraved with the same geometric designs which would have been placed on the surrounding walls, as if they had been scattered by an explosion of the nucleus. This complex structure, by its nature variable and cryptic although clearly structured, represents – as Paolini himself stated - the very idea of the museum: "some sort of 'big bang' of continued proliferation destined to an inexorable, vertiginous fragmentation until it almost exhausts much like a 'black hole' that prevents us to decipher it."<br /><a href="https://www.repository.unipr.it/bitstream/1889/2903/1/Paolini_Quadro%20Generale.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Paolini, Giulio
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-2012
Contributor
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Casero, Cristina
Format
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image/tiff
application/pdf
Language
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Italian
Type
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Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Giulio Paolini
More Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="%20http://hdl.handle.net/1889/2903" target="_blank" rel="noopener">http://hdl.handle.net/1889/2903</a>
Logistical reasons
Political reasons
-
http://www.moremuseum.org/omeka/files/original/84b2318f506ed90bc03fa738e5e97f1c.pdf
8062454a035287653ef5910016b35af1
Dublin Core
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Title
A name given to the resource
Del Piero.docx
Description
An account of the resource
Letter sent by the artist to Alessandro Del Piero to invite him to take part in the project.
Format
The file format, physical medium, or dimensions of the resource
File pdf
http://www.moremuseum.org/omeka/files/original/2eff8e7524a9f5d6fbc96465dfd439df.jpg
9c6c84c0b3b4e9efaae44f1c1e91907a
Dublin Core
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Title
A name given to the resource
FotowebpersitoBambinGesudelleMani.jpeg
Description
An account of the resource
Photography of <em>Bambin Gesù delle mani</em> by Pinturicchio (1492). This fresco painting, removed by the Borgia Apartments in Vatican, has been hidden to the public for almost five hundred years and is exhibited today at the Fondazione Guglielmo Giordano of Perugia.
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 15,24 x 20,32 cm, 72 dpi
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Title
A name given to the resource
Enzo Umbaca
Description
An account of the resource
Enzo Umbaca, born in Caulonia in 1964, lives and works in Milan. He studied Scenography at Brera Academy. His artistic research spreads across different languages ranging from video to photography and performance, to focus on identity and the history of places, engaging the community and trying to identify himself with the other.
Creator
An entity primarily responsible for making the resource
Umbaca, Enzo
Dublin Core
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Title
A name given to the resource
Del Piero
Description
An account of the resource
Taking inspiration from “Pinturicchio”, the epithet invented by Gianni Agnelli to describe Alessandro Del Piero as “an artist of football”, Enzo Umbaca invited the famous football player to take part in a performance; the idea was to ask Pinturicchio-Del Piero to paint a fresco on a wall of a gallery in Turin by kicking a ball stained with graphite against a wall on which was hanging a reproduction of an artwork by Pinturicchio. The project was conceived for the second solo exhibition of the artist at Franco Soffiantino Gallery in Turin and it was never realised since Del Piero did not answer to the invitation. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2902/1/Umbaca_Del%20Piero.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Umbaca, Enzo
Date
A point or period of time associated with an event in the lifecycle of the resource
2007
Contributor
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Romano, Gianni
Format
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application/pdf
image/jpeg
Language
A language of the resource
Italian
Type
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Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Enzo Umbaca
More Museum
Identifier
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<a href="http://hdl.handle.net/1889/2902" target="_blank" rel="noopener">http://hdl.handle.net/1889/2902</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/9c2420461ac8d457207fdec822b732ed.pdf
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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
Crediti del progetto
http://www.moremuseum.org/omeka/files/original/d7580949528da304112b7cb4312c0587.pdf
3d8c3f5061db112de90b6060e6cc78d9
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
Lettera di invito al concorso
http://www.moremuseum.org/omeka/files/original/a9ef16bca78702f7413d9a9141650bc9.pdf
fb872ca00ed25885b020c4ed086c5cab
Dublin Core
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Title
A name given to the resource
Tavola con il prospetto e le misure dell’opera.
http://www.moremuseum.org/omeka/files/original/79cf50ff2c8ac1aa88959b5d63f48003.pdf
150c5e23582f1e2895ae064db9c05f80
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
Tavola di sintesi
http://www.moremuseum.org/omeka/files/original/efdf5979ffad0f925f569af0d43b0fda.pdf
5e62af208b4fe329dc232b9188761fab
Dublin Core
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Title
A name given to the resource
Documento di sintesi con le due proposte di collocamento dell’opera nel contesto.
http://www.moremuseum.org/omeka/files/original/a32d1d588a9f449f52c488ae443fb425.pdf
8e00dc17511e934533f979036faef0c4
Dublin Core
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Title
A name given to the resource
tavola per lo studio del contesto
http://www.moremuseum.org/omeka/files/original/8453c2126106afecc96ef44f14c91a56.jpg
8b8e04f9b1ee8b245e43bbc2cee277dd
Dublin Core
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Title
A name given to the resource
fotografie per lo studio del contesto
http://www.moremuseum.org/omeka/files/original/a7469b234699b5b5fbc8a28bb5dcf47b.jpg
aedeecb6d734839ac0bb657fce94f638
Dublin Core
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Title
A name given to the resource
fotografie per lo studio del contesto
http://www.moremuseum.org/omeka/files/original/4edb241393382d563eb72a04dd39e331.jpg
d65ccfeaef8344327102a01af89778ba
Dublin Core
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Title
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fotografie per lo studio del contesto
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Title
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Flavio Favelli
Creator
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Favelli, Flavio
Description
An account of the resource
<p>Born in Florence in 1967, Flavio Favelli lives and works in Savigno (Bologna). Having graduated with a major in Oriental History from University of Bologna, he participates in Link Project (1995-2001) attending the TAM residency in Pietrarubbia, under the supervision of Arnaldo Pomodoro (1995) and the Advanced Course in Visual Arts at Fondazione Antonio Ratti, hosted by Allan Kaprow (1997). Favelli has exhibited both in private and public spaces, in Italy and abroad, including MACRO (2010), MAXXI (2012 and 2015), the American Academy (2010), Fondazione Volume! (2006), Sales Gallery in Rome (2008, 2010, 2013), Museo del 900 (2012) Museo della Permanente (2002) Francesca Minini Gallery in Milan (2014), MAMBO (2011), Centro Arti Visive Pescheria in Pesaro (2010), Museo Marino Marini in Florence (2009), Francesco Pantaleone Gallery (2008), Museo RISO (2011), A Project Space in Palermo (2012), Museo di Villa Croce in Genua (2005), Centro per l'Arte Pecci in Prato (2005), Palazzo delle Papesse in Siena (2002), Fondazione Sandretto Re Rabaudengo (2007), Maze Gallery in Turin (2001 and 2003), Maison Rouge Fondation Antoine de Galbert in Paris (2007), Projectspace 176 (2005), IIC in London (2003) and in ICC in Los Angeles (2004). Among his main collective exhibitions, Favelli has also shown his works at Peggy Guggenheim Collection in Venice (2011), at GAMEC in Bergamo (2011 and 2012), at Castello di Rivoli (2012) and GAM (2006) in Turin, at Havana XI Biennial (2012), at IBID Project Gallery (2011), at the festival No Soul For Sale at Tate Modern in London (2010), at Fondazione Pomodoro (2010) and Raffaella Cortese Gallery (2009) in Milan, at MADRE (2010) and at PAN Museum (2006) in Naples, at MOCA in Shanghai (2010), at Villa delle Rose (2001), at GAM (2005) in Bologna, at Musèe d'Art Moderne in Saint-Etienne (2005), at Museion in Bolzano (2003) and at Elgiz Museum (2008) in Istanbul. Favelli has participated at Carrara XIII Biennale di Scultura (2008), at Roma XV Quadriennale at Palazzo delle Esposizioni (2008), at the exhibition <em>Italics</em> at Venice's Palazzo Grassi (2008), and at MCA in Chicago (2009). He has designed and realized two working bar-installation, at MAMbo and at MARCA in Catanzaro, and two permanent public spaces: <em>Vestibolo </em>at ANAS headquarters in Venice's Palazzetto Foscari, and <em>Sala d'Attesa </em>atthe Pantheon in Bologna, inside the Certosa Monumental Cemetery, where laical funeral services are held. In 2009 he was the selected artist for <em>Acrobazie #5</em>, a Unicredit Group project at Fatebenefratelli Center of San Colombano in Lambro (Milan). In 2010 he was in residence at the American Academy in Rome as an Italian Fellow for the Arts. He took part in two editions of the Venice Biennale, the 50th ("Clandestini", curated by F. Bonami) and the 55th ("Vice versa", Italian Pavillion, curated by B. Pietromarchi). In 2014 he was in residence at the Italian Embassy in Istanbul, invited by AlbumArte association; he also had a solo exhibion at Maison Particuliere in Bruxelles. In 2015 he has been selected for a study residency at NARS Foundation in New York. He has attended seminars and conferences, among many other public and private institutions, at the Academy of Arts of Venice, at Brera in Milan, at Politecnico in Turin, at the University of Bolzano, at the University of Bologna and at Quadriennale in Rome. His works are featured both in private and public collections, such as Galleria d’Arte Moderna and Fondazione Sandretto Re Rebaudengo in Turin, MAMBO, Bologna Fiere and Fondazione Furla in Bologna, La Maison Rouge and Fondation Antoine De Galbert a Parigi, La Gaia Collection in Cuneo, Civiche Raccolte d’Arte and Fiera Milano in Milan, MACRO and Nomas Foundation in Rome, Museo Arte Contemporanea Villa Croce in Genua, Zabludowicz Collection in London, Elgiz Collection in Istanbul and Unicredit Banca Collection. In 2008 his installation <em>La terza Camera</em> was acquired by MAXXI Museum in Rome.</p>
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Title
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Giallo-Dromo
Description
An account of the resource
<p>Flavio Favelli conceives this project, together with the architect Flavio Gardini and the engineer Matteo Grilli, for a competition curated by Bartolomeo Pietromarchi.<br />The artist envisiones the creation of an outline of the old nuclear power plant in Caorso, opened in the Seventies and closed only eight years after. The power plant was dismantled in 2009 by the company Sogin, Società Gestione Impianti Nucleari (Nuclear Power Plants Management Company), which also promoted the competition. Starting from the premises of the designation letter, Favelli conceives a complex full-sized work which represents the shape of the former power plant as a memorial, a sculpture dedicated to the history of a placereflecting a much debatedissue of the last forty years such as the one of nuclear energy. The artwork consist of the full scale creation of the former power plant's outline - width 24.98 cm and height 9,98 cm - countoured by yellow neon. The work could remind of a triumphal arch, even if it doesn't celebrate political or military achievements, but instead it becomes a simulacrum of the power plant itself, a memory-sign of the building's exact structure, employed to try to salvage the remembrance of the landscape. Its urban dimension makes the viewer enter a state of temporal bewilderment, almost a <em>déjà vu</em>, an alteration of memory through the construction of an ephemeral architecture. The project was canceled due to a change in the company's management.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2859/1/Flavio%20Favelli_Giallo-Dromo.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
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Favelli, Flavio
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
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Rossi, Valentina
Format
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application/msword
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.
Flavio Favelli
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2859" target="_blank" rel="noopener">http://hdl.handle.net/1889/2859</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/1dac1f558087ea8f7594eb268cfeaee1.jpg
5924ae230bf01cd1fc2248871e483069
Dublin Core
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Title
A name given to the resource
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Physical Dimensions
The actual physical size of the original image
jpeg file , 29,997 x 10,981 cm, 300 dpi
Dublin Core
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Title
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Sovrapposizioni culturali
Creator
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Guerzoni, Franco
Date
A point or period of time associated with an event in the lifecycle of the resource
[1975]
Contributor
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Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p>The two figures “I remember I have seen a mosque inside the Amun Temple in Luxur” and “Development of the decoration of an Etruscan vase according to a nineteenth-century portrayal” were to be part of a broader and more structured project, centred on the theme of the potential image, a topic very dear to the author. The original project envisaged the presence of a third figure representing a mental image, merely potential, hence rendered in a writing. The conceptual nature of such an image would have not allowed any visual depiction. The presence of a fourth figure, devoted to the utopian possibility of exposing films with the only <em>power of thoughts</em>, was merely a working hypothesis. This work, of a cleary conceptual nature, was therefore to be centered on the theme of the “potential image”. Such topic takes on great importance for both the artist's production and the cultural context in which this project was conceived.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2704/1/Franco%20Guerzoni_Sovrapposizioni%20culturali.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
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Franco Guerzoni
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="%20http://hdl.handle.net/1889/2704">http://hdl.handle.net/1889/2704</a>
Logistical reasons
Technical reasons
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/cd26d873740f865927a316e61324c468.jpg
c5c82ee5653b790142c844cfbdc219ff
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photo
Physical Dimensions
The actual physical size of the original image
jpeg file , 219,195 x 50,515 cm, 93,977 dpi
Dublin Core
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Title
A name given to the resource
Stelle e lucciole
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Ghirri, Luigi
Date
A point or period of time associated with an event in the lifecycle of the resource
[1969 - 1970]
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p><em>Stelle e lucciole</em> was conceived between 1969 and the early Seventies, and it is one of the first episodes of the prolific collaboration between Franco Guerzoni and Luigi Ghirri, which produced interesting and relevant results. These photographs revolve around the intention of the two artists and friends to capture in a single frame the starry sky and the bright trails of light left behind by fireflies. Indeed, Ghirri shot many takes of that picture, but he was not able to achieve the results he was aiming for due to technical issues. Guerzoni donated these photographs to MORE. To define this project as unrealized would not be fully correct; therefore, as Guerzoni himself agreed, it should be rather described as an unresolved, interrupted project, unable to achieve its expected outcome.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2702/1/Franco%20Guerzoni_lucciole.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
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Franco Guerzoni & Luigi Ghirri
MoRE Museum
Identifier
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<a href="%20http://hdl.handle.net/1889/2702">http://hdl.handle.net/1889/2702</a>
Logistical reasons
Technical reasons
-
http://www.moremuseum.org/omeka/files/original/96651a9472275afd686dd3bc98ce8392.pdf
e16127a3fa5c9f813ef4c5ec70a7f4db
Dublin Core
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Title
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Giovanni Ozzola
Description
An account of the resource
<p>Giovanni Ozzola (Firenze, 1982) lives and works in Canary Island.<br />Encompassing sculpture, photography, and video, Giovanni’s work examines the individual’s place within the magnitude of the universe. Giovanni has exhibited internationally with works held in numerous private and public collections.</p>
<p>We remind, among the others: Mart, Rovereto, Italy; Chelsea Art Museum, New York, U.S; Sharjah Maraya Art Center, Dubai; Mori Museum, Tokyo, Japan; Schunck-Glaspaleis, Herleen, Netherlands; Künstlerhaus Palais Thurn Und Taxis, Bregenz, Austria; Galleria Continua, San Gimignano / Beijing / Le Moulin; Palazzo Dellepapesse, Siena; Man Museo D’arte, Nuoro, Italy; Waseda University, Tokyo, Japan; Centre D’art Bastille, Grenoble, France; Gc.Ac, Monfalcone; Viafarini Docva, Milano, Italy; Centro Arti Visive Pescheria, Pesaro; Ocat – Contemporary Art Terminal, Shanghai, Guandong Muesum Of Art,Guangzhou.</p>
<p>Among his awards are the “Premio Terna” (2008), the “Talent Prize” (2010) and the “Premio Cairo” (2011).</p>
<p> </p>
Creator
An entity primarily responsible for making the resource
Ozzola, Giovanni
Document
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Title
A name given to the resource
Un solo orizzonte
Description
An account of the resource
<p>The unrealized project of Giovanni Ozzola, titled <em>Un solo orizzonte, </em>consists in a video installation of five projectors that simultaneously show on the same wall different videos of horizons, filmed in five different places with the same degree of latitude, thus following the parallel. It wasn’t realized for logistical reasons, due to the venue.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2701/1/Giovanni%20Ozzola_Un%20solo%20orizzonte.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
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Ozzola, Giovanni
Date
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2003
Contributor
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Rossi, Valentina
Format
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application/pdf
Language
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English
Type
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Text
Still Image
Rights Holder
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Giovanni Ozzola
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2701" target="_blank" rel="noopener">http://hdl.handle.net/1889/2701</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/0314091bb224a67897d597992128ae6c.pdf
1fd024c853aa7e69e418adb5908b2e29
Dublin Core
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Title
A name given to the resource
Matthew Darbyshire
Description
An account of the resource
Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris.
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
Dublin Core
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Title
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Proposed plan for Hepworth Gallery entrance, Wakefield
Creator
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Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
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Scotti, Marco
Format
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application/pdf
Language
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English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<p>This project proposes an intervention in the area in front of the entrance of the Hepworth Gallery in Wakefield. Darbyshire here articulates the space through three elements: an unfinished <em>Arts and Crafts </em>half-hipped gable structure in developers vernacular, a B&Q pergola - B&Q is the well-known UK chain dedicated to DIY and gardening - and a medieval trebuchet orientated towards the new David Chipperfield designed gallery.<br />The three signs arranged in the area recall frequent themes in the artist's research, such as a critic to the homogenisation of contemporary design, to the standardization of the spaces, and the questioning of the regeneration processes carried out by government agencies and/or private developers, and stand opposite to the minimalist, award-winning and iconic museum building designed by an <em>archistar</em>. <br />Officially, the work has not been realised for a planning issue. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2652/1/Matt%20Darbyshire_Proposed%20plan%20for%20Hepworth%20Gallery%20entrance.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
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Matthew Darbyshire
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2652" target="_blank" rel="noopener">http://hdl.handle.net/1889/2652</a>
Failure to meet the commissioner's demands
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/173f69535e013855950953b252f0f775.jpg
b529a38533b4cdbba9123ed5d8b1de95
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
Josip Vanista
Description
An account of the resource
Josip Vaništa (Karlovac, May 17, 1924) is an artist, graphic designer, writer, academic and retired university professor. He lives and works in Zagreb. He attended school at Rakovcu and continued his studies at the Academy of Fine Arts of Zagreb, where he graduated in 1950. His first exhibition was held in 1952 with Miljenko Stančić at the Museum of Arts and Crafts in Zagreb, which now has more than fifty monographic exhibitions dedicated to him. In 2013, the MSU Museum dedicated him a retrospective entitled Josip Vaništa: Abolition Of Retrospective. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Julije Knifer, Đuro Seder, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself) and the creation of concepts, projects and various forms of artistic communication. Throughout Europe numerous monographic exhibitions have been dedicated to Vaništa, who is considered one of the most important Croatian artists.
Creator
An entity primarily responsible for making the resource
Vaništa, Josip
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
image/jpeg
Physical Dimensions
The actual physical size of the original image
185,102x130,651 cm, 96 dpi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Erased Line
Creator
An entity primarily responsible for making the resource
Vaništa, Josip
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the 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. 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. For this work Vaništa combines two cardboards, dividing the first one longitudinally with a line, which is a pattern that he had begun to use in 1961 and had become a symbol of his painting tecnique, devoted to simplicity, searching for essentiality and at the same time marked by a detached and often ironic attitude. Unlike his earlier technique, which he often re-adopted since the 60s and involved a soft pencil and a ruler, at Brunnenburg Vaništa created his work using a collage technique.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2659/1/Vaništa_Erased%20Line.pdf" target="_blank" rel="noopener">Read more.</a>
Contributor
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Scotti, Marco
Zinelli, Anna
Format
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image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Josip Vaništa
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2659" target="_blank" rel="noopener">http://hdl.handle.net/1889/2659</a>
Ideological reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/25df0b9f90f0e7887d0b7764658fe172.jpg
e7235f6fa899cf290b1c22ce3bbd55b8
http://www.moremuseum.org/omeka/files/original/0f39fe90098305a93955f3e5f9a43866.jpg
58363cf664addd113f85ad401fddf9e6
http://www.moremuseum.org/omeka/files/original/8dc3a72832c2c198603523068864e32e.jpg
e5c7a946a3b3f3d69f151485e5cf4dd4
Dublin Core
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Title
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Ivan Kozaric
Creator
An entity primarily responsible for making the resource
Kožarić, Ivan
Description
An account of the resource
Ivan Kožarić (1921) (1921) is a Croatian artist who lives and works in Zagreb. His research has been focused mainly on sculpture, but he has also used other means of expression such as assemblage, painting, photography and installation. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, Đuro Seder, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself) and the creation of concepts, projects and various forms of artistic communication.
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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Kozaric 01 cm 30 x 42.jpg (file jpeg, 92,234x131,128cm, 96 dpi)
Kozaric 02 cm 30 x 42.jpg (file jpeg, 92,551x130,651cm, 96 dpi)
Kozaric 03 cm 30 x 42.jpg (file jpeg, 92,551x130,651cm, 96 dpi)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the 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. 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. Kozaric's three works are in line with his research, which investigates – both through painting and sculpturing - the relationship between positive and negative: in one particular work, the artist reuses a cropped shape as a graphic mask in order to achieve what Seder calls "imperfect surfaces", a theme that traces back to the Gorgona period. Kožarić's particular interest in the valley of Merano, which is in relation to his personal memories, emerges both through the video interview taped in Brunnenburg as well the testimonies of the artists who participated in the residency.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2664/1/Ivan%20Kožarić_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Ivan Kožarić
MoRE Museum
Creator
An entity primarily responsible for making the resource
Kožarić, Ivan
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2664" target="_blank" rel="noopener">http://hdl.handle.net/1889/2664</a>
Ideological reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/78fbf026d6db389ebd49b725aa008acb.jpg
bea1d87ceacf98fe5fc6f3ad1be4a6a5
http://www.moremuseum.org/omeka/files/original/6ec0944f1d0b39ab9d96298cd7f6a8b6.jpg
746ce5dc29956940ca3a9cec78734057
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
Duro Seder
Description
An account of the resource
Đuro Seder (1927, Zagreb) is a Croatian artist who lives and works in Zagreb. He graduated from the Academy of Fine Arts of Zagreb in 1951 in the class of Antun Mezdjic, in 1953 he completed a painting course with Marino Tartaglia. In 1981 he became a teacher, and in 1983, a professor at the Academy of Fine Arts. He worked as an illustrator, graphic designer, editor of art magazines and was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Creator
An entity primarily responsible for making the resource
Seder, Đuro
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
Untitled
Creator
An entity primarily responsible for making the resource
Seder, Đuro
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the 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. 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. The two works created by Đuro Seder do not seem to resemble the production of his Gorgona years, as stated by the artist himself in an interview published in the monographic dossier of the magazine Ricerche di S/Confine. In fact, he proposes a drawing with his characteristic use of irregular shapes and semicircular lines, to which he adds a graphic element with the repetition of the word "peace". The second drawing is derived from a previous painting in which two profiles are merging into a single face. Seder himself remembers how during his residency, which immediately preceeded the war in Croatia, there was "a hint of intolerance in the air" and how the work was meant to hilight "the importance of unity among people". <br /><a href="https://www.repository.unipr.it/bitstream/1889/2660/1/Seder_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Đuro Seder
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2660" target="_blank" rel="noopener">http://hdl.handle.net/1889/2660</a>
Ideological reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/575536c016fbb8f38a5a7f59e31d8ce1.jpg
178ec5c3a40f5f29519315aed9847a93
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
Knifer cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 121,497 x 168, 487 cm, 72 dpi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Julije Knifer
Description
An account of the resource
Julije Knifer (1924-2004) was a Croatian artist, who was born in Osijek and died in Paris, where he had lived since 1994. A graduate of the Academy of Fine Arts of Zagreb in 1956, by the late '50s he developed his research starting from the geometrical pattern of the "meander", which he reproduced in different formats and with different techniques, eventually introducing a practice of conceptual matrix imprinted on seriality and formal reductionism. His first production, influenced by Russian Suprematism and serial music, was characterized by the repetition of the meander's pattern in black and white paintings; from the late 60s he introduced other colors and adopted large sizes and even murals.
The "meanders" were displayed for the first time in the exhibition "New Tendencies" at the Gallery of Contemporary Art in Zagreb in 1961, and later in “New Tendencies 2” in 1963, “New Tendencies 4” in 1969 and “New Tendencies 5" in 1973. He also participated in major international exhibitions such as the Art Abstrait Constructif International at the Denise René Gallery of Paris (1961-1962), Konstruktivisten at the Städtisches Museum in Leverkusen (1962), the VI International Art Biennale of San Marino “Beyond the Informal” (1963); he participated twice in the Venice Biennale (1976, 2001), and three times in the Sao Paulo Biennale (1973, 1979, 1981). His works are also included in major museum collections such as the MoMA in New York and the Centre Georges Pompidou in Paris.
Knifer was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Creator
An entity primarily responsible for making the resource
Knifer, Julije
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
Untitled
Creator
An entity primarily responsible for making the resource
Knifer, Julije
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the <a href="http://www.msu.hr/" target="_blank" rel="noopener">Muzej Suvremene Umjetnosti - MSU Zagreb</a>, 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 - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre, </a>which was never completed.<br />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. <br />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. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2662/1/Knifer_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cineca.it/handle/1889/2662" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2662</a>
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
English
Rights Holder
A person or organization owning or managing rights over the resource.
Julije Knifer
MoRE Museum
Ideological reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/7de785875e819f3178b704abc2873104.jpg
ad57a68e039e525390c34bb1125f3f20
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
Mangelos 01 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 123, 402 x 173,567 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/72fdc86fdb2b0fd649ee761e69fa7f72.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/.
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Title
A name given to the resource
Mangelos 02 cm 30 x 42.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,845x 42,192 cm, 72 dpi
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Title
A name given to the resource
Mangelos 03 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,986 x 173,567 cm, 72 dpi
Dublin Core
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Title
A name given to the resource
Mangelos
Description
An account of the resource
Mangelos, pseudonym of Dimitrije Bašičević (1921 - 1987), was a Croatian artist, curator and art historian. Born in Šid, Serbia, he studied history and philosophy at the University of Vienna (between 1942 and 1944) and later in Zagreb (between 1945 and 1949) and earned a doctorate from the University of Philosophy in Zagreb (1957), focusing his thesis on the work of the artist Sava Šumanović. In 1952 he founded the Peasant Art Gallery, currently Croatian Museum of Naive Art, while simultaneously serving as assistant and curator at the Yugoslav Academy of Arts and Sciences. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966.
Parallel to his activities as a critic and curator, he proposed researches - defined by the artist himself as a "No-Art" - focused on the contrast between writing and painting, developing a series of posters dedicated to topics such as "functional thinking", "energy", "instinct" and “memory". In the essay dedicated to this specific artistic production, Stipančić says: “Many of them, regardless of the scope of the subject, included his notion of there being two civilization - a “handmade civilization” and a “mechanical” one. The latter, he believed, is based on “functional thought” and is, therefore, in opposition to the old “handmade civilization. In order to express his theses on the “death of art”, Mangelos engaged in a dialogue with numerous philosophers and theoreticians, from Hegel to W. Benjamin”.
Mangelos was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Marijan Jevšovar, Julije Knifer, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Creator
An entity primarily responsible for making the resource
Mangelos
Dublin Core
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Title
A name given to the resource
Untitled
Creator
An entity primarily responsible for making the resource
Mangelos
Date
A point or period of time associated with an event in the lifecycle of the resource
[1991]
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the <a href="http://www.msu.hr/" target="_blank" rel="noopener">Muzej Suvremene Umjetnosti - MSU Zagreb</a>, 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 - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre, </a>which was never completed.<br />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. <br />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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2661/1/Mangelos_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
image/jpeg
image/jpeg
Type
The nature or genre of the resource
Still Image
Language
A language of the resource
English
Rights Holder
A person or organization owning or managing rights over the resource.
Mangelos
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2661" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2661</a>
Ideological reasons
Logistical reasons
-
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0794412b5b74ed6fba9c4c2e3e93966f
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Title
A name given to the resource
Jevsovar 01 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
http://www.moremuseum.org/omeka/files/original/00e262b1f00eb59e4397190e8b92b732.jpg
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Dublin Core
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Title
A name given to the resource
Jevsovar 02 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
http://www.moremuseum.org/omeka/files/original/c470ab41030444b046c57b7f635a1ea7.jpg
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Dublin Core
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Title
A name given to the resource
Jevsovar 03 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
Dublin Core
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Title
A name given to the resource
Marijan Jevsovar
Creator
An entity primarily responsible for making the resource
Jevšovar, Marijan
Description
An account of the resource
Marijan Jevšovar (1922 - 1998) was a Croatian artist, born in Zagreb. He graduated from the Academy of Fine Arts of Zagreb in 1946. Between 1954 and 1956 he resided in France, where he approached the informal research, influenced in particular by Dubuffet. Since the late '50s he created paintings on surfaces which were coated in several layers of grey and white color, defined by the artist as a "negation of the form" obtained by "tainting the white surface of the canvas." During the '70s he also introduced the use of color in his works, though without ever distancing himself from this form of "anti-painting”. In parallel with this research, he has also created posters and art books. He has had exhibitions in Opatija (1959), Monaco (1960), Zagreb (1961, 1972, 1976, 1980, 1993), Dijon (1989), Varaždin (1990) and Umag (1993).
Jevšovar was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, the sculptor Ivan Ivan Kožarić, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
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
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Title
A name given to the resource
Untitled
Creator
An entity primarily responsible for making the resource
Jevšovar, Marijan
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
image/jpeg
image/jpeg
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the 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 - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre,</a> which was never completed. <br />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. <br />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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2663/1/Jevšovar_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Marijan Jevsovar
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2663" target="_blank" rel="noopener">http://hdl.handle.net/1889/2663</a>
Ideological reasons
Logistical reasons
-
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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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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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Title
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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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Title
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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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Title
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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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Title
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Intervista a Silvia Cini, Dialoghi, a cura di UnDo.net.pdf
Format
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file pdf
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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>
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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
-
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1489c87ca50056b9cb67b49553b1c4e9
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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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3_...una volta, 2004, dettaglio soffitta saletta svago.jpg
Description
An account of the resource
Picture of the project entertainment room: detail
Format
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.file jpg, 13,92x21 cm, 300 dpi
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Title
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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
An entity primarily responsible for making the resource
Vaglieri, Marco
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
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
-
http://www.moremuseum.org/omeka/files/original/0355aafe539b10baf3aba40b68f7ba23.jpg
43a439ba71eb0fdb6e3e233580afd0eb
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
63c14a68369dbdf1c8391dad6939d114
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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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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
5c469d938f01916a1b5e5e949fda88e3
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
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
302a62e4de4c706a339492a60f49ff8a
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
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
Dublin Core
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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>
Dublin Core
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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
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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/2bc53a73e95c18489c5b10398a1a9235.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
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
01d1d08a5c1a04718cf15f6949d8c7ac
Dublin Core
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Title
A name given to the resource
2_2004_progetto ageop enrico.jpg
Description
An account of the resource
Photo donated by artist Enrico Serotti.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 13,55x10,16 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/f3954cf03151bed8af0fccbb12edb045.JPG
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Title
A name given to the resource
3_2004_progetto ageop.jpg.
Description
An account of the resource
Photos of the textile suitcase
Format
The file format, physical medium, or dimensions of the resource
file jpg, 8,67x10,84 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/9996023161b153eb9657fbce9260c0c5.jpg
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Dublin Core
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Title
A name given to the resource
4_2004_progetto ageop.jpg
Description
An account of the resource
Photos of the textile suitcase
Format
The file format, physical medium, or dimensions of the resource
file jpg, 12, 7x15,88 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/c7707f101ce210e213cafaecca4f7dee.JPG
50f2b53d2bb4622ca24fc9c420cdb7ae
Dublin Core
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Title
A name given to the resource
5_2004_progetto ageop LAYOUT.jpg
Description
An account of the resource
Sketches and project notes
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29, 7x21 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/.
Title
A name given to the resource
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
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
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
An entity primarily responsible for making the resource
Marisaldi, Eva
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.
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
-
http://www.moremuseum.org/omeka/files/original/fa0de8cbe1aa0e70f8637a712e28f466.pdf
bf7567e76fa6766c31e45be9ed1af503
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
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
Dublin Core
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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
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
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
Dublin Core
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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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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
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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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
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
894bd4227ae10af1fd88c53698d70d56
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
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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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
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
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
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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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
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
9b5774ac51259dca7340262a2ddc73b3
Dublin Core
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Title
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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
6a612def79f5bd192b57e1eaa16f92af
Dublin Core
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Title
A name given to the resource
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
Dublin Core
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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/fc1f86a74285dbcf9f2c8fe041869e33.pdf
a72c3642d000a930c6015f9c436b4c7e
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Title
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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
A name given to the resource
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
A name given to the resource
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
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
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
d7b5cd1af981036760422d3da2d0e999
Dublin Core
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Title
A name given to the resource
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
9d43b61f8b119993da52d8e327011ec8
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
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
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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
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Torelli, Sabrina
Title
A name given to the resource
Sabrina Torelli
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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
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Torelli, Sabrina
Date
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2004
Contributor
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Modena, Elisabetta
Format
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application/pdf
image/jpeg
Language
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Italian
Type
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Text
Still Image
Rights Holder
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Sabrina Torelli
MoRE Museum
Identifier
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<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/3da77560fcbe9e1eda035e08afd5394e.JPG
7a1ee697dad0d362b772754fd5eb096f
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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.
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file jpg, 4,86x28,01 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/0fe49878a91bad7f6b4fc0019dde9217.JPG
e80f90542bb3c38a2b6b2c0667a45891
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Title
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Luna BN.jpg.
Description
An account of the resource
Image of the lunar surface visible.
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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.
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file jpg, 53,56x48,58, 150 dpi
http://www.moremuseum.org/omeka/files/original/94f9722f297931989acef134dfeca719.jpg
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Title
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Seconda.jpg
Description
An account of the resource
Face of a girl with image of the moon.
Format
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file jpg 53,34x48,26 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/43368bbec920a6d39223bad079ab7a0e.jpg
a22a2afdb730c4d96410e2217b01458a
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Title
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Quarta.jpg
Description
An account of the resource
Face of a girl with image of the moon.
Format
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file jpg 53,34x48,26 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/a411ec4ba01b97ba5f40328c86eee324.pdf
e987cd5428d1794cae6a3c3d5e3bc64f
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Title
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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
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file pdf
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Title
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Claudia Losi
Creator
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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
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Losi, Claudia
Date
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2004
Contributor
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Modena, Elisabetta
Format
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image/jpeg
application/pdf
Language
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Italian
Type
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Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Claudia Losi
MoRE Museum
Identifier
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<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/eb8b8023dc73616efde0373999ef476d.pdf
973180adbb23788dce6ff6424cedeb1f
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Title
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livella il cielo.pdf
Description
An account of the resource
<p>Project report, with a section and an isonometric view of one of the possible environments.</p>
<p> </p>
Format
The file format, physical medium, or dimensions of the resource
File pdf
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Title
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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
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Il Respiro di uno spazio / Livella il cielo
Description
An account of the resource
<em>Il Respiro di uno spazio / Livella il cielo</em> is a project created by Luca Trevisani in 2011 and donated to the museum MoRE in 2014. The artist through his working methodology, that starts here from a scientific data, designs a system of pipes that pass through a house, the network of tubes is sectioned and receives the rain and other weather elements, the water level therefore changes according to atmospheric events. The water, among other things, is also the subject of an artist book, <em>Water Ikebana Stories about solid & liquid things</em> (Humboldt Books, 2014), published by Luca Trevisani. <br />The project donated to the museum has not been realized due to the lack of a commisioner and of a suitable location for the development of the work.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2450/1/Trevisani_Il%20Respiro%20di%20uno%20spazio%20-%20Livella%20il%20cielo.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
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Trevisani, Luca
Date
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2011
Contributor
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Rossi, Valentina
Format
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application/pdf
Language
A language of the resource
Italian
Type
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Text
Rights Holder
A person or organization owning or managing rights over the resource.
Luca Trevisani
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2450" target="_blank" rel="noopener">http://hdl.handle.net/1889/2450</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/7223d7e65070f6de111f93e59836e6e6.JPG
8427676c58bf3e8615944df806188ca2
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Title
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progetto-kassel.JPG
Description
An account of the resource
Collage of the unrealized project, that consisted in stretching a steel cable - anchored at the artist’s car with the engine running (a red Fiat 126) - till the museum’s opposite wall, where it would be fixed so that it would pass through the whole length of the building.
Format
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jpg file, 19,236 x 14,427 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/7c2519e97968f70ddab6244648de2893.jpg
febf3b1b9a4cc574b66c2a6d3910df2d
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Title
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disegno 1992
Description
An account of the resource
A drawing of the project, taken by the artist in a sketchbook in 1992.
Format
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jpg file, 115,147 x 86,36 cm, 72 dpi
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Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
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Moro, Liliana
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Tiramolla 92
Description
An account of the resource
<em>Tiramolla 1992</em> is a project presented by Liliana at the <a href="http://www.kassel.de/miniwebs/documentaarchiv_e/08204/index.html" target="_blank" rel="noopener">documenta 9</a> of Kassel, directed by Jan Hoet with a team constituted by Pier Luigi Tazzi, Denys Zacharopoulos e Bart de Baere. The place chosen for the work was the Neue Galerie and the project was particularly complex and elaborated with the support of an engineer of a specialized firm. The plan was to stretch a steel cable till the museum’s last wall; this should go through the whole length of the building and come outside, where it should be anchored at the artist’s car, a red Fiat 126, left turned on with the engine running. The steel cable (that has been reproposed in the work exhibited in Kassel instead of this project, <em>Tiramolla</em>) would have passed therefore through the whole exhibition’s space, suggesting to the viewer a different understanding of the place and converging outside towards an object connected with the artist’s everyday life: her car. Technical and structural problems were the main reason it hasn't been realized; the project was also considered too dangerous. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2442/1/Liliana%20Moro_Tiramolla%2092.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
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Moro, Liliana
Date
A point or period of time associated with an event in the lifecycle of the resource
1992
Contributor
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Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
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Still Image
Language
A language of the resource
Italian
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2442" target="_blank" rel="noopener">http://hdl.handle.net/1889/2442</a>
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/e795e653972b4c0017eaa7029383eef6.jpg
15ac9c8074dd5f4390301a7df0c5e761
Dublin Core
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Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
Title
A name given to the resource
taccuino-novembre 2002.jpg
Date
A point or period of time associated with an event in the lifecycle of the resource
november, 2002
http://www.moremuseum.org/omeka/files/original/5f1a915249c519fe6318a3b63eba0d23.jpg
3d6dd6a16665f02a64805a10bc8215dc
Dublin Core
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Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
Title
A name given to the resource
taccuino-novembre 2001.jpg
Date
A point or period of time associated with an event in the lifecycle of the resource
november, 2001
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Title
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Cesare Pietroiusti
Description
An account of the resource
The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.<br />Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.
Creator
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Pietroiusti, Cesare
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Title
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[Progetti per una mostra retrospettiva]
Description
An account of the resource
Since 2000 in the artist’s notebooks we can find several information and notes about the project of a retrospective exhibition that has never been realized.<br />One note dated 2001 sketches out the idea of an exhibition of artists who developed ideas similar to Pietroiusti's ones or who even accused him of stealing their ideas. With this project Pietroiusti continues his reflection on the concept of authenticity, uniqueness, physical and intellectual property of the art work.<br />One more hypothesis, dating back to 2002, rather refers to an exhibition in which the artist planned to exhibit all his art works and to exchange them with new projects realized in collaborations with the visitors or inspired by them.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1778/1/CESARE%20PIETROIUSTI_Progetti%20per%20una%20mostra%20retrospettiva.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
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Pietroiusti, Cesare
Date
A point or period of time associated with an event in the lifecycle of the resource
2000-2013
Contributor
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Modena, Elisabetta
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 Pietroiusti
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1778" target="_blank" rel="noopener">http://hdl.handle.net/1889/1778</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/5a8ea808b89191fd64473276d58de5a8.jpg
947b7f162e06f88a518b3610f602126e
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
taccuino ottobre2000.jpg
Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
http://www.moremuseum.org/omeka/files/original/2c5b48f27df44e7def98210778b62b99.jpg
7e4f722744d6a7a97cf4b76b09dc4a90
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Title
A name given to the resource
taccuino 1_f.jpg
Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
Dublin Core
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Title
A name given to the resource
Cesare Pietroiusti
Description
An account of the resource
The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.<br />Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
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
Museo degli artisti dimenticati
Description
An account of the resource
<span>In 2000 Pietroiusti prepares the draft of a project for a "Museum of forgotten artists”; the idea was to look for artists which were very valuable but forgotten, in order to write an alternative history of italian contemporary art for the last three decades. This project was never realized, but it is possible to find similarities with some other projects realized by the artist. Coherently with his research on the art system, Pietroiusti has indeed imagined an exhibition of artists who gave up working. This idea too is linked to the enquiry on the social role of the artist and his function; for this reason, the idea described in a notebook comes together with a later note that refers to an exhibition of artists that are not recognized by the system, but by a limited and non influential number of people or even just one single person, simply because they produced some art works. Through this project Pietroiusti underlines the importance of one element of the system, that is the necessity to be recognized as an artist, an event that in most cases requires a first acknowledgement by the members of the system itself, a theme on which the artists returns with the institution of a <em>Museum of exiled Italian contemporary art</em>, an itinerant museum without a place that collects marginal and ignored artistic experiences. The project of an exhibition of artists who gave up working was then partially realized thanks to the collaboration with two curators, M. Clark and M. Dickenson, on the occasion of the exhibition <em>democracy! Socially Engaged Art</em> at London's Royal College of Arts in May 2000.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1777/1/CESARE%20PIETROIUSTI_Museo%20degli%20artisti%20dimenticati.pdf" target="_blank" rel="noopener">Read more</a>.<br /></span>
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
Date
A point or period of time associated with an event in the lifecycle of the resource
2000 ca.
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
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 Pietroiusti
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1777" target="_blank" rel="noopener">http://hdl.handle.net/1889/1777</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/1755ed47d1f10af64092218884414e83.jpg
544c2fe446f9c83041c5eb944593e815
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
taccuino 1_h.jpg
Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
http://www.moremuseum.org/omeka/files/original/fb42cc8b601648ae5952fc7d647dedf1.jpg
53622ae55b7dff72251fcbdc01debca4
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
exhibita1.jpg
Description
An account of the resource
Scan of the catalogue of the exhibition <em>Exhibit A: Eight artists from Europe and America </em>curated by Henry Bond, staged at the Serpentine Gallery in London in 1992.
http://www.moremuseum.org/omeka/files/original/b362be5069c1c21de6c1fbf840e7aa63.jpg
f0fe68600b82865987d90c34a6a9e22f
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
comesidiventa3.jpg
Description
An account of the resource
<p>Scan of the book <em>Come si diventa artisti </em>published in Rome by Centro Studi Jartrakor in 1992.</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
Cesare Pietroiusti
Description
An account of the resource
The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.<br />Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
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
Inviti
Description
An account of the resource
The project, part of the author's criticism towards the system, concerns the issue of the fruition of contemporary art and of the so called art system in general. A first version of the project was developed since 1991. We can see on one of the artist's notebooks some notes about a personal exhibition that should have took place in a private gallery in Rome at the beginning of 1992 and that was never realised probably because the art dealer was afraid of a possible misunderstanding of the performance; the project, infact, was based on the participation of a group of prostitutes as guests paid for their presence. Their participation should have caused a sensation of alienation to the spectators, who should have perceived something unusual compared to usual vernissage. The performance should then have been documented through pictures and audio recording, but it was <em>c</em>ancelled by the commissioner a few days before the opening. An alternative version of this project can be found in the book published by Jartrakor Study Center in 1992; it was based on the possibility to invite people with distinctive features that usually are easy to be recognized (such as ecclesiastics) but dressed “normally, in order to create in the spectator a sensation of undefined oddity. The same project has been described inside the catalogue of the exhibition <em>Exhibit A</em> at the Serpentine Gallery in London, focused on the problem of the role and meaning of the “exhibition”.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1775/1/CESARE%20PIETROIUSTI_Inviti.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
Date
A point or period of time associated with an event in the lifecycle of the resource
1991-1992
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
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 Pietroiusti
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1775" target="_blank" rel="noopener">http://hdl.handle.net/1889/1775</a>
Ethical reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/485bd168da884610b8705d36d5166fda.jpg
7fdc0fb42143e96db5b5d09f8513f90d
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
comesidiventa4.jpg
Description
An account of the resource
<p>Scan of the book <em>Come si diventa artisti </em>published in Rome by Centro Studi Jartrakor in 1992.</p>
http://www.moremuseum.org/omeka/files/original/e3d9360b237e6350854e4a58fba07648.jpg
9030219840f008bebdf262ad6f0ea5a2
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
taccuino 1_d.jpg
Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
http://www.moremuseum.org/omeka/files/original/2b9d8c8ab90e46bffd8b27e5911ecc43.jpg
6a635168468e4f56ded238c9ae7748e0
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
taccuino 1_e.jpg
Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
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
Cesare Pietroiusti
Description
An account of the resource
The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.<br />Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
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
Inchieste Oggetti
Description
An account of the resource
This unrealised project dates back to 1990 and has been published by Jartrakor in 1992. The idea was to test the relativity of individual definitions by asking to a certain number of people to identify an object in their home that satisfies certain requirements such as the relation form-function or that has a specific aesthetical or emotional value for its owner. The objects should then have been exhibited with a very precise setting (e.g. according to the alphabetical order of the owner's names) regardless of the value of each object, responding to a principle of seriality. The theme of this research, that is the “definitions” and the involvement of a generic audience on the most important topics of contemporary art, can be found also in the “Enquiry about art works”, an unrealised project in which the author supposes to ask to common people to create in their mind an art work in details. Thus, among the author's unrealised projects we can see also several projects of unrealised exhibitions, an element that confirms once more his interest for the exhibition practices of the art system. This project was not commissioned.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1774/1/CESARE%20PIETROIUSTI_Inchieste%20oggetti.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
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
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 Pietroiusti
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1774" target="_blank" rel="noopener">http://hdl.handle.net/1889/1774</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/65011f7c144bb8590b03268792593100.jpg
51ec4a4effbe8f59f040f63d6133416d
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
exhibita_pag17.jpg
Description
An account of the resource
Scan of the catalogue of the exhibition <em>Exhibit A: Eight artists from Europe and America </em>curated by Henry Bond, staged at the Serpentine Gallery in London in 1992.
http://www.moremuseum.org/omeka/files/original/a6b05f340c85e72ae7520585f535240e.jpg
8463ab4ef44a00b1858d7f4b9452f356
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
taccuino-1_a.jpg
Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
http://www.moremuseum.org/omeka/files/original/54d1d6c817700a3ebedcd36d7bbc9f9f.jpg
6bcba7fc5751db8ee8933b6f5d01c52f
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
taccuino-1_b.jpg
Description
An account of the resource
Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects
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
Cesare Pietroiusti
Description
An account of the resource
The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.<br />Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
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
Finestre
Description
An account of the resource
The project, entitled <em>Finestre</em> since its first conception, has undergone several revisions and can be considered only partially realised. The idea of opening windows on adjoining rooms to offer the spectators an unusual continuity of vision between contiguous spaces is conceived initially as a real demolition of the walls of the building hosting one of the seats of Vivita 2 Gallery of Ciotti and Camillo D'Afflitto in Florence (adjacent to an old abandoned cinema). This idea was abandoned for technical and practical difficulties, and in January 1990 the artist realized a different version of the project (inside Vivita 1 gallery in Florence) by exhibiting on the walls of the gallery pictures of the adjoining rooms that were recessed inside the walls that should have been tore down to produce a kind of trompe l’oeil effect (as can be seen in an undated sketch found among the artist's papers that probably dates back to 1989).<br /><a href="https://www.repository.unipr.it/bitstream/1889/1773/1/CESARE%20PIETROIUSTI_Finestre.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
Date
A point or period of time associated with an event in the lifecycle of the resource
1989
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
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Cesare Pietroiusti
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1773" target="_blank" rel="noopener">http://hdl.handle.net/1889/1773</a>
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/cac9261a4856137097ccd5b50c4047d4.jpg
8c2c164761aae11883d1831618cdc004
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
comesidiventa1.jpg
Description
An account of the resource
Cover of the book entitled <em>Come si diventa artisti</em>, published by Centro Studi Jartrakor, which Pietroiusti helped to found in 1992.
http://www.moremuseum.org/omeka/files/original/64c63106f658e0f9d1a87b802b98ef3a.jpg
66f1cc78743b379ebea00371aac15dda
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
comesidiventa2.jpg
Description
An account of the resource
Project file inside the book entitled <em>Come si diventa artisti</em>, published by Centro Studi Jartrakor, which Pietroiusti helped to found in 1992.
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
Cesare Pietroiusti
Description
An account of the resource
The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.<br />Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
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
Mine Vaganti
Description
An account of the resource
The projects, partially realised, aimed at creating arbitrarily identities of not existing artists and critics who actively took part to the art system with their pretended and artificial professionalism through fake works and statements or even exhibition well communicated and promoted. The goal was to cause a short circuit in the art system to stress the subtle borderline between reality and fiction, but also between what is arbitrary and what belongs to the specific art system in order to prove its predictability. The projects dates back to 1987-88 and has been described also in the publication How to become an artist in 1992.<br />A partial realisation of the project has been the creation, together with a team of curators, of an invented artist who realised some works and took part to some experimental exhibitions.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1776/1/CESARE%20PIETROIUSTI_Mine%20Vaganti.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
Date
A point or period of time associated with an event in the lifecycle of the resource
1987-1988
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
Language
A language of the resource
English
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/1889/1776">http://hdl.handle.net/1889/1776</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Cesare Pietroiusti
MoRE Museum
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/c8210d447c9e56a2f4dfea95de475512.jpg
d0c6d78b11fd808f491067f93d1225f7
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
disegno scala color .jpg
Description
An account of the resource
A drawing representing the escalator and the desert.
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 29,7×20,99 cm 72 dpi
http://www.moremuseum.org/omeka/files/original/095b510b08e9838cf8496c31d92a51d1.pdf
242319b479069b9d452da910f2fa934b
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
documento emirati arabi.pdf
Format
The file format, physical medium, or dimensions of the resource
pdf
http://www.moremuseum.org/omeka/files/original/4c45b526a636c9e99da21a0541c32f8a.pdf
4284390ee126e9262abfda5b2326754e
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
english emirates.pdf
Description
An account of the resource
Project reviews, in Italian and English language.
Format
The file format, physical medium, or dimensions of the resource
pdf.
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
Lorenzo Scotto di Luzio
Description
An account of the resource
<p><span><span><span>Lorenzo Scotto di Luzio.</span></span> <span><span>Pozzuoli (NA), Italia 1972.<br />Lives and works in Berlin.<br /></span></span></span></p>
<p> </p>
Creator
An entity primarily responsible for making the resource
Scotto di Luzio, Lorenzo
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
Scala mobile con deserto
Description
An account of the resource
The project involves the construction of an escalator in the desert. In this project, as in<a href="http://moremuseum.org/omeka/admin/items/show/id/33" target="_blank" rel="noopener"> the other one donated to MoRE</a>, Lorenzo Scotto di Luzio works on the opposites, inserting in a totally neutral setting – a distinctive trait of the Eastern world – an element with a strong “western” connotation, that represent the commerce and that clashes with the unspoiled landscape of the desert. In the idea of Scotto di Luzio, the staircase is defunctionalized and will not need any maintenance, it should deteriorate and become a relic, an abandoned monument, almost “commemorative” of a past world. Even here the artist hides a paradox, perhaps a joke: the celebration of the western cult just inside the eastern world, two concepts and two cultures that come together to create a sort of epiphany of the vision, just like a “mirage” in the desert. The artist, in the review of the project, calls it a “bachelor machine”, a sterile and unproductive device, a sort of ready-made on a large-scale, defunctionalized and completely out of context, designed not to be placed in the hall of a museum but in the desert, an aseptic and neutral space.<br />The project was born withouth clients, and with the willingness to propose it to some commissioners in the Emirates, but has never been proposed to any possible commissioner.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2414/1/scotto_scala%20mobile%20con%20deserto.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Scotto di Luzio, Lorenzo
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Contributor
An entity responsible for making contributions to the resource
Rossi, Valentina
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2414" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2414</a>
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Lorenzo Scotto di Luzio
MoRE Museum
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/e8aa02d06ac9a357ae3647eeb79735c5.pdf
3fbb527bde90955b4b568f95a828b2f1
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
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
A name given to the resource
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
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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
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Title
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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
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Mosconi, Davide
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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
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Document
Rights Holder
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Davide Mosconi
MoRE Museum
Financial reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/57169aa9a5899c937c290866d6ce2285.jpg
e40a0855efd5be83c0f72541567ffdcf
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Title
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gal neu .jpg
Description
An account of the resource
photomontage of young mothers inside the galleries spaces.
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file jpeg, 6,77×3,54 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/c2219f9f4f8c7ba88e870d0f5ac21ec6.jpg
f9067b5d219b5fc662a0061d0848dc85
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I+P0.jpg
Description
An account of the resource
Photomontage of elderly people inside the galleries spaces.
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file jpeg, 36,02×23,99 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/b6388b2ab50da9b3f54ea45c9a9d9f9e.jpg
d4d45aec4c8e93e12e4e19592c466911
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project for krome .jpg
Description
An account of the resource
Photomontage of elderly people and young mothers inside the galleries spaces.
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file jpeg, 8,52×11,9 cm, 300 dpi
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Title
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Lorenzo Scotto di Luzio
Description
An account of the resource
<p><span><span><span>Lorenzo Scotto di Luzio.</span></span> <span><span>Pozzuoli (NA), Italia 1972.<br />Lives and works in Berlin.<br /></span></span></span></p>
<p> </p>
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Scotto di Luzio, Lorenzo
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Title
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Senza Titolo
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Scotto di Luzio, Lorenzo
Date
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2012
Description
An account of the resource
This unrealized work donated to MoRE museum consists in a performance staged simultaneously in two different galleries in Berlin, in one venue there are many young mothers with babies, while in the other there are elderly people. The overlaying of the two actions creates a kind of disorientation in the viewer who is facing the two venues to enjoy the same work of art, the visitor entrance is potentially submerged by these presences that are on an ambiguous track between irony, sarcasm and an uncanny feeling of “homologation” of the protagonists. This work can be considered a modern allegorical composition of the three ages of man, on the one hand young women with their children – maturity and youth – while in the other gallery there is the last stages of life. Even if the work has an “aulic” meaning and evokes an iconography of the past, it developed through a ludic dimension which characterizes a great part of the work of the artist. Therefore there’s not only a Marcel Duchamp vein in Scotto di Luzio’s poetic, as we can see in <a href="http://moremuseum.org/omeka/admin/items/show/35" target="_blank" rel="noopener">the other project donated to MoRE</a>, but also a performative research that approaches both the avant-garde of the Seventies that the more recent trends of the Nineties, and that is penetrated by a Neapolitan sense humor with ancient roots (remembering Totò and Eduardo de Filippo) that conceals melancholy and irony.<br />The project was created in collaboration wirh the Krome Gallery (Berlin), but a second gallery has never been found.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2415/1/scotto_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Contributor
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Rossi, Valentina
Relation
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DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2415" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2415</a>
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image/jpeg
Type
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Still Image
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Lorenzo Scotto di Luzio
MoRE Museum
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/66a1ab2aff35e1e117dd9a9529bb4534.jpg
8e18e7c7db6026b244a3c9c278eb50b7
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Title
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2004_progetto Parco Trento.jpg
Description
An account of the resource
drawing
Format
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file jpeg, 25,81×20,8 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).
Creator
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Marisaldi, Eva
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Title
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Ritz
Description
An account of the resource
Ritz is a project conceived for the installation of an outdoor movie theatre inside a park in Trento, commissioned by the cultural association Numero Civico. The project, that was not realised, <a href="http://moremuseum.org/omeka/admin/items/show/28" target="_blank" rel="noopener">is proposed by the artist the following year with some changes for the P.A.V. (Parco d’Arte Vivente) of Turin</a>. The project, originally thought to be placed inside a wood, consists in the facade of a movie theatre outlined in black on a white background, on a 4 x 3 meters wing made of painted bricks (as the artist explains, “a big A4 paper sheet”). The facade recalls a liberty-decò style building, with the introduction of eclectic elements, and it refers to a movie theatre the artist saw in Antananarivo, Madagascar. To enter the theatre the audience needs to move around the wall, beyond which are placed four seats in concrete destined to be covered with moss. The seats address the landscape instead of the wall, that therefore becomes a wing and hides the watchers. Even though the project won the competition, it was not realised in the end because it was not possible to find an agreement with the neighbour that lived nearby the place that was identified as the most suitable for the realization and for other logistic and organizational reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2417/1/Marisaldi_ritz.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
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2417" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2417</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Eva Marisaldi
MoRE Museum
Logistical reasons