Read more.]]> http://hdl.handle.net/1889/2421]]> The project never won the competition.
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http://dspace-unipr.cilea.it/handle/1889/2055]]>
The idea was to reflect on the art fair context which is a recurring impulse in the artist's work. Context is not neutral, and can sometimes be oppressive as in the case of an art fair.
The proposal for Frieze London made reference to ambition and the competitive, attention grabbing motivation behind many projects for these art fairs. It would point to the competition for limited places and the curators’ power. The artist, caring very little about making a name for herself, uses the abbreviated 'G. Küng', which is meant to encapsulate a stance of resistance.
The project would consist of really oversized photographic prints on the theme of "stairs.” She would photograph models in board or plaster, variations on the stair form. They would be difficult stairs, treacherous ones or impossible to climb stairs: their shape would mean that if you tried to climb them, they would topple over, or a step would have a broken part, or they would get taller and taller as you climbed. Enlarging the photos hugely, the images would be too tall for the pseudo-walls of the art fair, and the prints would stick out above the walls.
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http://dspace-unipr.cineca.it/handle/1889/2998]]>
CAPTCHA is the project for a sculpture that reproduces a sports car  - a Mercedes SL600 - through layers of transparent polycarbonate, and should have been installed inside the Jardin des Plantes in Paris. The project, which focuses on the “striking formal aspects” of such a sculpture in a specific historical context, can be considered alongside Matthew Darbyshire works and researches on the optical potential of different materials and manufacturing processes, many of which looks at the printing technologies and the three-dimensional modeling of the prototypes used in the automotive industry. The polycarbonate in particular has different reactions to the light, and would allow the sculpture to "oscillate between the transparent and the opaque, or the solid and the empty". Even the choice of the subject can be included in the poetic and the iconography of Darbyshire, as it remains suspended between an intrinsic and ironic social commentary and a formal reflection on the object, the luxury, and its symbolic and subjective values.
The FIAC Committee rejected the project, which should have been also supported by the Swarovski company, within the off program of the fair. However the artist was asked if he would make and install it anyway with his commercial galleries resources.
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http://hdl.handle.net/1889/2655]]>
The project donated to MoRE was initially conceived for London Frieze Art Fair. The artist submitted an application for Frieze Projects, curated by Nicola Lees of the Frieze Foundation, and she was among the finalists with a proposal of transformation of a space inside the exhibition complex. Her project intended to transform the cloakroom of the museum into a sewing and fashion atelier, open during the whole event. In this atelier the artist would have reproduced and reinterpreted the coats and clothes left by the visitors while they were visiting the exhibition, to create some original pieces of art. The project was not selected. 
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http://hdl.handle.net/1889/2860]]>
Read more.]]> http://dspace-unipr.cineca.it/handle/1889/3004]]> ]]> Vitone in 2009 designed a memorial to the deserters from the Nazist army in the center of the city of Cologne,taking part in a competition, which he will not win.
The artist, who has lived and worked in Germany, meditates from a political point of view on the ambiguity of act of desertion. The monument that he projects is made of a flagpole of about 12 meters - with a flag on top of it, decorated with the infinity symbol - placed on an iron base on which a map is visible, a typical element of Vitone’s research (in this case the one of city of Cologne).
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http://hdl.handle.net/1889/3005]]>
Die Kristallader (The Crystal Vein) is a project in public space that Helen Mirra developed in 2014 as part of a competition for the city of St. Gallen in Switzerland.
The assignment of the competition was that the artistic intervention should connect the newly built Natural History Museum, which is located in the periphery, with the city center.
Helen Mirra's project proposal was an irregular "line", a crack in the asphalt filled with a shiny metal that leads from the city center to the Natural History Museum on a path carefully defined by the artist. The shiny crystal vein guides the visitors on a 3 km long walk through St. Gallen, allowing them to perceive the surroundings, time and movement in a different way.
The jury ultimately chose another submitted project, so that the Crystal Vein was never realised.
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This project was submitted as a proposal for the soft play commission at the Abbey Leisure Centre in Barking, London. The elements present in the area, dedicated to the children, are a series of games and spaces reinterpreted following the forms of objects, furniture and particular details of urban furniture. The space is divided into three floors: the ground floor is characterized as a urban public space with a trompe l'oeil painting of a Woolworths shop, a vinyl flooring that reproduces a grey stone paving, a neon sign and a coffee area, while the first and the second recall domestic spaces. Inside the drawings for the project we can find the model of a Volkswagen New Beetle car which works as a children picnic table, a climbing tree, a "store" where children can throw down huge objects made of a soft material and an area where rubber balls come out of bathtubs and sanitary fittings, a rotating wheel that looks like a sofa with a coffee table, a double bed you can jump on avoiding huge swinging lamps and the passages between different levels, made of firefighters poles, ramps and shelves to climb.
The Committee discarded the proposal, in favour of one by Marvin Gaye Chetwynd.
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http://hdl.handle.net/1889/2654]]>
The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008, for the creation of two works of art for the MAXXI Museo nazionale delle arti del XXI secolo, Rome: one had to be designed for the atrium of the museum and another one for the outdoor areas. 
The light work Esser Spazio had to be placed outside the MAXXI Museum, integrating the architectural environment with discretion and inhabiting the final steps of the square above the entrance to the museum. Uberti, coherent with its artistic research which often aims at drawing symbolic shapes and signs on the architectural and urban public space – sometimes with effects of displacement, sometimes to emphasize the characteristics and peculiarities of the place - in this case suggested a sentence, a motto and at the same time a call, asking the public to actively participate in the construction of the museum: then reflecting on the meaning of this new space for contemporary art, on its role in respect to the culture, but also on the shape of the city itself. The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008 by the Provveditorato interregionale per le opere pubbliche per il Lazio, l’Abruzzo e la Sardegna, in agreement with the PARC Direzione generale per la qualità e la tutela del paesaggio, l’architettura e l’arte contemporanee.
The work didn't win the competition.
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http://hdl.handle.net/1889/2333]]>
Foglie al vento is a project realised for the contest Arte per piazza Matteotti, organized by the city of Imola in 2010, that aimed at the creation of a monument to replace the memorial to the fallen of the First World War in the renovated Renaissance square.

The project, that did not win the contest, consisted of  the realization of a light installation in the arcade of one of the square sides. The idea of the artist was to place in the middle of each of the fourteen  vaults of the arcade of Palazzo Sersanti a special lighting element that, through a dedicated optical system, would have projected on the ground the image of the same number of green Ginko Biloba leaves, replacing the preexisting lighting system.
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http://hdl.handle.net/1889/2658]]>
The second proposal, called The Spoils of War, proposed to expose the carcass of a car destroyed by a bomb in Iraq, bringing a trace of the war in what has been for centuries the heart of the British Empire and still is universally recognized as a place with a strong monumental character.
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http://hdl.handle.net/1889/2094]]>
Il fiore e la pietra is a project of a urban sculpture for square in Turin, Italy. It was presented by the artist, on invitation by Gianni Romano, at the contest for young artists «Premio Artegiovane/Torino Incontra. Una porta per Torino» curated by Guido Curto, 6th Edition, 2002.
The theme draws its first inspiration from B.C. comics by Johnny Hart: a frail flower dialogues with a stone. The ambiguity between solidity and frailty is symbolically set aside the then very adverse situation of FIAT, the most important manufacturing company of Turin, and the problem of the blue collar sleeping area.
The environment in which the project was developed is typical of a still common situation in contemporary art: conceived to apply to a contest, it was never realized, as well as all the other projects presented, due to lack of funds.
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http://hdl.handle.net/1889/1996]]>
In bocca al lupo – (ed. “in the mouth of wolf” that is a way to wish good luck in Italian) isan artwork proposed by Liliana Moro for the 3rd International Sculpture Award of the Piemonte Region in Italy, promoted by the Piemonte Region and organized by the Association Piemontese Arte.
The project included the creation of a large sculpture in the shape of a wolf in the public park of Savigliano, which could be accessed through a spiral staircase.
Like Testa di Pinocchio (the Pinocchio's Head), in this work Moro referred to an iconographic repertoire linked to the world of childhood, combining it with a reflection on public space and with the relationship between interior and exterior.
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http://dspace-unipr.cineca.it/handle/1889/3442]]>
Knick Knacks is Matthew Darbyshire proposal for the Fourth Plinth public art program in Trafalgar Square, London. The concept builds on an image designed by the artist himself as a christmas card for "The Guardian" newspaper and wants to transform the monumental sculptural base in a shelf that refers to a domestic space. Here Darbyshire presents eight sculptures in coloured polyurethane foam, reproductions of household objects in a different scale. The eight opaque elements would be 3D scanned and modeled from the original objects, CNC routed in polyurethane foam and then laminated in fibre-glass before being chromed, sprayed and flocked. The single clear element would be modeled in much the same way but then cast in clear tinted resin.
This installation is a reflection on two feelings which are deeply contemporary, "emptiness"  and "nostalgia", and in particular a nostalgia that is expressed through reproductions of objects than - in respect to the original ones  - try to mask some of the values that were in present and that remain somewhat hidden below the reproductions’ surface: “From the pop to the patriotic and the colonial to the kitsch”. A composition which could be read on different levels and which presents different layers, which could appear simply ironic but actually refers to some unsettling aspects of the British national identity through "a sort of ‘seduction and repulsion’ mechanism with its critique buried safely beneath the surface
The project was not selected for the commission.
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http://hdl.handle.net/1889/2656]]>
The project was created for an international competition promoted in 2009 by SEA, the company which manages Milan airport system. As stated in the announcement, the competition concerns the creation of “a new architectural project for the realization of an artwork that is going to change the appearance of the Malpensa airport. Specifically, the commission envisions a highly aesthetic space that is going to virtually represent the access door to the city of Milan. The purpose of this work of art, besides striking the passenger's imagination, is to become a location for cultural events and exhibitions”. Flavio Favelli presents Crystal Garden, a full-scale artwork which reproduces many features of the collective imaginary of Milan, while reminding at the same time Paxton's Crystal Palace. The reference to the architecture of London stems both from the project's title and from the materials that were to be used, such as the iron of old-aged gates and the glass thermoshell of the internal side. As declared by the artist itself, his architectural model is the aviary, which actually becomes a cage built with high-tech materials, which enables many and various activities. The complexity of the documents donated to MoRE portrays a careful planning and a thorough working method, showing also the relationship between the artists and the commissioner. Favelli's project presents many characteristic features of his body of work, which is able to succesfully combine the present with the past; here, the artist employs purposefully a futuristic approach through the usage of high-tech materials that opposes the recourse to found materials as well as to practices and modalities of appropriation. The project was not admitted to the second phase of the competition.
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http://hdl.handle.net/1889/2858]]>
The title-manifesto of the project, I prefer the sound of the sea, is the title of a film directed by Mimmo Calopresti (2000), inspired by a verse of Dino Campana.
The idea was to realise a flooring with a decoration made of tiles and rubberized asphalt whose colours were inspired by the mosaics of Fillia, Prampolini e Mazzoni inside Palazzo della Posta. Moreover, they wanted to place inside the square 99 red and blue trumpets, connected to the tide predictions centre in Genoa. The trumpets would have emitted a whistle, registered by the artist, in case of high tide.
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http://hdl.handle.net/1889/3444]]>
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2422]]> Read more.]]> The Rolls Royce project, proposed and never realized by the artist, comes from the need to create an exhibition for the Rolls Royce Art Programmean initiative related to the famous brand of automobiles, which was created to support bold and innovative ideas related to contemporary art.
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The project consists of an environmental intervention proposed by the artist for the facade of the Merate School of Maternity at the “Concorso Legge del 2% Scuola Materna (ente morale) di Merate” [Competition of the 2% Law for Merate nursery School], as indicated by Scaccabarozzi in a photograph reproducing the maquette he made, and probably entitled “Da un’idea del 69” [From an Idea of the 69], shown in the Collection by Mr. Antonio Spini of Robbiate. This project starts from the research held by Scaccabarozzi from the end of sixties and first half of seventies, and belongs to the series of Fustellati. These works come from the analysis of the movement in the relation between surface, depth, light and perception, in a space conceived as field of possible and potential variations. 
These paths, both conceptual both processual, bring the artist to realize works formed by a series of cylindrical elements obtained working with a hollow cutter and making on the neutral support modular elements, both emerging both hollow, of different and gradual dimension and extension.
Partially raised, inclined, orientated and colored, positioned in a rhythmic and sequential movement on the support itself, the Fustellati are an invitation to the eye and an incitement to the potentiality of perception. From that derives also the title of the project given by Scaccabarozzi for the nursery School of Merate in 1975: Rotazione continua orizzontale [Continous horizontal rotation]. From the analysis of the collage realized for the participation to the competition, the yellow completes and stresses the perceptive path of the cylindrical elements on the pictorial-environmental surface, thus intensifying the visual and cinetic-virtual potentialities of the project itself, if it would be realized.
Writing about this phase of the artistic research by Scaccabarozzi, in the monograph dedicated to the artist, in collaboration with the Archive and published in 2016 by Corraini, Flaminio Gualdoni stressed the double presence of “[…] the physical objectivity of the work and the physiology of perception, un-aestheticity compared to current expectations, the spectator’s active participation and complicity in the work as a facilitator of aesthetic expectation, a not decisively random situation: most of all, the strong and complete involvement of the temporal dimension in a process which, until that moment, one’s own evaluation system was based on the space and the psychological duration of the experience, rather than the physical […]”. (Gualdoni 2016, p. 43). 
The fact that this specific project was devoted to pre-school children emphasized the educational, ethical and aesthetic value given by Scaccabarozzi to his artistic works, and needs further reflection on his artistic intention about the principles and value of the game. Two years before his participation to this competition, questioned by Ernesto L. Francalanci and Paolo Cardazzo about the ludus component in his work, Scaccabarozzi responded succinctly: “I play with people who want to play for real/I play very seriously”. (Francalanci 1973, s.p.).
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http://hdl.handle.net/1889/3441]]>
Stonehenge II is a proposal for a work in a public space by Aleksandra Mir.
Originally presented to the Artangel/Times open commission in 1998 (and subsequently rejected), the proposal was to build a Stonehenge replica close to the original, to reduce the volume of pedestrian traffic and save this piece of cultural heritage from further destruction. To compensate for the necessary limited access to Stonehenge I, Stonehenge II would allow full access and promote a wide range of activities on its grounds. The project was proposed a second time to students on the Royal College of Art curating course, who were asked to join the artist in the production of the project over the summer of 2001 (also rejected). The scale model was constructed in 2002–03. Aleksandra Mir continues to further her ambition to realize this work and hopes to make contact with interested parties who wish to assist.
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Testa di Pinocchio è il progetto proposto da Liliana Moro in occasione della mostra itinerante Playgrounds and Toys, organizzata dall’associazione con sede a Ginevra Art for the World e curata da Adelina von Fürstenberg, con l’intento di sensibilizzare il pubblico sul gioco come diritto fondamentale, spesso negato, di ogni bambino. In particolare la rassegna invitava artisti, architetti e designer di tutto il mondo a proporre progetti di parchi giochi e giocattoli destinati a bambini costretti a vivere in condizioni di ingiustizia sociale. Il progetto, proposto in occasione della tappa all’Hangar Bicocca nel 2005, prevedeva la realizzazione di una “casa gioco” per bambini a forma di testa di Pinocchio, con un’apertura sulla bocca da cui sarebbe dovuto partire uno scivolo, delle altalene realizzate con pneumatici pendenti dalle orecchie e dei finti mattoncini sulle pareti laterali per permettere ai bambini di arrampicarsi.
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http://dspace-unipr.cineca.it/handle/1889/3443]]>
The project is presented at the contest Premio ArteGiovane in 2002, Torino incontra l’arte. Una porta per Torino. Vitone proposes the realisation of an installation in the square, placed in front of Mirafiori, dedicated to Emilio Salgari, the writer who spent most of his life in the city of Turin.
The artist conceives to recreate a desert landscape washed by the sea, inspired by the stories of the series of novels “The Pirates of Malaysia”, a space that would have been crossed by the tram lines, stimulating in the passengers fantasies of adventures and mythical places. 
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http://hdl.handle.net/1889/2657]]>
UNTITLED aims at creating a photo archive of places and monuments which are significant for foreign citizens based in Italy. Geography, iconography and memory are pivotal for this project, created to give a visual identity to the rich cultural diversification characterising Italian contemporary society. At the same time UNTITLED focuses on landscape and monument identity in this era. This installation had two chances to be shown and presented: in Milan, Quartiere Giambellino, in 2011, and in 2015 in Trieste.
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