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25
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Title
A name given to the resource
Aleksandra Mir
Description
An account of the resource
<p style="font-weight: 400;">Aleksandra Mir (born 1967) is a Swedish-American contemporary artist known for her collaborative installations and projects. Her work deals with travel, time, placehood, language, gender, identity, locality, nationality, globality, mobility, connectivity, performativity, representation, transition, translation and transgression. She is known for her large scale collaborative projects and for her anthropological methods, involving rigorous archival research, oral history and field work.<br />She has exhibited at Kunsthaus Zurich (2006), Tate Modern, London (2014), Tate Liverpool (2017), Modern Art Oxford (2017), Schirn Kunsthalle, Frankfurt (2009), M – Museum Leuven (2013), Whitney Museum of American Art (2014), Solomon R. Guggenheim Museum (2007), MoMA, New York City (2012), YUZ Museum, Shanghai (2018), Whitney Biennial (2004), Biennale of Sydney (2002), Biennale di Venezia (2009), and Mercosul Biennial, Porto Alegre (2015), Tai Kwun Contemporary, Hong Kong (2020).</p>
Creator
An entity primarily responsible for making the resource
Mir, Alexandra
Dublin Core
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Title
A name given to the resource
Stonehenge II
Description
An account of the resource
<p style="font-weight: 400;">Stonehenge II is a proposal for a work in a public space by Aleksandra Mir.<br />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 <em>Stonehenge I,</em> <em>Stonehenge II </em>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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5200/1/Aleksandra%20Mir_Stonehenge%20II.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
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Mir, Alexandra
Date
A point or period of time associated with an event in the lifecycle of the resource
1998-2001
Contributor
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Mir, Alexandra
Scotti, Marco
Format
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image/jpeg
Type
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Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Aleksandra Mir
MoRE museum
Project which wasn’t selected in a prize or competition
Rejected
-
http://www.moremuseum.org/omeka/files/original/ca54c9a635d64666b2f41ebcb5d0c96b.pdf
794ab998fd164998d78e27af9da9b6fe
Dublin Core
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Title
A name given to the resource
Helen Mirra
Description
An account of the resource
<p class="Standard">Helen Mirra’s art practice is based in walking, primarily in the mountains, in nature. But also cities could be a place for her walks – as for example in the exhibition series „gehend, Field Recordings (1-3)“ Mirra did in 2011 in Kunst Werke Berlin, Bonner Kunstverein and Haus Konstruktiv in Zurich.</p>
<p class="Standard">Her works are generated from making these walks – her perceptive experiences in the landscape, and the activity of her body. They develop in parallel. Not only is moving, walking, fundamental to Mirra’s work, but the places where the walks happen are essential elements. </p>
<p>Helen Mirra work was shown in solo exhibitions at Renaissance Society, Chicago, Kunst Werken, Berlin, Haus Konstruktiv, Zürich and Berkley Art Museum. Mirra participated in the 50th Venice Biennial, the 20th Sao Paulo Art Biennial and the 12th Havana Biennial.</p>
Creator
An entity primarily responsible for making the resource
Mirra, Helen
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Title
A name given to the resource
Die Kristallader
Description
An account of the resource
<p class="Default"><em>Die Kristallader</em> (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.<br />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.<br />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.<br />The jury ultimately chose another submitted project, so that the Crystal Vein was never realised.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3843/1/rekade_mirra.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Mirra, Helen
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
Contributor
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Rekade, Christiane
Format
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application/pdf
Language
A language of the resource
English
Type
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Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Helen Mirra
MoRE Museum
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/ff86acfca77f865f058c9840f2fa4263.pdf
a61f57a3b349ecdeae2decddf9aca5d3
Dublin Core
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Title
A name given to the resource
Wendy White
Description
An account of the resource
<p class="fs8"><span lang="EN-US">Deep River, CT, 1971. Lives and work in New York<o:p></o:p></span></p>
<p class="fs8"><span class="text-grey"><span lang="EN-US">Selected and Recent Solo Exhibitions:</span></span><span class="apple-converted-space"><span lang="EN-US"> </span></span><span lang="EN-US">2017 Wendy White, VAN HORN, Düsseldorf, Brian Calvin - Wendy White, Cabinet, Milan; 2016 Santa Cruz, Eric Firestone Loft, New York; 2015 Skiing, Galerie Jérôme Pauchant, Paris, Double Vanity, Sherrick & Paul, Nashville, 12th Man, David Castillo Gallery, Miami; 2014 El Campo, VAN HORN, Düsseldorf; 2013 Pick Up a Knock, Andrew Rafacz, Chicago, Sports Moment, Makebish, New York, Wendy White, Maruani and Noirhomme, Brussels; 2012 Pix Vää, Leo Koenig, Inc, New York, Radio Lampor, VAN HORN, Düsseldorf; 2010 Up w/Briquette, Leo Koenig, Inc, New York; 2009 Autokennel, Leo Koenig, Inc, New York.<o:p></o:p></span></p>
<p class="fs8"><span class="text-grey"><span lang="EN-US">Selected and Recent Group Exhibitions:</span></span><span class="apple-converted-space"><span lang="EN-US"> </span></span><span lang="EN-US">2017 Vatic Utterance, Trestle Gallery, Brooklyn, Lob des Schattens, Marc Straus Gallery, New York, Small Painting, County Gallery, Palm Beach, Man Alive, Maruani Mercier Gallery, Brussels; 2016 Mount Analogue, Performance Ski, Aspen, Temporary Highs, bitforms, New York, Whatspace, Halsey McKay Gallery, East Hampton; 2015 Painting is Not Doomed to Repeat Itself, Hollis Taggart, New York, All Killer No Filler, Eric Firestone Gallery, East Hampton, Black/White, Ameringer McEnery Yohe, New York; 2014 Sha Boogie Bop, Anonymous Gallery, New York.<o:p></o:p></span></p>
Creator
An entity primarily responsible for making the resource
White, Wendy
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Title
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Rolls Royce
Description
An account of the resource
<p>The <em>Rolls Royce</em> project, proposed and never realized by the artist, comes from the need to create an exhibition for the <i>Rolls Royce Art Programme</i>, <span lang="EN-US">an initiative related to the famous brand of automobiles, which was created to support bold and innovative ideas related to contemporary art.</span><span></span><br /><a href="https://www.repository.unipr.it/bitstream/1889/3848/1/white_valacchi.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
White, Wendy
Date
A point or period of time associated with an event in the lifecycle of the resource
2019
Contributor
An entity responsible for making contributions to the resource
Valacchi, Maria Chiara
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.
Wendy White
MoRE Museum
Failure to reach an institutional agreement
Project which wasn’t selected in a prize or competition
-
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Dublin Core
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Title
A name given to the resource
Alessandro Sambini
Description
An account of the resource
<p>Alessandro Sambini (Rovigo, 1982) lives and works in Milan, where he moved after graduating in Art & Design at the Libera Università in Bolzano and further to completing an MA in Research Architecture at the Visual Cultures department of Goldsmiths College, University of London. In Milan, he started working with images, video and mixed media, exploring the needs and modalities that regulate the production of new images, their circulation and dissemination, and the various relationships that exist between the image itself and its viewers. In 2017 he took part to the group show Fuocoapaesaggio curated by</p>
<p>Dolomiti Contemporanee and he was selected to be part of Plat(t)form 2017 at the Fotomuseum of Winterthur; in 2016 the Fondo Privato Acquisizioni per l’arte contemporanea of ArtVerona acquired his work People at an exhibition. The same project was part of the solo exhibition at Galleria Michela Rizzo, curated by Denis Isaia. During the same year he took part to Stories From the Edge, curated by Francesca Lazzarini, at the Kunsthaus Graz (Austria) and to the exhibition On New Italian Photography, curated by Fantom, Viasaterna (Milano 2016). His projects have been presented at: Foto/ Industria, 2a Biennale di Fotografia Industriale curated by François Hébel, at MAST (Bologna, 2015); Flags, at Serra dei Giardini, curated by Elena Forin (Venezia, 2014); Lo Spettatore Emancipato, curated by Angela Madesani, at Galleria Giovanni Bonelli (Milano, 2014). He worked with Italian institutions like MUSEION, FORMA, MUFOCO, MAST, MA*GA and Triennale di Milano; in 2009 he won the XXIII Premio Gallarate Per Le Arti Visive, Terzo Paesaggio. Fotografia Italiana Oggi and he was among the finalists of GD4PhotoArt, promoted by MAST. He is co-founder of POIUYT and his works are part of MAGA, MUFOCO and Fondazione MAST collections.</p>
Creator
An entity primarily responsible for making the resource
Sambini, Alessandro
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Title
A name given to the resource
UNTITLED
Description
An account of the resource
<em>UNTITLED</em> 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 <em>UNTITLED</em> 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. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3847/1/forin_sambini%20def.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Sambini, Alessandro
Date
A point or period of time associated with an event in the lifecycle of the resource
2011 & 2015
Contributor
An entity responsible for making contributions to the resource
Forin, Elena
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.
Alessandro Sambini
MoRE Museum
Project which wasn’t selected in a prize or competition
Unspecified
-
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Dublin Core
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Title
A name given to the resource
Mark Dion
Description
An account of the resource
<p>Mark Dion was born in 1961 in New Bedford, Massachusetts. He initially studied in 1981-2 at the Hartford Art School of the University of Hartford in Connecticut, which awarded him a BFA (1986) and honorary doctorate in 2002. From 1983 to 1984 he attended the School of Visual Arts in New York and then the prestigious Whitney Museum of American Art's Independent Study Program (1984-1985). He is an Honorary Fellow of Falmouth University in the UK (2014), and has an Honorary Doctor of Humane Letters (Ph.D.) from The Wagner Free Institute of Science in Philadelphia (2015). </p>
<p>Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. The job of the artist, he says, is to go against the grain of dominant culture, to challenge perception and convention. Appropriating archaeological, field ecology and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates works that question the distinctions between ‘objective’ (‘rational’) scientific methods and ‘subjective’ (‘irrational’) influences. The artist’s spectacular and often fantastical curiosity cabinets, modelled on Wunderkammerof the 16th and 17th Century, exalt atypical orderings of objects and specimens. Dion also frequently collaborates with museums of natural history, aquariums, zoos and other institutions mandated to produce public knowledge on the topic of nature. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Mark Dion questions the objectivity and authoritative role of the scientific voice in contemporary society, tracking how pseudo-science, social agendas and ideology creep into public discourse and knowledge production.</p>
<p>Dion has received numerous awards, including the ninth annual Larry Aldrich Foundation Award (2001) The Joan Mitchell Foundation Award (2007) and the Smithsonian American Art Museum's Lucida Art Award (2008). He has had major exhibitions at the Miami Art Museum, Miami (2006); Museum of Modern Art, New York (2004); Aldrich Museum of Contemporary Art, Ridgefield, Connecticut (2003); Tate Gallery, London (1999), and the British Museum of Natural History, London (2007). “Neukom Vivarium” (2006), a permanent outdoor installation and learning lab for the Olympic Sculpture Park, was commissioned by the Seattle Art Museum. Dion produced a major permanent commission, ‘OCEANOMANIA: Souvenirs of Mysterious Seas’ for the Oceanographic Museum in Monaco. In 2016 Dion and his curatorial collaborator Sarina Basta produced the large scale exhibition, ExtraNaturel: Voyage initiatique dans la collection des Beaux-Arts de Paris, at the Palais des Beaux-Arts in Paris.</p>
<p>Mark Dion is co-director of Mildred's Lane an innovative visual art education and residency program in Beach Lake, Pennsylvania.</p>
<p>For over two decades Dion has worked in the public realm in a wide range of scales, from architecture projects to print interventions in newspapers. Some of his most recent large scale pubic project include "The Amateur Ornithologist Clubhouse" a Captain Nemo-like interior constructed in a vast gas tank in Essen, Germany, and "Den" a large scale folly in Norway's mountainous landscape which feature a massive sculpture of a sleeping bear in a cave, resting on a hill of material culture form the Neolithic to the present. Dion has also produced large scale permanent commissions for Documenta 13 in Kassel, Germany, the Montevideo Biennale in Uruguay, The Rose Art Museum, Johns Hopkins University and the Port of Los Angeles.</p>
<p>In October 2017, The Institute of Contemporary Art, Boston will host "Mark Dion: Misadventures of a 21st Century Naturalist", the largest American Survey to date of the artist work. </p>
<p>Dion lives with his wife and frequent collaborator Dana Sherwood in New York City and works worldwide.</p>
Creator
An entity primarily responsible for making the resource
Dion, Mark
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Title
A name given to the resource
Proposal for Balboa Park Centennial, San Diego
Description
An account of the resource
The project proposed to mark the Centennial of the building of Balboa Park with a construction which bring aspects of the various cultural institutions under a single roof. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3718/1/Mark%20Dion_Proposal%20for%20Balboa%20Park%20Centennial%2c%20San%20Diego.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Dion, Mark
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
An entity responsible for making contributions to the resource
Dion, Mark
Sherwood, Dana
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Mark Dion
MoRE museum
Project which wasn’t selected in a prize or competition
-
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Title
A name given to the resource
Antonio Scaccabarozzi
Description
An account of the resource
<p>Antonio Scaccabarozzi was born in 1936 in Merate (Lecco-Italy). From 1951 in Milan, he attended the evening classes of the High School of Applied Art of Castello Sforzesco, in the Painting section. Involved in the Milanese cultural environment of those years, Scaccabarozzi frequented the Brera district where he met artists such as Carlo Carrà, Piero Manzoni and Lucio Fontana. Graduated in 1959, he moved to Paris, where he worked as a sceneries-painter and deepened the artistic languages of time and historical avant-gardes. The works by Scaccabarozzi of those years are clearly influenced by Hans Arp and Fernand Léger. After Paris are the stays in London, and two long trips to Holland and Spain. Since the mid-1960s, Scaccabarozzi redefined his works following the concrete, programmed and new abstract avant-gardes, defining his visual language as <em>Equilibrio Statico-Dinamico</em> [Static-Dynamic Equilibrium], with clear reference to Neoplasticism and European Cinetism. Back to Italy, in Milan, he moved for a short time to the “Botteghe di Sesto San Giovanni” [Sesto San Giovanni’s Workshop Quarter], where he met artists such as Castellani, Bonalumi, Vermi, De Filippi, Fabro and Nagasawa. In the early seventies came the <em>Fustellati</em><em>,</em> formed by a succession of cylindrical elements, obtained by working with a hollow cutter and practicing on the neutral support emerging or hollow modular elements of different and gradual size and extension. In the North-European area, Scaccabarozzi finds his ideal place for research. In these early seventies also came the elaboration of a new cycle of work, entitled <em>Prevalenze</em> Prevalences]: the neutral support is animated by points that are first monochrome, then colored, placed on the canvas or table in an order resulting from an exact, mathematical calculation. In 1983 the artist began a new phase, conceptually starting from the idea that spreading a quantity of color is already painting, and thus freeing himself from the calculations and any obvious and obliged form of a predetermined scheme. These are <em>Quantità libere</em> [Free Quantities]. The Free Quantities brought Scaccabarozzi to experiment and choose a new material: the polyethylene sheet. The painting, lying on a transparent surface, stimulated Scaccabarozzi to reflecting on color as an isolated element. By combining this with glue, the artist created an amalgam which, when dried, made the color as autonomous, self-supporting element: if the Free Quantities are the body of painting, the “Essenziali” [Essentials] - so the artist names this cycle of work that started with the new decade of 1990s - become the “skeleton” of the painting. To his thirty years old research, have already been dedicated the first anthological exhibitions, still in the German area: from the “Retro-spective 1965-1993”, at the Galerie Hoffmann in Friedburg in 1993, to the Städtische Galerie “Villa Zanders” in Bergisch Gladbach in 1994. In the late 1990s, Scaccabarozzi returned to what had been the support of its Free Quantities: the polyethylene. Gradually, the polyethylene sheets become fluctuating chromatic membranes in space, suspended from the wall and ceiling by the nylon wire. Since 2002, “Ekleipsis (Polyethylene)” have been developed, consisting of two plastic sheets of different color. In 2003, Scaccabarozzi arrives at the “Banchise (Polyethylene)”: this is another variation on the polyethylene, as here the reflection is between the most exposed and highlighted sheet as dimension of painting, and the hidden one. Around 2005, the artist felt the need to go back to painting: he painted thin, oil-colored veils, on a base of colour on canvas or paperboard, to create a film absorbing and diffusing the atmosphere light. These were the <em>Velature</em> [Veilings]. An accident interrupted Antonio Scaccabarozzi's life in August 2008. His heritage has fully taken up by Anastasia Rouchota, who founded the “Antonio Scaccabarozzi Archive”. Fundamental is the monograph dedicated to the artist, edited by Flaminio Gualdoni and published by Corraini in 2016 in Italian, English and German, “Antonio Scaccabarozzi. Io sono pittore / I'm painter / Ich bin Mahler”. From 2017 Ilaria Bignotti is working as Special Project Manager, with the Archive’s professionals already involved in this project. The Catalogue raisonné of Antonio Scaccabarozzi is another goal of the Archive that is scheduled for the next years. </p>
Creator
An entity primarily responsible for making the resource
Scaccabarozzi, Antonio
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Title
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Rotazione continua orizzontale
Description
An account of the resource
<p><span>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. <br /></span>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.<br />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.<br />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). <br />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.).<br /><a href="https://www.repository.unipr.it/bitstream/1889/3441/1/Antonio%20Scaccabarozzi_Rotazione%20continua%20orizzontale.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Scaccabarozzi, Antonio
Date
A point or period of time associated with an event in the lifecycle of the resource
1975
Contributor
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Bignotti, Ilaria
Format
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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.
Antonio Scaccabarozzi
MoRE Museum
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/3441" target="_blank" rel="noopener">http://hdl.handle.net/1889/3441</a>
Project which wasn’t selected in a prize or competition
-
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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
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
Testa di Pinocchio
Description
An account of the resource
<p><em>Testa di Pinocchio </em>è il progetto proposto da Liliana Moro in occasione della mostra itinerante <em>Playgrounds and Toys</em>, organizzata dall’associazione con sede a Ginevra <a href="http://www.artfortheworld.net/">Art for the World</a> 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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3443/1/Liliana%20Moro_Moro_Testa%20di%20Pinocchio.pdf" target="_blank" rel="noopener">Read more.</a></p>
<p><span><em> </em></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
2003
Contributor
An entity responsible for making contributions to the resource
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/msword
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://dspace-unipr.cineca.it/handle/1889/3443" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3443</a>
Project which wasn’t selected in a prize or competition
-
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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
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
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
In bocca al lupo
Description
An account of the resource
<p><span><em>In bocca al lupo </em>– (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.<br /></span>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.<br />Like <em>Testa di Pinocchio</em> (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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3442/1/Liliana%20Moro_In%20bocca%20al%20lupo.pdf" target="_blank" rel="noopener">Read more.</a></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
2002
Contributor
An entity responsible for making contributions to the resource
Zinelli, Anna
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://dspace-unipr.cineca.it/handle/1889/3442" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3442</a>
Project which wasn’t selected in a prize or competition
-
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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
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
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
Preferisco il rumore del mare. Concorso di progettazione Piazza Verdi - La Spezia
Description
An account of the resource
The project, realised in collaboration with Studio 5 + 1 AA, was presented in 2009 on the occasion of the design contest to renovate Piazza Giuseppe Verdi from an architectural and artistic point of view. The contest was promoted by city of di La Spezia and P.A.A.L.M.A. (Premio Artista Architetto La Marrana Arte Ambientale) in collaboration with Fondazione Cassa di Risparmio della Spezia. The project was shortlisted among the top five entries. <br />The title-manifesto of the project, <em>I prefer the sound of the sea</em>, is the title of a film directed by Mimmo <span class="st">Calopresti</span> (2000), inspired by a verse of Dino Campana.<br />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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3444/1/Liliana%20Moro_Concorso%20di%20progettazione%20Piazza%20Verdi%20-%20La%20Spezia%20def.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Studio 5+1AA
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
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Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE Museum
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/3444" target="_blank" rel="noopener">http://hdl.handle.net/1889/3444</a>
Project which wasn’t selected in a prize or competition
-
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http://www.moremuseum.org/omeka/files/original/2e8dc9690043b9560e3f931f9139682b.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
Luca Vitone
Description
An account of the resource
The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan.
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Dublin Core
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Title
A name given to the resource
Concorso per la progettazione di un monumento dedicato ai disertori del nazismo
Description
An account of the resource
<p>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.<br />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).<br /><a href="https://www.repository.unipr.it/bitstream/1889/3005/1/Luca%20Vitone_Concorso%20per%20la%20progettazione%20di%20un%20monumento%20dedicato%20ai%20d....pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
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/msword
Language
A language of the resource
Italian
Deutsch
Type
The nature or genre of the resource
Text
Still Image
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/3005" target="_blank" rel="noopener">http://hdl.handle.net/1889/3005</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Luca Vitone
MoRE Museum
Project which wasn’t selected in a prize or competition
-
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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
G. Küng
Description
An account of the resource
<p>G. Küng (born 1982, New York) lives and works in Brussels since her 2013 residency at Wiels Contemporary Art Centre. She earned a BFA from The Cooper Union for the Advancement of Science and Art in New York in 2004 and an MFA from The Glasgow School of Art in 2012. Recent exhibitions include <em>Luigi Ghirri/G.Küng: Looking in</em> and a solo exhibition, <em>Inexhaustible Gifts of Celebratory Fruits</em>, both at Galerie Antoine Levi, Paris where she is represented. She was one of ten participants in the national competition of The Young Belgian Art Prize in 2015.</p>
Creator
An entity primarily responsible for making the resource
Küng, Georgia
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
as yet untitled (Stairs)
Description
An account of the resource
<p>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.<br />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.<br />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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2998/1/G.Kung_as%20yet%20untitled%20%28Stairs%29.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Küng, Georgia
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Contributor
An entity responsible for making contributions to the resource
Scipioni, Elena Lydia
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
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G. Küng
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2998" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2998</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/6993ab248bce4e3d6134c6559c1bcda7.pdf
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http://www.moremuseum.org/omeka/files/original/fdf276549e75be03fa789fd600a86503.pdf
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http://www.moremuseum.org/omeka/files/original/4b9bbaece85eb66b55e5e2290a8998c9.pdf
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http://www.moremuseum.org/omeka/files/original/9ce6f39eb0c582bd4bec8097aef1e056.jpg
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http://www.moremuseum.org/omeka/files/original/73d9c13bbc57d6d85424e3b79d733488.jpg
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http://www.moremuseum.org/omeka/files/original/28c3514e63f46d5cf26d30edd1c90aa4.jpg
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http://www.moremuseum.org/omeka/files/original/89f379da058c9a3571d7d00a93d69ee6.jpg
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http://www.moremuseum.org/omeka/files/original/7cfb85d5d5b46eadb2e7721b6d75c867.jpg
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http://www.moremuseum.org/omeka/files/original/2c9a2f73c94df0d6f0dbdc32b879b65b.jpg
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Dublin Core
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Title
A name given to the resource
Luca Vitone
Description
An account of the resource
The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan.
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Dublin Core
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Title
A name given to the resource
Concorso di progettazione Piazza Verdi - La Spezia
Description
An account of the resource
The project, realized with architect and curator Frank Boehm, was presented in 2009 on the occasion of the design competition for the architectural and artistic requalification of Piazza Giuseppe Verdi, announced by the city of La Spezia and P.A.A.L.M.A. (Premio Artista Architetto La Marrana Arte Ambientale) in partnership with Fondazione Cassa di Risparmio della Spezia. The idea of the artist and the architect was to convert the square into a pedestrian area, a kind of “urban living room”, a place of meeting. The square is divided into three equal parts: in the lateral parts they wanted to recreate an ideal Italian Garden, with orange trees, accessible on the west side to the customers of the coffee shop and on the opposite side to the students of the high school and junior high school. While in the central area, where the 1930’s building of the postal service is located, they planned to realise a rectangular fountain to be placed in front of the irregular staircase of the postal service building, and the protruding pavement, similar to piers inside the water.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3004/1/Luca%20Vitone%20e%20Frank%20Boehm_Concorso%20di%20progettazione%20Piazza%20Verdi.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
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Vitone, Luca
Boehm, Frank
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
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Modena, Elisabetta
Format
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image/jpeg
application/msword
application/pdf
Language
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Italian
Rights Holder
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Luca Vitone & Frank Boehm
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3004" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3004</a>
Project which wasn’t selected in a prize or competition
-
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http://www.moremuseum.org/omeka/files/original/347910eb65ae82b20fcaca3c410ae920.jpg
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http://www.moremuseum.org/omeka/files/original/69ec23ad52efaf9d77d7557efcf94f6f.jpg
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http://www.moremuseum.org/omeka/files/original/e75e596e8d4e57eb8809c2f827d98521.jpg
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http://www.moremuseum.org/omeka/files/original/cb732094ed94d268ce174352ebf0abb6.jpg
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Dublin Core
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Title
A name given to the resource
Sissi
Description
An account of the resource
<p>The artistic work of Sissi starts from the desire of investigating scientific and technical themes to reach, through art, a parallel, imaginary and fantastic dimension capable of ascribing a new identity to things. Her body is the center of her research, modified through an artistic process that uses disciplines as anthropology, archaeology and anatomy to meditate on the social and cultural dynamics linked to the physical life of the body inside society. This reflection is developed through different media, from performance to installation, from photography to drawing, painting and artist’s books. Her works have been shown in numerous collective and solo exhibitions and in major galleries and museums, including Fondazione Volume, Roma; Museo del 900, Milano; Fondazione Pomodoro, Milano; 53. Biennale di Venezia; Quadriennale, Museo d'Arte Contemporanea, Zagabria, Macro, Roma; Mambo, Bologna; Turku Biennial; Chelsea Art Museum, NewYork; Brooklyn Museum, New York, Smak di Gent; MOCA, Miami; Neue Galerie am Landesmuseum Joanneum, Graz.</p>
<p>Winner of numerous distinguished prizes and awards, she won the Gotham Prize in 2012, the American Academy in Rome Fellowships in the Arts in 2006; the New York Prize established by the Ministry of Foreign Affairs in 2005; the Francesca Alinovi Prize for performers assigned by the Gam in Bologna in 2003. She took part to the artist-in-residence program at the Tokyo Wonder Site, Tokyo Metropolitan Foundation for History and Culture in 2008; in 2006 she won the Premio New York by The Italian Academy for Advanced Studies of the Columbia University and in 2004 she was invited as artist in residence at the Neue Galerie am Landesmuseum Joanneum in Graz. In 2002 she won the Querini Stampalia Award “Furla per l'Arte”.</p>
Creator
An entity primarily responsible for making the resource
Sissi
Dublin Core
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Title
A name given to the resource
Cloakroom workshop, Frieze
Description
An account of the resource
<p>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. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2860/1/Sissi_Cloakroom%20Workshop.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Sissi
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
An entity responsible for making contributions to the resource
Rossi, Valentina
Format
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image/jpeg
Language
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Italian
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Sissi
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2860" target="_blank" rel="noopener">http://hdl.handle.net/1889/2860</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/fb00a44661cfd87b2f37ebb47a1ac30e.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
Tavola di progetto A1 definitiva
http://www.moremuseum.org/omeka/files/original/facc50516ae7e92134274c1742acc87d.pdf
1e5b8d4921596743a806ce31805f5394
Dublin Core
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Title
A name given to the resource
Relazione di progetto.
http://www.moremuseum.org/omeka/files/original/f909cc3de8daeeec99b56945f5179b09.pdf
7ce522559f879c34b9c7055a3b8dc99e
Dublin Core
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Title
A name given to the resource
Comunicato stampa per presentare il concorso.
http://www.moremuseum.org/omeka/files/original/836fec18255938c6a65c7a0633bc6677.pdf
3250dae5f0cbed517aa97bb2ec941b88
Dublin Core
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Title
A name given to the resource
lettera in cui si comunica all’artista la non ammissione alla seconda fase di concorso.
http://www.moremuseum.org/omeka/files/original/158b3e75ba576595b480919f67855f3b.pdf
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Dublin Core
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Title
A name given to the resource
Bando di concorso
http://www.moremuseum.org/omeka/files/original/192c672c47ce55293d50f2587811dfe9.pdf
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Dublin Core
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Title
A name given to the resource
Nota tecnica descrittiva per la realizzazione del progetto
http://www.moremuseum.org/omeka/files/original/c2d6fb6a4bdbb4de243819a9374be1b9.pdf
e9fda996bc2fb060bb5e36be650a1e8d
Dublin Core
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Title
A name given to the resource
Mappa di localizzazione dell’area di intervento
http://www.moremuseum.org/omeka/files/original/76ad881a3c2888282a3af07b148a9b7d.pdf
0e3a93133f438e527c3c897eff612d11
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
Mappa di localizzazione dell’area di intervento
http://www.moremuseum.org/omeka/files/original/00514a5e82390aa1851e0e8d1759fd8c.pdf
4bcad77480ecbfcabaf41eecc71f67d0
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
Curricula dei membri della giuria
http://www.moremuseum.org/omeka/files/original/ece32ef337f70e00843e25283d554c83.pdf
bcac06efa412211b98e3ccc10800da73
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
Curricula dei membri della giuria
http://www.moremuseum.org/omeka/files/original/ddd5c7c4a3dfed72f0266b18582465f6.pdf
a38d4b8de9c4a7c1304dff872a980cdb
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
Curricula dei membri della giuria
http://www.moremuseum.org/omeka/files/original/887f7b57474822069d61913125f892d0.pdf
c91890b4b767ee58eb4a3cb870a82727
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
Curricula dei membri della giuria
http://www.moremuseum.org/omeka/files/original/25c4e13b98e0e5a4b995526220127dd9.pdf
675d30edaa219110a004838b1c953c63
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
Curricula dei membri della giuria
Dublin Core
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Title
A name given to the resource
Flavio Favelli
Creator
An entity primarily responsible for making the resource
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>
Dublin Core
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Title
A name given to the resource
La Porta di Milano
Description
An account of the resource
<p>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 <em>Crystal Garden</em>, 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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2858/1/Flavio%20Favelli_La%20Porta%20di%20Milano.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Favelli, Flavio
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
An entity responsible for making contributions to the resource
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
application/msword
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2858" target="_blank" rel="noopener">http://hdl.handle.net/1889/2858</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Flavio Favelli
MoRE Museum
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/9cb78baef8b71f06f5b10aa1b0a1d89d.pdf
269bc3f61124c7706252658617973955
Dublin Core
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Title
A name given to the resource
Una tigre per Torino.doc
Description
An account of the resource
Presentation letter attached to the project
http://www.moremuseum.org/omeka/files/original/a9d2c1fe0ff0ac044b083dc39be5b1d0.jpg
d8a3d0955a98ea44a7f74ce21f23e002
Dublin Core
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Title
A name given to the resource
Una tigre per Torino001.TIF
Description
An account of the resource
Picture taken by Elvio Manuzzi of the scale model (various materials, cm 26,5 x 51,3 x 52) realized for the project of the installation.
Format
The file format, physical medium, or dimensions of the resource
file TIF, 3,53x5,65 cm, 1200 dpi
http://www.moremuseum.org/omeka/files/original/2c1049994c033bca09b7825d4b53a4d9.jpg
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Dublin Core
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Title
A name given to the resource
Una tigre per Torino002.TIF
Description
An account of the resource
Detail of the scale model with tracks on sand. Picture by Elvio Manuzzi.
Format
The file format, physical medium, or dimensions of the resource
file TIF, 6,45x9,6 cm, 1200 dpi
http://www.moremuseum.org/omeka/files/original/2ee0f502e54e0d1ce69c0539180f18bd.jpg
8e05bacea50fca97c788e9ef35fa23d9
Dublin Core
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Title
A name given to the resource
Una tigre per Torino003.TIF
Description
An account of the resource
Detail of the scale model with the tiger in fiberglass roaring in the middle of the vegetation. Picture by Elvio Manuzzi.
Format
The file format, physical medium, or dimensions of the resource
file TIF, 6,44x10,02 cm, 1200 dpi
http://www.moremuseum.org/omeka/files/original/8c107d92f7d51862cf19aa17f4eec7e0.pdf
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Dublin Core
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Title
A name given to the resource
EPSON012.pdf
Description
An account of the resource
General plan of the intervention area.
Format
The file format, physical medium, or dimensions of the resource
file pdf, 41,978x29,667 cm, 300 dpi
Dublin Core
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Title
A name given to the resource
Luca Vitone
Description
An account of the resource
The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan.
Creator
An entity primarily responsible for making the resource
Vitone, Luca
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
Una tigre per Torino
Description
An account of the resource
<p>The project is presented at the contest Premio ArteGiovane in 2002, <em>Torino incontra l’arte. Una porta per Torino. </em>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.<br />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. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2657/1/Vitone_una%20tigre%20per%20Torino.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Vitone, Luca
Date
A point or period of time associated with an event in the lifecycle of the resource
2002
Contributor
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Modena, Elisabetta
Format
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image/tiff
application/msword
Language
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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.
Luca Vitone
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2657" target="_blank" rel="noopener">http://hdl.handle.net/1889/2657</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/8391c1e71c2d6926442c200fe6a8c072.jpg
d00b763f45b45d7a08245f738be0e259
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Title
A name given to the resource
progetto-01.JPG
Description
An account of the resource
The file 1/3 includes the project description, techincal paper, map of the interested area with the locationing of the installation, calculation of the area and estimated budget.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,7x42 cm, 300 dpi)
http://www.moremuseum.org/omeka/files/original/c56b0a13d7c8a2a6b3db65e40f72a3e7.jpg
586e8165756429ee9f4fe54b98702935
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Title
A name given to the resource
progetto-02.JPG
Description
An account of the resource
The file 2/3 consists of four images: the prototype of the lamp; the leaf of Ginkgo Biloba that would have been projected in the colonnade; two images of the arcades with the current lighting and with the green light that would have enlighted them in case of realization of the installation.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,7x42 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/91948211e584c2fd60036234bb5a3367.jpg
b16a1415d67e571ba8e6cb163ab87bad
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Title
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progetto-03.JPG
Description
An account of the resource
The file 3/3 presents a sheet related to the Ginkgo Biloba plant together with the poem Soldati by Giuseppe Ungaretti (1918).
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file jpg, 29,7x42 cm, 300 dpi
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Title
A name given to the resource
Luca Vitone
Description
An account of the resource
The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan.
Creator
An entity primarily responsible for making the resource
Vitone, Luca
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Title
A name given to the resource
Foglie al vento
Description
An account of the resource
<p style="text-align: left;"><em>Foglie al vento</em> is a project realised for the contest <em>Arte per piazza Matteotti, </em>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.</p>
<p style="text-align: left;">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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2658/1/Vitone_%20foglie%20al%20vento.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
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Vitone, Luca
Date
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2010
Contributor
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Modena, Elisabetta
Format
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image/jpeg
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.
Luca Vitone
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2658" target="_blank" rel="noopener">http://hdl.handle.net/1889/2658</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/9ac3bec81b1218fb5313036033c8c468.pdf
fadd053a19e138f56cc6c3f43fa3aa3a
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Title
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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
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Title
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Drawings for a soft play commission for Barking Leisure Centre, London
Creator
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Darbyshire, Matthew
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
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 was submitted as a proposal for the soft play commission at the <a href="https://www.lbbd.gov.uk/residents/leisure-libraries-and-museums/sport-and-physical-activity/abbey-sport-centre/new-abbey-leisure-centre/">Abbey Leisure Centre</a> 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.<br />The Committee discarded the proposal, in favour of <a href="in%20favour%20of%20one%20by%20" target="_blank" rel="noopener">one by Marvin Gaye Chetwynd</a>.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2654/1/Matt%20Darbyshire_Drawings%20for%20a%20soft%20play%20commission%20for%20Barking%20Leisure%20Centre.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
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Matthew Darbyshire
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2654" target="_blank" rel="noopener">http://hdl.handle.net/1889/2654</a>
Failure to meet the commissioner's demands
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/0c655fe3c23ef1f6b0bd7e2cb7c4e5e2.pdf
13c65f5d28fe8557bdf9469219b854a1
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
A name given to the resource
CAPTCHA
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
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
Scotti, Marco
Format
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application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<p><em>CAPTCHA</em> 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.<br />The FIAC Committee rejected the project, which should have been also supported by the Swarovski company, within the <em>off </em>program of the fair. However the artist was asked if he would make and install it anyway with his commercial galleries resources.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2655/1/Matt%20Darbyshire_CAPTCHA%20–%20Mercedes%20SL600.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Matthew Darbyshire
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2655" target="_blank" rel="noopener">http://hdl.handle.net/1889/2655</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/2a23df4f5a52a1474fb4ad805a17a85d.pdf
1357328e328e5a4cc1537e60f075a7ce
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
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
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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Knick Knacks - A Proposal for Trafalgar Square's Fourth Plinth
Creator
An entity primarily responsible for making the resource
Darbyshire, Matthew
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
Scotti, Marco
Format
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application/pdf
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Description
An account of the resource
<p><em>Knick Knacks</em> 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.<br />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: “<em>From the pop to the patriotic and the colonial to the kitsch</em>”. 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 "<em>a sort of ‘seduction and repulsion’ mechanism with its critique buried safely beneath the surface<br /></em>The project was not selected for the commission.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2656/1/Matt%20Darbyshire_%20Knick%20Knacks.pdf" target="_blank" rel="noopener">Read more.</a></p>
<p> </p>
Rights Holder
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Matthew Darbyshire
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2656" target="_blank" rel="noopener">http://hdl.handle.net/1889/2656</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/0072e358a2bc0590eca3c2d78e83c1a5.jpg
1e715410492a35406c0e8302956d5a52
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Title
A name given to the resource
1 Arcimboldi, Maquette.jpg
Description
An account of the resource
Photographic image in digital format of the model for the project.
http://www.moremuseum.org/omeka/files/original/301b3bdfb1bdd76d56eae49d312eec14.jpg
ab237ff51aa3f7f04576abfde7165b47
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Title
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2 Arcimboldi, pianta con assonometria.jpg
Description
An account of the resource
Photographic image in digital format: square plan, with the Arciteatro project represented in an isometric view, sheet of white paper, cm 29,5 x 21,3
http://www.moremuseum.org/omeka/files/original/d51d31913ec9a1768af6dc347fe296ac.jpg
a314bd5e7c5e7d264e3de18a97805160
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Title
A name given to the resource
3 Arcimboldi prospetti.jpg
Description
An account of the resource
photographic image in digital format: the three elevations in 1:100 scale, sheet of white paper, cm 29,6 x 20,2
http://www.moremuseum.org/omeka/files/original/4273305a4e765d214a4416646bff6141.jpg
49e0fd52ac09f00c30a8028ab2481448
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Title
A name given to the resource
4 Arcimboldi, pianta della piazza.jpg
Description
An account of the resource
Photographic image in digital format: square plan, with the zone where Arciteatro should have been constructed indicated, sheet of white paper, cm 29,6 x 21
http://www.moremuseum.org/omeka/files/original/424fda2bfc0bab0e9ffdbe02876dcf42.jpg
8aab6b6ff4287395fb612045dbb8f977
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Title
A name given to the resource
5 Arcimboldi, bozzetto delle silhouettes.jpg
Description
An account of the resource
Photographic image in digital format: sketch of the silhouettes from the project, sheet of white paper, cm 16,5 x 29,7
http://www.moremuseum.org/omeka/files/original/dd19058fb19dc594ccfef95d724e4b92.jpg
545365c18c9d4d253d2a2262870a65d3
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Title
A name given to the resource
6-varisco-arcimboldi-rendering.jpg
Description
An account of the resource
Photographic image in digital format: rendering of the project, digital print, cm 11 x 17
http://www.moremuseum.org/omeka/files/original/5fe7fc38169a92cd060d52dad295084e.jpg
69ffa63e7d7a684a120a1bf36ed8cbd2
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A name given to the resource
7-varisco-arcimboldi-rendering.jpg
Description
An account of the resource
Photographic image in digital format: rendering of the project, digital print, cm 11 x 17
http://www.moremuseum.org/omeka/files/original/fca89b457ad85b6b94e56cba5cff4a14.jpg
ac8b57f1d507002bb0a4769e026eea45
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Title
A name given to the resource
8-varisco-arcimboldi-rendering.jpg
Format
The file format, physical medium, or dimensions of the resource
Photographic image in digital format: rendering of the project, digital print, cm 11 x 17
http://www.moremuseum.org/omeka/files/original/f0e380c6cae0df829cebcf4fa8657e06.jpg
e6766f1339c1ce56b80e2d40c5353530
Dublin Core
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Description
An account of the resource
Photographic image in digital format: rendering of the project, digital print, cm 11 x 17
Title
A name given to the resource
9-varisco-arcimboldi-rendering.jpg
Format
The file format, physical medium, or dimensions of the resource
Photographic image in digital format: rendering of the project, digital print, cm 11 x 17
http://www.moremuseum.org/omeka/files/original/2d7eb0b60814769fa4114effab8ad881.pdf
0b23b725401e9e9a61b4ab2c6b3cb5c5
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Title
A name given to the resource
Grazia Varisco
Description
An account of the resource
Born in Milan on October 5, 1937, Grazia Varisco attended the Brera Academy of Fine Arts in the second half of the fifties, where she studied painting with Achille Funi as a teacher. In 1960 she approached the arte programmata movement and was among the leaders of the Gruppo T, together with Giovanni Anceschi, Davide Boriani, Gianni Colombo and Gabriele De Vecchi. Within the group, she participates at various exhibitions, including those of the international movement Nouvelle Tendance. Following these path the researches of Grazia Varisco continued with great consistency, even after the dissolution of the group, until today. The artist always works to fully investigate the possibilities of perception that a work of art can offer, often entering directly in dialogue with the surrounding space and always leaving an active role to the viewer, which certainly never remains at the level of contemplation. In this direction goes also the teaching activitiy of Varisco, who has been professor of Theory of Perception at the Brera Academy from 1981 to 2007. Since 1960, the exhibitions of the artist are also frequent: she has been present at major festivals in Italy and abroad, from the Venice Biennale, and also the protagonist of many personal shows since the mid-sixties.
Creator
An entity primarily responsible for making the resource
Varisco, Grazia
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
Arciteatro
Description
An account of the resource
Arciteatro is a simple and clear project – although very well articulated - that Varisco prepared when she was invited to participate in the competition organized by the Municipality of Milan for the construction of a sculpture intended to be located in the square near the Arcimboldi Theatre. The artist then thought of "inhabit" the public space with geometric - but open - shapes, of the kind that it’s often possible to find in his work, forms that, in their mutual dialectical relationship and tension with the surrounding environment, create a new and different spatial dimension, in which the perception habits of the public are challenged, as it always happens in her work, which are often declined in the concrete dimension of the surrounding space.<br />The project never won the competition. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2055/1/varisco_arciteatro.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Varisco, Grazia
Date
A point or period of time associated with an event in the lifecycle of the resource
2000
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2055" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2055</a>
Format
The file format, physical medium, or dimensions of the resource
application/pdf
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.
Grazia Varisco
MoRE Museum
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/11b9f201de71ead996549d3494b52f1d.jpg
44585ff391a1901ab81c8dc99b63c555
Dublin Core
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Title
A name given to the resource
007_ progetto museion.jpg
Description
An account of the resource
Photomontage of the project in its context
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 33,87×52,92 cm 120 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
Promise. Progetto per la recinzione del cantiere del Museion di Bolzano
Description
An account of the resource
The project was proposed for the enclosure of the construction site of the museum contemporary art in Bolzano in 2008, on the occasion of the inauguration of its new location realised by the Berlin studio KSV Krüger Schuberth Vandreike in the city centre. The artist was invited to take part to an initiative called Arte in cantiere together with some other artists; the chosen project in the end was the work A Change Of Mind by the Scandinavian artist duo Elmgreen & Dragset. The Promise project is an allusion, explicit in its title, to a promise, an expectation introduced by a series of small resin sculptures (20 cm high) hold in 12 plexiglass display cases placed on the perimeter of the museum’s fence, every 2,20 meters. Inside the cases (round-shaped, 25 x 30 x 20 cm) an hostess show the twelve movements of the “pre flight briefing”, performed by the flight assistants before each take off. Two cases present an the back tent open with a view on the museum construction site. The idea was to realise the small sculptures with a software for 3D-modelling through a process of rapid prototyping (a technique already used by the artist in some other projects). The cases were supposed to be illuminated from below with neon lights, as in a light box, to make the artist’s work visible at night. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2422/1/Marisaldi_promise.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
2007
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/1889/2422" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2422</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Eva Marisaldi
MoRE Museum
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/e1dffd30ff3c7f37acf72ddedaf46de6.jpg
562667867ce1088055b304ecc4761f35
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
UBERTI_vistalogocolore_MAXXI.jpg
Description
An account of the resource
colour night view of the project, with the museum logo.
Format
The file format, physical medium, or dimensions of the resource
21,39 x 16,95 cm, 150dpi
http://www.moremuseum.org/omeka/files/original/6b0c2fef2fd766d0cd571dfe5cb52756.jpg
89f1df26e02a808b4110582c3dca3b84
Dublin Core
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Title
A name given to the resource
UBERTI_vistacolore_MAXXI.jpg
Description
An account of the resource
colour night view of the project.
Format
The file format, physical medium, or dimensions of the resource
21,64 x 17,17 cm, 150dpi
http://www.moremuseum.org/omeka/files/original/bd53b231eb504b1138ed2433674770ae.jpg
1a649edde47dcfd1a79e524d5719c27a
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
UBERTI_vista_MAXXI.jpg
Description
An account of the resource
black & white night view of the project.
Format
The file format, physical medium, or dimensions of the resource
21,73 x 17,29 cm, 150dpi
http://www.moremuseum.org/omeka/files/original/497595ac33bfd601d8cde2c9c3f96b5b.jpg
6c978fd5952722010a36bbc644de4a7a
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
UBERTI_areainterventoesterno_MAXXI.jpg
Description
An account of the resource
plan of the MAXXI museum, external areas and indication of the placing for the <em>Esser Spazio</em> project.
Format
The file format, physical medium, or dimensions of the resource
42,01 x 29,7 cm, 150dpi
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
Massimo Uberti
Description
An account of the resource
Massimo Uberti was born in Brescia (Italy) in 1966; he has participated in the Lazzaro Palazzi Group in Milano (Italy); he is editor of the art magazine “Tiracorrendo” and teacher of Picture and Visual Arts at the Academy of Fine Arts SantaGiulia in Brescia (Italy). Lives and works in Brescia (Italy).<br /><a href="http://massimouberti.it" target="_blank">http://massimouberti.it</a><br /><em><em><br /></em></em>
<p>Special projects</p>
<p>2010-2011 <em>Altro spazio</em>, opera site specific, Milano, Spazio Pecci; 2009 Notte Bianca Internazionale dell’Arte e della Cultura, installazione site specific, Brescia; 2008 <em>Tendente Infinito, LED – Light Exhibition Design – Prima edizione</em>, Milano, Palazzo delle Stelline; 2007 Realizzazione del Premio “Piazza Mercanti 2007”, 5ª Edizione, Milano, Camera di Commercio.</p>
<p>Selected solo exhibition</p>
<p>2012 <em>Annottazioni e mancate risposte</em>, con Emanuele Becheri, a cura di PANZERA, Mauro, Brescia, Galleria aplusbcontemporary <em>Linee di costruzione</em>, Milano, Galleria Nilufar, Palazzo Durini; 2011 <em>NEVER OFF,</em> Milano, Galleria Spazioborgogno; 2008 <em>Gate now open</em>, Milano, N.O. Gallery <em>Dreams of a possibile City</em>, Milano, Fondazione delle Stelline (catalogo); 2005 <em>5500°k,</em> Roma, Galleria Paolo Bonzano Artecontemporanea, Palazzo Taverna; 2001 <em>Lucedòro</em>, a cura di MAGNI, Paola, Roma, Complesso monumentale di San Salvatore in Lauro (catalogo); 2000 <em>Bella posta,</em> Bologna, Galleria Neon; 1999 <em>Abitare</em>, Cusano Milanino (Milano), Care/Of; 1998 <em>Dessin du Dessin. Vetrines du hall</em>, Valenciennes, École des Beaux Art1997 <em>Città invisibile</em>, a cura di DELLA CASA, Bettina, Rovereto (Trento), Istituto d’Arte Depero; 1996 <em>Maestà dell’invisibile</em>, a cura di DELLA CASA, Bettina, Veragouth Arte Contemporanea, Lugano (catalogo); 1994 <em>La ricchezza</em>, a cura di RISALITI, Sergio, Milano, Accademia di Belle Arti di Brera; 1993<em>Massimo Uberti</em>, Roma, Studio Bocchi 1992; <em>Largado</em><span>, Udine, Galleria TAG; </span>1991: <em>Vlu</em>, Brescia, Chiesa di San Zenone; <em>Il trillo del diavolo</em>, Milano, Spazio di via Lazzaro Palazzi; 1990: <em>Signori si chiude!, </em>Milano, Spazio di via Lazzaro Palazzi.</p>
<p>Selected group exhibitions </p>
<p>2012: <em>Neon, la materia luminosa dell’arte,</em> a cura di PIETROMARCHI, Bartolomeo e ROSENBERG, DAVID, Roma, Macro (catalogo); <em>Altra natura,</em> a cura di PEZZATO, Stefano, Milano, Spazio Pecci ; 2011: <em>GIORNI FELICI</em>, a cura di DALL’OMBRA, Davide, Milano, Casa Testori; <em>A mina a mano amata</em>, a cura di PIETRONIRO, Giuseppe, Roma, Studio Gaddes; 2010: <em>Vette</em>, a cura di Comunicarte, Tolmezzo (Udine), Palazzo Frisacco (catalogo); 2009: <em>Multiplo 6, Uno nessuno centomila</em>, Milano, N.O. Gallery Fuori Area; 2008: <em>Inscape Landscape</em>, Milano, N.O. Gallery; <em>M.A.P.,</em> Milano, N.O.Gallery; <em>Multipli d’amore. 11 artisti per 11 opere sullʼamore</em>, Milano, N.O. Gallery; <em>La forma configge con il tempo</em>, a cura di PANZERA, Mauro, Roma, Galleria Maria Grazia del Prete; <em>Ma come mai</em>, a cura di CANZIANI, Cecilia, Roma, Galleria Paolo Bonzano (catalogo); <em>Multiplo 5</em>, Milano, N.O.Gallery; 2006: <em>Esercizio #1</em>, Bologna, Galleria Neon; <em>Intangibile Routes in Estrecho Dudoso</em>, a cura di PEREZ-RATTON, Virginia e DIAZ, Tamara, San Josè, Costa Rica, Museò de Diseno y Arte Contèmporaneo (catalogo); <em>Multiplo 4</em>, Milano, N.O. Gallery; 2005: <em>Filoluce</em>, a cura di GIUDICI, Lorella e FERRARIO, Rachele, Milano, Museo della Permanente (catalogo); <em>Entr’acte 2</em>, Alba (Cuneo), arte contemporanea in casa Gallizio (catalogo); <em>Multiplo 3</em>, Milano, N. O. Gallery; 2003: <em>EV+A 2003, a cura di PEREZ RATTON, Virginia, Limerick (Irlanda), Limerick city gallery of art</em>, (catalogo); <em>030,</em> a cura di TEDESCHI, Francesco e PARIS, Fabio, Brescia, Palazzo Bonoris (catalogo); 2002: <em>Entr’acte</em>, Bologna, Palazzo Albiroli (catalogo); 2000: <em>Courtesy Neon,</em> Bologna, D. L. F.; <em>Teatro Metropolitano Italiano</em>, Milano, MiArt; <em>Mind the Gap</em>, Monaco di Baviera (Germania), Akademie Galerie (catalogo); <em>Preview</em>, Bologna, Castel San Pietro, (catalogo); <em>Periscopio 2000</em>, Milano, Palazzo delle Stelline (catalogo); 1999: <em>Frame,</em> Firenze, Galleria Biagiotti; <em>Effetto notte</em>, a cura di PRATESI, Ludovico, Napoli, Napoli Sotterranea (catalogo); 1998: <em>Generazione Media,</em> Milano, Palazzo della Triennale (catalogo); <em>Blue,</em> a cura di CHERUBINI, Laura, Genova, Porto Antico (catalogo); <em>Fuori Uso,</em> a cura di CHERUBINI, Laura, Pescara, Opera Nuova (catalogo); 1997: <em>Il Punto,</em> a cura di GRAZIOLI, Elio, San Gimignano (Siena), Galleria Continua; 1996: <em>Modernità, </em>Torino, Fondazione Palazzo Bricherasio (catalogo); 1995: Campo, a cura di BONAMI, Francesco, Venezia, Corderie dell’Arsenale, (catalogo Fondazione Sandretto Re Rebaudengo, Guarene (Torino); Malmo (Svezia), Kunstmuseum; Tradition & Innovation, a cura di BONAMI, Francesco, Korea, National Museum of Contemporary Art; <em>Della Vita e dellʼAmore</em>, Bologna, Castel San Pietro, (catalogo); <em>Aperto ‘95</em>, Trevi, Trevi Flash Art Museum, Perugia, Palazzo Lucarini (catalogo); 1994: <em>Paesaggio Italiano,</em> Firenze, Palazzo degli Affari; <em>Prima linea,</em> a cura di BONAMI, Francesco, Trevi, Trevi Flash Art Museum, Perugia, Palazzo Lucarini (catalogo); <em>Mais ou est donc passé Eros</em>, a cura di BUDAK, Adam e RISALITI, Sergio, FRAC, Languedoc- Roussillon; <em>Turbare il tempo</em>, a cura di CINCINELLI, Saretto, Firenze, Museo Archeologico di Firenze; 1993: <em>Arte e Altro</em>, a cura di SILIGATO, Rossella. e PRATESI, Ludovico, Roma, Palazzo delle Esposizioni; <em>Take the Bare Necessity</em>, a cura di RISALITI, Sergio, Parigi (Francia), Galleria Anne De Villepoix; <em>Critica in Opera</em>, a cura di TODERI, Grazia, Bologna, Castel San Pietro (catalogo); <em>Arte Poetica</em>, a cura di HALPERN, N., Malibù, California, Frederik R. Weisman Museum of Art at Pepperdine University; <em>Nuova ingegneria…,</em> a cura di RISALITI, Sergio, Firenze, Villa Montalvo, Campi Bisenzio; 1992: <em>Retablo</em>, Piacenza, Palazzo Gotico (catalogo); <em>Molteplici Culture</em>, a cura di BAKARGIEV, Carolyn-Christov e PRATESI, Ludovico, Roma, Monastero di Sant’Egidio (catalogo); <em>Entre chien et loup</em>, Grenoble (Francia) Centre National d’Art Contemporain de Grenoble; Happening, a cura di PERRIN, F., Parigi (Francia), Hotel des Arts; <em>Milano Poesia</em>, Milano, Spazio Ansaldo; <em>1991: <em><em>Imprevisto</em>, Siena, Castello di Volpaia.</em></em></p>
Creator
An entity primarily responsible for making the resource
Uberti, Massimo
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
Esser Spazio
Description
An account of the resource
<span><span>The project was submitted to the commission for the International Competition <em>SPAZIO/MAXXI due percento</em>, 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. </span><br />The light work <em>Esser Spazio</em> 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.<br />The work didn't win the competition.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2333/1/uberti_essere%20spazio.pdf" target="_blank" rel="noopener">Read more</a>.</span>
Creator
An entity primarily responsible for making the resource
Uberti, Massimo
Date
A point or period of time associated with an event in the lifecycle of the resource
2008
Contributor
An entity responsible for making contributions to the resource
Bignotti, Ilaria
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.
Massimo Uberti
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2333" target="_blank" rel="noopener">http://hdl.handle.net/1889/2333</a>
Failure to meet the commissioner's demands
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/7ff390665a5d0d510bb2e1b279b6de0f.jpg
ed49ff08e56af586b6cc9845658c555e
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
2002_Progetto Rotonda Torino.jpg
Description
An account of the resource
Render of the project.
Format
The file format, physical medium, or dimensions of the resource
ile jpeg, 70,56×52,92 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
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
18.20 (Progetto per il Piazzale Caio Mario)
Description
An account of the resource
The project, originally conceived for the public contest «Premio Artegiovane/Torino Incontra. Una porta per Torino», proposed to realize a kind of silent room in the middle of the traffic congestion, with walls made of streams of air that rise toward the high and create a total sound proofing. To delimit the area Marisaldi plans to position a balaustre that works as a boundary. The idea, as the artists explains, is to create a kind of shelter in the middle of the traffic that can become a place for a date or be reached by tram. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2421/1/Marisaldi_piazzale%20caio%20mario.pdf" target="_blank" rel="noopener">Read more</a>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2002
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
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
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/1889/2421" target="_blank" rel="noopener">http://hdl.handle.net/1889/2421</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/8f716b008525ab533e60d4d8dd02945a.pdf
10c8407e51dc74b80127bd6361ef04d5
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
Foto 01.doc
Subject
The topic of the resource
First of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/99ac8e2d27d5da8f565f769988488680.pdf
a3ef5d7bd5040d6a42c71c758b69b63a
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
Foto02.doc
Description
An account of the resource
Second of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/32ad58ab7d71fa99a65eb8fa6176b3a4.pdf
5f251dbf79f9ce441744da233036fd86
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
Foto 03.doc
Description
An account of the resource
Third of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/5004aa9b2da843b900830cbf5a844a0a.pdf
9817dabaff3cc0c34afe43b0aab753bd
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
Foto 04.doc
Description
An account of the resource
Fourth of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/6cbdf68abc57222bfdbc5d0c351fb7fd.pdf
66c1716037d85b6d063cfe49646ecd96
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
Progetto.doc
Description
An account of the resource
Project presented by the artist for the contest, including an installation description, a poetics that reveals its objectives and its artistic and theoretical motivations, a detailed technical description with its realization costs and a four-page drawing of the project itself and of the “The Flower”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in 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
Debora Hirsch
Description
An account of the resource
Born in São Paulo 19th August 1967. Lives and works between Milan and São Paulo.<br /><a href="http://www.deborahirsch.com" target="_blank">http://www.deborahirsch.com</a>
Creator
An entity primarily responsible for making the resource
Hirsch, Debora
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 fiore e la pietra
Description
An account of the resource
<em>Il fiore e la pietra</em> is a project of a urban sculpture for square in Turin, Italy. It was presented by the artist, on invitation by Gianni Romano, at the contest for young artists «Premio Artegiovane/Torino Incontra. Una porta per Torino» curated by Guido Curto, 6th Edition, 2002. <br />The theme draws its first inspiration from B.C. comics by Johnny Hart: a frail flower dialogues with a stone. The ambiguity between solidity and frailty is symbolically set aside the then very adverse situation of FIAT, the most important manufacturing company of Turin, and the problem of the blue collar sleeping area. <br />The environment in which the project was developed is typical of a still common situation in contemporary art: conceived to apply to a contest, it was never realized, as well as all the other projects presented, due to lack of funds. <br /><a href="https://www.repository.unipr.it/bitstream/1889/1996/1/hirsch_il%20fiore%20e%20la%20pietra.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
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Hirsch, Debora
Date
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2002
Contributor
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Bignotti, Ilaria
Language
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Italian
Format
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application/pdf
Type
The nature or genre of the resource
Still Image
Text
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1996" target="_blank" rel="noopener"><strong><code>http://hdl.handle.net/1889/1996</code></strong></a>
Rights Holder
A person or organization owning or managing rights over the resource.
Debora Hirsch
MoRE Museum
Financial reasons
Project which wasn’t selected in a prize or competition
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http://www.moremuseum.org/omeka/files/original/ba04cdf81c86df6ce5ef3103d364ad26.jpg
74daa4030d4c15031c82a50e004cc415
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
TheSpoilsofWar.jpg
Description
An account of the resource
<em>The Spoils of War (Memorial for an Unknown Civilian)</em>. Model of the destroyed car on a plinth. Photo James O Jenkins.
Creator
An entity primarily responsible for making the resource
Jeremy Deller
Format
The file format, physical medium, or dimensions of the resource
file jpg, 1173 × 1646 pixel, 150 dpi
http://www.moremuseum.org/omeka/files/original/e14d82a97dc3c1e09c9a6c1395eae426.jpg
3e86e981bfd853e91307e129e1c7d0f4
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
DrDavidKelly.jpg
Description
An account of the resource
<em>Dr David Kelly Fourth Plinth Proposal</em>. <br />Artist’s rendering of Dr David Kelly sculpture on the plinth.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 1181 × 886 pixel, 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
Jeremy Deller
Description
An account of the resource
Jeremy Deller born 1966 in London, Lives in London. <br /><br />All Jeremy Deller projects donated to MoRE museum were originally selected by the artist himself to be exhibited in the monographic retrospective show <em>Joy in People</em>, and published in the exhibition catalogue section entitled “My Failures (2004-present)”: in his own words ‘a section of works that I wish I’d been able to make but wasn’t able to’.<br /><br /><a href="http://www.jeremydeller.org" target="_blank">http://www.jeremydeller.org</a>
Creator
An entity primarily responsible for making the resource
Deller, Jeremy
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
Fourth Plinth Proposals
Description
An account of the resource
Two proposals presented as part of the great public art project connected to the Fourth Plinth in Trafalgar Square, London and never realized. The "Fourth Plinth" was in fact originally built in the second half of the nineteenth century, as a base to host the equestrian statue of William IV, but has remained empty for over 150 years and the debate about its possible use has continued till 1999, when the first three temporary commissions were assigned to contemporary artists for site-specific projects. Following the success of this first initiative it was decided to form a committee of experts, which comprises Jeremy Deller himself, to follow the subsequent calls, invitations and selection of projects: this committee has officially and unanimously established the final destination use of the fourth plinth as a support for specifically commissioned installations of contemporary art.In particular, Jeremy Deller in the two projects donated to MoRE, both developed in 2008, proposes an anti-monumental and deeply political vision, working - in his own words - more from the perspective of a citizen than from the one of an artist, closely linked to the contemporary situation of the country involved in the Iraqi war. A first proposal was the life-size statue of David Kelly, the British scientist found death after his supposed suicide, as a result of statements made to the media about his doubts about a real presence of the weapons of mass destruction held by the Iraqi government, and the subsequent Parliament investigation. <br />The second proposal, called <em>The Spoils of War</em>, 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.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2094/1/deller_fourth%20plinth%20proposals.pdf" target="_blank" rel="noopener">Read more</a><em>.<br /></em>
Creator
An entity primarily responsible for making the resource
Deller, Jeremy
Date
A point or period of time associated with an event in the lifecycle of the resource
2008
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
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/1889/2094" target="_blank" rel="noopener">http://hdl.handle.net/1889/2094</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Jeremy Deller
MoRE Museum
Failure to meet the commissioner's demands
Project which wasn’t selected in a prize or competition