1
50
29
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http://www.moremuseum.org/omeka/files/original/f5d77c055d2b9ab01b4f22391a4c9014.tiff
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http://www.moremuseum.org/omeka/files/original/fe5460fe8d27e8abd3e9136591e786f3.tiff
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Gianfranco Baruchello
Description
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<div>Gianfranco Baruchello’s name is related to an artistic universe that presents multiple gravitational centers. Born in Livorno in 1924, the artist has passed through several seasons in the second half of the twentieth century until today, when his activity continues within the framework of his Foundation. His production, which touches all mediums of expressions and is animated by an encyclopedic approach, puts him in an autonomous position with respect to the main art movements of the time.<br /><br /></div>
<div>The son of a lawyer and a teacher, at the age of seven he moved to Rome. The war interrupted his studies, which ended with a law degree (with a thesis on economics). He got a job in the Bombrini Parodi Delfino Company, before moving – on the advice of his father - to the direction of the Institute of Research and Biological Applications (IRAB) in 1947. Two years later, he founded the Biomedical Society, a chemical-biological research and production company. 1959 marks the turning point in his life, with the decision to leave the business world to devote himself to artistic activity.</div>
<p>His early experiments in the late fifties follow a number of directions - the word, the object, the painting – in the context of informal and neo-dada trends. He moves between Rome, Paris and New York, in contact with intellectuals of different fields, especially literature (Balestrini, Calvino, Eco, Jouffroy, Manganelli, Sanguineti) and philosophical ones (Lyotard, Guattari). The meeting and friendship with Marcel Duchamp is fundamental. Baruchello develops a practice that is articulated around the techniques of assembly, editing and archive, happening (qualified by the author as "long distance"), cinema, writing. Once, describing his own research (in the third person), he writes: «The work or rather the life of B. consists in the use of a system (for example painting or cinema) to understand and illustrate other systems, that is, complex facts, and nothing is more complex than reality»<a href="applewebdata://FEA839F4-1CF7-4FA1-B755-C56BA891EBFE#_ftn1" name="_ftnref1" title="">[1]</a>.</p>
<p>Among the most innovative operations, <i>Artiflex</i>is a fictitious company presented in 1968, based on the assumption that the artist does not have to lend his work to the industry but to simulate its methods (the slogan is "Artiflex commodifies everything"). A number of different activities are carried out under this title (<i>Finanziaria Artiflex</i>, <i>Teatro Pacco</i>, <i>Grande Manifesto Artiflex</i>, <i>Piccolo capitale a fondo perduto</i>, <i>Prigione privata</i>). In the <i>Artiflex</i>project, issues relating to the market economy, to the world of production and commerce, are sabotaged and destroyed through the irony characteristic of the 1968 spirit.</p>
<p>In 1973 Baruchello moved to a big house with a plot of land on the northern outskirts of Rome (at 6.5 km of Via di Santa Cornelia), where he established Agricola Cornelia SpA, a company whose corporate purpose was that of cultivating the land. This chapter of his artistic work occupies him for eight years, ending in 1981. Agricultural company and work of art at the same time, Agricola Cornelia is a complex experiment of practical, intellectual and imaginative nature, in which a series of themes converge that go beyond those strictly linked to the agricultural field - such as land and food - to affect fields such as economics, politics, art, and issues like feminism.</p>
<p>Once ended the experience of Agricola Cornelia, the artist's interests shifted towards the themes of architecture and living, and later on to a reflection on the garden (since 1985) and the forest (since 1990).</p>
<p>In 1998 he took the decision to donate all of his assets to a Foundation named after him and conceived together with Carla Subrizi, with the purpose to open up his research to a common dimension. In 2014, another space in the center of Rome is added to the spaces in Via Santa Cornelia.</p>
<p>About a decade ago, when asked about the reasons of his artistic work, Baruchello replied: «To make sense of the <i>use</i>and <i>maintenance</i>of concepts starting from the <i>percepti</i>, considering the error and the loss of quality as a <i>motif</i>for the discovery of the diversity. Starting from a space that refers to uncertainty, I proposed a multiplicity of images, even of minimal dimensions, to start again, in the dissemination, the search for a possible painting»<a href="applewebdata://FEA839F4-1CF7-4FA1-B755-C56BA891EBFE#_ftn2" name="_ftnref2" title="">[2]</a>.</p>
<div><br clear="all" /><hr align="left" size="1" width="33%" />
<div id="ftn1">
<p><a href="applewebdata://FEA839F4-1CF7-4FA1-B755-C56BA891EBFE#_ftnref1" name="_ftn1" title="">[1]</a>In the invitation of the exhibition <i>Baruchello. </i><i>Scorribande lontane</i>, May 31 - June 22 1985, Roma, Circolo Culturale Sperandisole, pp. 3-4, Roma.</p>
</div>
<div id="ftn2">
<p><a href="applewebdata://FEA839F4-1CF7-4FA1-B755-C56BA891EBFE#_ftnref2" name="_ftn2" title="">[2]</a>G. Baruchello, in <i>ICE CREAM. </i><i>Contemporary Art in Culture</i>, Phaidon, London-New York 2007, pp. 36-39. </p>
</div>
</div>
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Baruchello, Gianfranco
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Do it yourself confession
Description
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<em>Do it yourself confession</em> is the idea of a confessional in which it is possible to self-administer the sacrament of confession. Conceived by Gianfranco Baruchello in 1967, the project is unrealised, like many others of the author, and it can be considered a theoretical exercise. In this proposal Baruchello borrowed the philosophy of DIY (Do it yourself), which at the end of the 1960s was growing in popularity, preaching self-sufficiency and opposition to consumerism: a complex of positions of libertarian and anti-capitalist orientation extended to various fields - from housework to cultural production - canonized after a few years by the punk movement. With a paradoxical approach, the artist extends this ethics to the spiritual sphere, implicitly moving a critique to the ecclesiastical institution to which he opposes the values of self-determination of the individual ("CHOOSE YOURSELF TO WHOM OR TO WHAT YOU CONFESS!" as stated in the text of the project). Do it yourself confession is a project created during the period of political militancy of the artist, close to the revolutionary left and to groups like Potere Operaio and Lotta Continua, which brings together the protesting forces that will culminate the following year in the 1968 season. The proposal is made of two drawings, which present different elaborations of the same project.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3845/1/ciglia_baruchello.pdf" target="_blank" rel="noopener">Read more</a>.
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Baruchello, Gianfranco
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1967
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Ciglia, Simone
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image/tiff
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Italian
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Still Image
Text
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Gianfranco Baruchello
MoRE Museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/1370253b50b4bada491cfad8fd80861c.jpg
d337772dad244473153df397453a68c4
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BONACORSI conceptual noise detail.jpg
Description
An account of the resource
A color photography that documents the object-gadget as it is supposed to be: a clothes peg holding a credit card.
http://www.moremuseum.org/omeka/files/original/d5e72cdd7762e04eae64312adbc25cd8.jpg
57442f42bb73b92caacbacb69e666f27
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BONACORSI a conceptual noise.jpg
Description
An account of the resource
A jpg file that reproduces a drawing-collage in A4 format illustrating the project, with Duchamp’s bicycle wheel and the the insertion of the gadget.
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Ivo Bonacorsi
Description
An account of the resource
Artist and writer, he was born in Vergato (Bologna) in 1960. He graduates in Phenomenology of Styles at the DAMS in Bologna, and always in Bologna he exposed at the Neon Gallery and he takes part to the first series of events of the Gam Performance Week at a very young age. In 2004 he realizes the exhibition “Screens, barricades and other images”, curated by Roberto Pinto, at the Careof Gallery in Milan. The same year, he creates the art project “A tainted event” for Isola Art Center, together with Steve Piccolo and Mirella Miramucci. In 1997 he moves from Milan to Paris, where he teaches Drawing concepts and runs workshops at the Parsons Paris School of Art & Design and at the Southern Methodist University Paris Program, even though he defines himself as “living between Oslo and Paris where he runs a clandestine and itinerant restaurant with Dominic Dalcan and Francis Fichot. He writes books of recipes and he smokes the fish he catches in fiords”. He collaborates as a journalist and critic with Il Manifesto, Radio Popolare, Flash Art and Domus. In 200, he founded the art magazine Area Revue(s) with Alin Avila and Natalie Mei. In 2005 he retires from art with his last performance <em>Announced Retirement</em>, a real boxing match dedicated to Arthur Cravan and he becomes a calendar artist and a celebrity chef.
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Bonacorsi, Ivo
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Title
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A conceptual noise...
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Bonacorsi, Ivo
Date
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1999
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Longari, Elisabetta
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image/jpeg
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Still Image
Description
An account of the resource
The idea is to put a small gadget on a very famous Duchamp’s work, <em>Roue de bicyclette</em>, a ready-made exhibited in several museums all around the world (Centre Pompidou in Paris, Tate Gallery in London, Moma in NY...). Considering that his work is a reproduction itself, a copy of the lost original, the idea of a “posthumous homage-enrichment” is really close to Duchamp spirit. The introduction of a credit card establishes a link with other artist who changed the art world, investigating the role of money and material goods, such as Dali (Avida Dollars) but above all Wharol. There is a recreational element in this gadget: the artist took inspiration from the playing cards that children put on their bikes to simulate the sound of an engine. The kit, made of a copy of the artist’s credit card and a clothes peg to decorate Duchamp’s work according to Bonacorsi’s instructions, is sold apart in the museum shop.<br />This work was planned by the artist on the occasion of the re-opening of Centre Pompidou collections in 2000, but he never proposed it to the museum: a typical development of Bonacorsi’s work, really influenced by the concept of dépense.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2000/1/bonacorsi_a%20conceptual%20noise.pdf" target="_blank" rel="noopener">Read more.</a>
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Ivo Bonacorsi
MoRE Museum
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<a href="http://hdl.handle.net/1889/2000" target="_blank" rel="noopener">http://hdl.handle.net/1889/2000</a>
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/9bdfa9500858a738a728950b3021cfdd.pdf
14c07533eca5cc045eef6a27d60fb203
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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.
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Darbyshire, Matthew
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Title
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Useless: A Space Without a Function
Creator
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Darbyshire, Matthew
Date
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2013
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Scotti, Marco
Format
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application/pdf
Language
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English
Description
An account of the resource
<p>This project is - in the artist’s intention - a “quasi-scientific experiment”, and consists of a permanent public sculpture, made of a prefabricated glass architectural structure (approx 5x5m wide and 3m high) produced by a company that usually supplies similar commercial spaces (the artist given example is Kingspan). This space would be furnished following a survey carried out in five public-access buildings from each of the five UK major cities., with the expectation of identifying "the most generic and ubiquitous of design elements". The artist at the same time would collect different ‘codes of conduct’, which should also then be applied - all together - inside the installation. The access to the space would be granted to five people at a time, and thanks to an applied two-way mirror film, “those outside could observe the actions of those inside whilst those inside would experience a sense of isolation and immersion in their immediate confines”, while the rules would be enforced by a guard.<br />The concept revolves around the opportunity of exploring “a new idea of conscious surrender”, instead of the strategies of resistance and disobedience usually applied in the name of creativity and artistic freedom: Darbyshire research about the progressive and growing standardization of the designed space around us, which leads the spaces themselves to be less and less recognizable in respect to their function, here is declined alongside an investigation of the freedom that within these spaces we choose to give up for many different reasons. Starting from the writings by Georges Perec and Marc Augé, but also by socio-political theorists Franco “Bifo” Berardi and Mark Fisher, Darbyshire here comes to theorize a model to wonder "if in fact surrender could be more liberating than resistance", considering contemporary social pressures. The aim is to create a space that does not declare its function, which may appear anonymous and go unnoticed, and that leaves its user confused as to what is expected from it. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2650/1/Matt%20Darbyshire_Useless%20A%20Space%20Without%20a%20Function.pdf" target="_blank" rel="noopener">Read more.</a></p>
<p> </p>
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Still Image
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Matthew Darbyshire
MoRE Museum
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<a href="http://hdl.handle.net/1889/2650" target="_blank" rel="noopener">http://hdl.handle.net/1889/2650</a>
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/b36ffa5c4e8394d66297f100f5c23798.pdf
b49370e0396ee74500981b66e8a038c4
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1_Braco Dimitrijevic.msg
Description
An account of the resource
E-mail sent by Nena Dimitrijevic to Anna Zinelli on June, 3th 2016.
http://www.moremuseum.org/omeka/files/original/fb851faab814d8f6f14ed278d0740b94.msg
3522e46617dede151fe87fcbc83d3aa5
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Braco Dimitrijević
Description
An account of the resource
<p class="Body">Braco Dimitrijević was born in Sarajevo in 1948. After attending the Academy of Fine Arts in Zagreb, between 1968 and 1971, he completed his postgraduate studies in 1973 at the Saint Martin's School of Art in London.</p>
<p class="Body">In 1963 he made his public debut with <em>Flag of the world</em>, in which he replaced a national flag with a cloth to clean paint brushes; by the end of the 1960s, he proposed a series of works in which he triggered accidental processes and asked strangers to sign them as works of art (<em>Accidental Drawing,</em> 1968; <em>Painting by Krešimir Klinka</em> 1969). This approach, which is designed to problematise the notion of authorship, also constituted the base for the series dedicated to “Casual Passers-by", presented for the first time in Zagreb in 1971 and at the VI Biennale of Paris. The series featured large-scale photographs of strangers presented as if they were important political figures or media celebrities.</p>
<p class="Body">During the 1970s he participated in the Documenta in Kassel (1972, 1976) and the Venice Biennale (1976), while the Muzej suvremene umjetnosti of Zagreb held his first retrospective (1973). During this time he also started to travel to Italy, first invited to Naples by Lucio Amelio for a personal exhibition (1971) and then to Turin by Gian Enzo Sperone, with whom he continued to work.</p>
<p class="Body">In 1976 he published the <em>Tractatus Post Historicus</em>, which discusses the linear and evolutionary nature of the historical-artistic process, and presented <em>Tryptychos Post Historicus </em>at the Nationalgalerie in Berlin, proposing a combination of exhibits from the museum collection, anonymous everyday objects and organic elements such as fruits and vegetables. The project was revived and further developed subsequently in numerous museums, including the Centre Georges Pompidou in Paris, the Tate Gallery in London, the Guggenheim Museum in New York, the State Russian Museum and the Louvre in Paris.</p>
<p class="Body">In 1981, on the occasion of his personal exhibition at the Waddington Gallery in London, he proposed exhibiting two live peacocks alongside the collection dedicated to the masters of modern art. He continued working with animals throughout the 80s with the installations proposed at the Sarajevo Zoo (1983) and the personal exhibition at the Paris Zoo (1998).</p>
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Dimitrijević, Braco
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Lion walking freely in the Louvre
Description
An account of the resource
<p>In 1996 Braco Dimitrijević, interviewed by Jean-Hubert Martin for "Flash Art", said: <em>If you look at the earth from the moon there is virtually no distance between the Louvre and the zoo. There are cages at the zoo just as there are in the Louvre. My ultimate aim is to remove the doors and see the lions at large in the Louvre.<a title="" name="_ftnref1" href="#_ftn1"></a></em></p>
<p>This utopian project, donated to MoRE, is part of that line of research based on the combination between major art exhibitions and live animals, which the artist began to develop in 1981 with the installation <a href="http://bracodimitrijevic.com/index.php?album=animals&image=animals_001.jpg"><em>Dust of Louvre Mist of Amazon</em></a> at the Weddington Gallery, where he let two peacocks roam freely through the exhibition of modern art collections. The work that most closely resembles <em>Lion walking freely in the Louvre</em> was realised by Dimitrijević in 1995 for the exhibition at the Hessisches Landesmuseum in Darmstadt. <a href="http://bracodimitrijevic.com/index.php?album=animals&image=animals_004.jpg"><em>Against historic sense of gravit</em><em>y </em></a>featured pythons from the Zoo of Cologne set free inside a specially built platform (with a heated pool and an island) containing female portraits dating back between the 16th and 19th century.</p>
As Nena Dimitrijević, art historian and Braco's wife, recalls presenting the project, there’s a tension towards a utopian and unfeasible dimension that characterises his entire career: <em>[Braco Dimitrijević] has managed to achieve many of his projects, that at first seemed impossible, because of his nature and ability to theoretically support his ideas. For example, his use of the façade for the portraits of unknown people encountered a lot of obstacles at the time and opened the chapter regarding the use of urban vocabulary in art.</em>
<div><a href="https://www.repository.unipr.it/bitstream/1889/3247/1/Dimitrijevic_Lion%20walking%20freely%20in%20the%20Louvre.pdf" target="_blank" rel="noopener">Read more.</a></div>
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Dimitrijević, Braco
Date
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1996
Contributor
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Zinelli, Anna
Format
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application/pdf
Language
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English
Type
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Text
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/3247" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3247</a>
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A person or organization owning or managing rights over the resource.
Braco Dimitrijević
MoRE Museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/7e122f0849dd10b5b5cfec3609dbde82.jpg
7c4c6b8dae326ef8ce91eee0249e983d
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Pablo Echaurren
Description
An account of the resource
<p>Pablo Echaurren was born in Rome in 1951. He started to paint at the age of 18, inspired by Gianfranco Baruchello, and was soon discovered by the critic and gallerist Arturo Schwarz, who promoted his work in Italy and abroad. His work was initially characterized by a certain minimalism, with a conceptual approach and a rejection of pictorial conventions, offering an alternative to the idea of the work of art as fetish. Since then, he has always been looking for new languages and new forms of expression, never resting on his laurels. </p>
<p>Not just a painter, he has engaged in a wide range of activities, such as illustrations, writing, as well as the creation of “metacomics” that investigate the possible relationship between avant-garde and popular art, seeking that necessary and fertile short-circuit between “high” and “low,” culture and frivolity. His work has been presented in numerous museums. Among the most recent exhibitions: <i>Contropittura</i>(La Galleria Nazionale d’Arte Moderna di Roma 2015-2016) and <i>Du champ magnétique</i>(Scala Contarini del Bovolo, Venezia 2017), <i>Pablo Echaurren</i>(Mart, Rovereto 2019).</p>
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Echaurren, Pablo
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Rouge Selavy
Description
An account of the resource
<em>Rouge Selavy</em> is the title of a work that Echaurren designed in 1977, a fundamental year because on that very date the artist decided to (temporarily) abandon art to devote himself to politics. The artist writes with a blue pen over a lined notebook one of the first projects where the figure of Marcel Duchamp emerges. In fact, the unrealized work consisted of a performative action: to be exact, a parade. In the Eucharren notebook he writes: "making Duchamp banners", then creating "silent" banners (conceptual, we could say), which had to show only verbal elements such as the question mark and question mark made with a red marker. <br />This because? Echaurren explains the reasons in the points below. The artist speaks of the concept of imagination and develops it under various aspects, affirming that the imagination does not stop at a banner, that the imagination must be brought onto the banner itself and finally the same banner is defined as "doubtful" and "without certainties".<br />The title of the work is a distortion, one of the first distortions made by Echaurren on the titles of Duchamp's works (see Mon Alice, a project on display inside MoRE). Indeed, the famous portrait as a woman by the French artist <em>Rrose Selavy</em> is transformed into <em>Rouge Selavy</em>. There is a desire to highlight red as the color of life, in fact the marker strokes on the page that draw the exclamation and question marks on the banners are red.<br />Furthermore, this continuous use of the word imagination can only bring to the mind the famous slogan of the seventies "the imagination to power".<br /><a href="https://www.repository.unipr.it/bitstream/1889/5208/1/Pablo%20Echaurren_Rouge%20Selavy.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
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Echaurren, Pablo
Date
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1977
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Casero, Cristina
Rossi, Valentina
Format
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image/tiff
Language
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Italian
Type
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Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Pablo Echaurren
MoRE museum
Logistical reasons
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/ffe805faf317568baba281498e2e2c96.jpg
62616ff70aebf16918bbc6b713ab1f34
Dublin Core
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Title
A name given to the resource
Pablo Echaurren
Description
An account of the resource
<p>Pablo Echaurren was born in Rome in 1951. He started to paint at the age of 18, inspired by Gianfranco Baruchello, and was soon discovered by the critic and gallerist Arturo Schwarz, who promoted his work in Italy and abroad. His work was initially characterized by a certain minimalism, with a conceptual approach and a rejection of pictorial conventions, offering an alternative to the idea of the work of art as fetish. Since then, he has always been looking for new languages and new forms of expression, never resting on his laurels. </p>
<p>Not just a painter, he has engaged in a wide range of activities, such as illustrations, writing, as well as the creation of “metacomics” that investigate the possible relationship between avant-garde and popular art, seeking that necessary and fertile short-circuit between “high” and “low,” culture and frivolity. His work has been presented in numerous museums. Among the most recent exhibitions: <i>Contropittura</i>(La Galleria Nazionale d’Arte Moderna di Roma 2015-2016) and <i>Du champ magnétique</i>(Scala Contarini del Bovolo, Venezia 2017), <i>Pablo Echaurren</i>(Mart, Rovereto 2019).</p>
Creator
An entity primarily responsible for making the resource
Echaurren, Pablo
Dublin Core
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
En attendant la mariée
Description
An account of the resource
<p style="font-weight: 400;">The project consists of a combined installation of two spinning wheels that move a system of threads, the threads descend from a chrysalis attached to the ceiling. The quote is clear and obvious. In fact, Echaurren mentions the famous ready-made of 1912 but also the International Surrealist Exhibition held in 1942 at the Whitelaw Reid mansion in New York, organized by André Breton with the collaboration of Marcel Duchamp. This exhibition, in addition to being considered a "landmark exhibition" (Tate Papers, 2009; Stedelijk Studies Issue, 2015), presents an installation curated by Marcel Duchamp and created through a complex system of ropes woven throughout the exhibition space. This system allowed the visitor a partial and complicated view of the pictorial works set up on the wall. The French artist's operation was entitled “Sixteen Miles of String”. Echaurren's work combines the two Duchampian operations through the creation of an installation that, like the original design, wanted to occupy the entire exhibition space.<br />In addition to the combination of these two famous works by Duchamp, Echaurren also mentions “The Large Glass”, not directly but by elaborating an installation in which the string came out of the chrysalis that define the sex of the insects.<br />In fact, the threads would have started from the chrysalis to be subsequently taken from the two spinning wheels placed in the center of the room. Echaurren writes a handwritten note: “The insect bride <span>Þ</span> the male molds <span>Þ</span> females with wings”. This reference to the chrysalis also brings out the artist's attention to entomology. In fact, Echaurren has stated several times that as a young man he wanted to be an entomologist.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5204/1/Pablo%20Echaurren_En%20attendant%20la%20mariée.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Echaurren, Pablo
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Pablo Echaurren
MoRE museum
Logistical reasons
Theoretical exercise
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Pablo Echaurren
Description
An account of the resource
<p>Pablo Echaurren was born in Rome in 1951. He started to paint at the age of 18, inspired by Gianfranco Baruchello, and was soon discovered by the critic and gallerist Arturo Schwarz, who promoted his work in Italy and abroad. His work was initially characterized by a certain minimalism, with a conceptual approach and a rejection of pictorial conventions, offering an alternative to the idea of the work of art as fetish. Since then, he has always been looking for new languages and new forms of expression, never resting on his laurels. </p>
<p>Not just a painter, he has engaged in a wide range of activities, such as illustrations, writing, as well as the creation of “metacomics” that investigate the possible relationship between avant-garde and popular art, seeking that necessary and fertile short-circuit between “high” and “low,” culture and frivolity. His work has been presented in numerous museums. Among the most recent exhibitions: <i>Contropittura</i>(La Galleria Nazionale d’Arte Moderna di Roma 2015-2016) and <i>Du champ magnétique</i>(Scala Contarini del Bovolo, Venezia 2017), <i>Pablo Echaurren</i>(Mart, Rovereto 2019).</p>
Creator
An entity primarily responsible for making the resource
Echaurren, Pablo
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
Monumento Fortuito
Description
An account of the resource
<p style="font-weight: 400;">Pablo Echaurren's project, like many others, is elaborated through notes written in blue pen on a page of a squared notebook. The artist's intent is already clear from the title "Monumento Fortuito". In fact, in 2015 the artist plans to create a monument dedicated to Marcel Duchamp, an artistic operation that is rooted in the intentions and artistic methods typical of the French artist. For this work Echaurren thinks of the concept of “chance”, wanting to create the monument through the action of "picking up a leftover, a human waste from the street and electing it as an urban monument. The words "rectify it" and "place it on a pedestal" also emerges from the short text, all definitions come to Duchamp's work. With this operation, Echaurren works in the conceptual framework of the French artist, dedicating a work to him with his own design methods.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5207/1/Pablo%20Echaurren_Monumento%20Fortuito.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Echaurren, Pablo
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Pablo Echaurren
MoRE museum
Logistical reasons
Theoretical exercise
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Pablo Echaurren
Description
An account of the resource
<p>Pablo Echaurren was born in Rome in 1951. He started to paint at the age of 18, inspired by Gianfranco Baruchello, and was soon discovered by the critic and gallerist Arturo Schwarz, who promoted his work in Italy and abroad. His work was initially characterized by a certain minimalism, with a conceptual approach and a rejection of pictorial conventions, offering an alternative to the idea of the work of art as fetish. Since then, he has always been looking for new languages and new forms of expression, never resting on his laurels. </p>
<p>Not just a painter, he has engaged in a wide range of activities, such as illustrations, writing, as well as the creation of “metacomics” that investigate the possible relationship between avant-garde and popular art, seeking that necessary and fertile short-circuit between “high” and “low,” culture and frivolity. His work has been presented in numerous museums. Among the most recent exhibitions: <i>Contropittura</i>(La Galleria Nazionale d’Arte Moderna di Roma 2015-2016) and <i>Du champ magnétique</i>(Scala Contarini del Bovolo, Venezia 2017), <i>Pablo Echaurren</i>(Mart, Rovereto 2019).</p>
Creator
An entity primarily responsible for making the resource
Echaurren, Pablo
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
Looking for a Rembrandt
Description
An account of the resource
<p style="font-weight: 400;">This work by Echaurren also reflects some Duchampian elements and echoes. The unrealized project depicts a bronze sculpture of a monkey holding an iron with its right hand: if the animal is adherent to all the artist's work declined to the universe of primitives (such as the last film <em>Pablo di Neanderthal</em>, released in 2022 and directed by Antonello Matarazzo), the iron recalls in a veiled way Marcel Duchamp's famous phrase "Using a Rembrandt as an ironing board". As with the other works donated to MoRE, this project has no specific commission. The reasons for its not being realized are logistical and appear as theoretical exercises on which the artist continues to question himself.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5205/1/Pablo%20Echaurren_Looking%20for%20a%20Rembrandt.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Echaurren, Pablo
Date
A point or period of time associated with an event in the lifecycle of the resource
2018
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Rossi, Valentina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Rights Holder
A person or organization owning or managing rights over the resource.
Pablo Echaurren
MoRE museum
Logistical reasons
Theoretical exercise
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Physical Dimensions
The actual physical size of the original image
jpeg file , 29,997 x 10,981 cm, 300 dpi
Dublin Core
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
Sovrapposizioni culturali
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Date
A point or period of time associated with an event in the lifecycle of the resource
[1975]
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p>The two figures “I remember I have seen a mosque inside the Amun Temple in Luxur” and “Development of the decoration of an Etruscan vase according to a nineteenth-century portrayal” were to be part of a broader and more structured project, centred on the theme of the potential image, a topic very dear to the author. The original project envisaged the presence of a third figure representing a mental image, merely potential, hence rendered in a writing. The conceptual nature of such an image would have not allowed any visual depiction. The presence of a fourth figure, devoted to the utopian possibility of exposing films with the only <em>power of thoughts</em>, was merely a working hypothesis. This work, of a cleary conceptual nature, was therefore to be centered on the theme of the “potential image”. Such topic takes on great importance for both the artist's production and the cultural context in which this project was conceived.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2704/1/Franco%20Guerzoni_Sovrapposizioni%20culturali.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Franco Guerzoni
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="%20http://hdl.handle.net/1889/2704">http://hdl.handle.net/1889/2704</a>
Logistical reasons
Technical reasons
Theoretical exercise
-
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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
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
drawing
Physical Dimensions
The actual physical size of the original image
jpeg file , 41,204 x 28,54 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
Tappeti volanti
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Date
A point or period of time associated with an event in the lifecycle of the resource
1971
Contributor
An entity responsible for making contributions to the resource
Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
<p>In this drawing Franco Guerzoni speculates - with a theoretical exercise nearer to utopia than to a real project - about the possibility of realising flying carpets. On this drawing we can find, together with shapes and images by Guerzoni himself, a poetry written by his friend Adriano Malavasi.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2703/1/Franco%20Guerzoni_Tappeti%20volanti.pdf" target="_blank" rel="noopener">Read more.</a></p>
Rights Holder
A person or organization owning or managing rights over the resource.
Franco Guerzoni
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2703" target="_blank" rel="noopener">http://hdl.handle.net/1889/2703</a>
Theoretical exercise
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
guerzoni_A010266_S_.tif
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Format
The file format, physical medium, or dimensions of the resource
file tiff, 41,204 x 28,54 cm, 72 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010267_S_NR13.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 13,189 x 9,036 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
The file format, physical medium, or dimensions of the resource
file tiff, 9,087 x 12,897 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010269_S_NR04.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 9,119 x 12,859 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010270_S_NR05.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 9,061 x 12,992 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
The file format, physical medium, or dimensions of the resource
file tiff, 8,992 x 12,897 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010272_S_NR06.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 9,011 x 12,973cm, 400 dpi
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Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
The file format, physical medium, or dimensions of the resource
file tiff, 8,896 x 12,84 cm, 400 dpi
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Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
The file format, physical medium, or dimensions of the resource
file tiff, 8,896 x 12,783 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010275_S_SNR09.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 9,011 x 12,859 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
The file format, physical medium, or dimensions of the resource
file tiff, 9,227 x 12,992 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
The file format, physical medium, or dimensions of the resource
file tiff, 9,227 x 12,992 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010278_S.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 13,189 x 8,814 cm, 400 dpi
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
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Format
The file format, physical medium, or dimensions of the resource
file tiff, 24,028 x 18,072 cm, 400 dpi
http://www.moremuseum.org/omeka/files/original/af0033114efc601651238d02219ce48d.tiff
3fc7fb22f5abf3b2c42135229c79e3df
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010280_S_NR16.tif
Format
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file tiff, 17,983 x 23,539 cm, 400 dpi
http://www.moremuseum.org/omeka/files/original/1bba47f25d083451ba7e26eeb4fecf1d.tiff
a7bee4254a86fe6d65c59e23bfc801b2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010281_S_NR21.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 24,13 x 18,104 cm, 400 dpi
http://www.moremuseum.org/omeka/files/original/b243e877d6bd28fe4b1f8bfa02825a71.tiff
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Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010282_S_NR20.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 23,603 x 17,342 cm, 400 dpi
http://www.moremuseum.org/omeka/files/original/902826de6e51c49f10129dddd2c1089e.tiff
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Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010283_S_NR19.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 23,603 x 17,342 cm, 400 dpi
http://www.moremuseum.org/omeka/files/original/1391b5f9d5c87ec0801d76980f4c7717.tiff
063eca4c371ff0563e55feb73fa853e7
Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010284_S_NR18.tif
Format
The file format, physical medium, or dimensions of the resource
file tiff, 23,99 x 18,218 cm, 400 dpi
http://www.moremuseum.org/omeka/files/original/22f1d36b0ed0726f918e4fe1f79b44be.tiff
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Dublin Core
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Description
An account of the resource
Scan of photographic print, which was taken by the artist to study the optical effects derived from the machines used to water the fields.
Title
A name given to the resource
guerzoni_A010285_S_NR17.tif
Format
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file tiff, 23,978 x 17,342 cm, 400 dpi
http://www.moremuseum.org/omeka/files/original/1b4a136df0f30418f7ce6494b072e1ab.tiff
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Description
An account of the resource
Recto scan of a letter, including a sketch drawing by Franco Guerzoni used to visualize the "fountain" in the space of a gallery
Title
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guerzoni_A010286_S_NR02recto.tif
Format
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file tiff, 22,86 x 29,058 cm, 400 dpi
http://www.moremuseum.org/omeka/files/original/c442626eb38e8360bd6953125ce1043e.tiff
50ac49d28ceff7ce7cbd6ad46dccd460
Dublin Core
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Description
An account of the resource
Verso scan of a letter, including an handwritten message to a friend to present the project.
Title
A name given to the resource
guerzoni_A010286_S_NR02Verso.tif
Format
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file tiff, 22,86 x 29,058 cm, 400 dpi
Dublin Core
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Title
A name given to the resource
Franco Guerzoni
Description
An account of the resource
<p>Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his <em>Frescoes</em>, and in '73 his <em>Archaeolog</em>y, followed by <em>Anthropology</em>, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents <em>Decorations and ruins</em> in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin <em>Landscapes powder</em>, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the <em>Forgotten Wall</em> becomes the real privileged place for his most current work.</p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Dublin Core
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Title
A name given to the resource
Fontana in galleria
Description
An account of the resource
<p>Since the beginning, the research of Franco Guerzoni was up-to-date and full of original ideas, even if in line with the most interesting experiences developing in Italy and abroad. Indeed, considering visual arts, that period was particularly rich and full of innovative solutions on both the conceptual and expressive level.</p>
<p>This project, the fourth donated by the author to MoRE, dates back to a period between 1968 and 1969, when Guerzoni, then in his early twenties and at the end of his education, abandoned the traditional painting technique and started doing researches in the avant-garde, especially around Duchamp.</p>
<p>He was spontaneously attracted by the most important international researches, such as the American Land Art and the Italian Arte Povera. These interests reflect in some of his works, not always realised, such as this project donated to MoRE. The concept behind the project was quite simple: Guerzoni wanted to bring inside the closed space of an art gallery a natural occurrence, the rainbow. The project included, as shown in the sketch, a field sprayer machine in the center of the room. It would have sprayed water, playing with the artificial light effects.</p>
<p>The author, thinking about that installation – also with the collaboration of Luigi Ghirri, friend and companion of many art adventures – took some photographs in the countryside. These study series of water splashes investigated the nature of the rainbow and its visual perception. These conceptual photographs are the only evidence of the project. It remained unrealized due technical difficulties but also because it was more theoretical than realizable. The theme to bring the nature inside the culture was particularly strong in that period; Guerzoni itself thought to produce a black rose, as symbolic synthesis of the two elements.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3245/1/Guerzoni_Fontana%20in%20galleria.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Guerzoni, Franco
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Contributor
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Casero, Cristina
Format
The file format, physical medium, or dimensions of the resource
image/tiff
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://dspace-unipr.cineca.it/handle/1889/3245" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3245</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Franco Guerzoni
MoRE Museum
Technical reasons
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/09752801cdb72cff9411a048adba5ea4.pdf
036b2429cc90eba1cd9de645b99f4996
Dublin Core
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Title
A name given to the resource
CRASH! A BETTER BRITAIN (spreads).pdf
Description
An account of the resource
A digital version, in pdf format, of the original printed volume realized for the Serpentine Gallery Map Marathon – which took place 16th and 17th October 2010 at the Serpentine Pavillion – is present in the MoRE museum. This version doesn’t include some pages which were present in the original one and which contained the programme of the event and other connected information. All the texts and images which constituted the<em> A Better Britain</em> project are presented here.
Format
The file format, physical medium, or dimensions of the resource
pdf
Dublin Core
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Title
A name given to the resource
CRASH! – Scott King & Matthew Worley
Description
An account of the resource
Scott King was born in 1969 in Goole, East Yorkshire, England. Past work includes: Art Director of <em>i-D</em> and Creative Director of <em>Sleazenation</em> magazines. King has also designed record sleeves for the Pet Shop Boys, Suicide and Morrissey; and in 2013 he finally produced a record of his own entitled <em>You’re My Favorite Artist</em> (Vinyl Factory). For over 15 years King has created work under the banner CRASH! with writer and historian Matthew Worley. King’s work has been exhibited worldwide at such institutions as the ICA and the Barbican, London; Kunst-Werke Berlin; The State Hermitage Museum, St Petersburg, Museum of Contemporary Art, Chicago and the Museum of Modern Art, New York.<br /><br />
Matt Worley was born in 1970 and grew up in Norwich, where he still lives. He works as a professor of modern history at the University of Reading and continues to contribute to Crash! with Scott King when the need arises. Worley is currently writing a book on the connection between punk, politics and popular music in the late 1970s and early 1980s.
Creator
An entity primarily responsible for making the resource
CRASH! – Scott King & Matthew Worley
Document
A resource consisting primarily of words for reading.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
paper
Physical Dimensions
The actual physical size of the original image
20,997 x 29,771 cm, 300 dpi. 17 pages.
Text
Any textual data included in the document
Magazine, program for the 2010 Serpentine Gallery Map Marathon
Dublin Core
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Title
A name given to the resource
A Better Britain
Description
An account of the resource
Scott King developed this project as CRASH!, with historian and writer Matthew Worley, for the the <a href="http://www.serpentinegalleries.org/exhibitions-events/map-marathon" target="_blank" rel="noopener">Serpentine Map Marathon</a> event.<br /><em>A Better Britain </em>is a series of 12 projects, published inside what appeared to be the programme for the Map Marathon and along with the informations about the event. Each project featured an image, designed by Scott King with a xerox, collage aesthetic, and a text written by Matthew Worley to present the idea, which always addressed with a utopian/dystopian and often satirical proposal a specific theme regarding contemporary Britain.<br />MoRE has also realized <a href="http://issuu.com/moremuseum/docs/intervista_a_scott_king_e_matt_worl" target="_blank" rel="noopener">an interview with the authors</a> to talk about the projects, published on the museum website. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2410/1/Crash_A%20Better%20Britain.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
King, Scott
Worley, Matthew
CRASH!
Date
A point or period of time associated with an event in the lifecycle of the resource
2010
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Language
A language of the resource
English
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/1889/2410" target="_blank" rel="noopener">http://hdl.handle.net/1889/2410</a>
Rights Holder
A person or organization owning or managing rights over the resource.
CRASH! (Scott King & Matthew Worley)
MoRE Museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/c8b949368806a6806aec3000ef7e612b.jpg
7c18f0012f0fb585e2a7c5434bd20a7e
Dublin Core
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Title
A name given to the resource
ULP_casascultore1964.jpg
Format
The file format, physical medium, or dimensions of the resource
drawing on squared paper
http://www.moremuseum.org/omeka/files/original/58103f35499fa0a3f637b4d9c895d5ab.jpg
2d344d8073e03108cc666dc42a95aba3
Dublin Core
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Title
A name given to the resource
16_casa-scultore.jpg
Format
The file format, physical medium, or dimensions of the resource
perspective, pen drawing
http://www.moremuseum.org/omeka/files/original/888cccc3720297489dfe09f8f9cbde2d.jpg
7bea4612e869ecbbd1e81adb60043136
Dublin Core
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Title
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15_casa-scultore.jpg
Format
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charcoal drawing, a variant to 16-casascultore.jpg, signed and dated 1961
http://www.moremuseum.org/omeka/files/original/64d61f540490d59c8ce28b01f33297c5.jpg
307204a6968890fa2214785383e1eb8d
Dublin Core
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Title
A name given to the resource
14_casa-scultore.jpg
Format
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photo of the model
http://www.moremuseum.org/omeka/files/original/d48c8d3d482a53ccb0a0c615b6e06943.jpg
b6f66182f378f756a24232006ac8ad2f
Dublin Core
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Title
A name given to the resource
13_casa-scultore.jpg
Format
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charcoal drawing, signed and dated on the lower right corner 1961
http://www.moremuseum.org/omeka/files/original/4da716865bdca22c5df237c2ca3e4e62.jpg
2adcee4b5f22d0ea83986d8d777dca7b
Dublin Core
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signed sheet, dated on the lower right corner 23/01/1962
Title
A name given to the resource
12_casa-scultore.jpg
http://www.moremuseum.org/omeka/files/original/5fd15eb166dc72cca320ff5ae0b7eb98.jpg
87d5bbf7aeb60023227e32cb73231c0a
http://www.moremuseum.org/omeka/files/original/703b017fb3448ab81b6ffff8c51b87d8.jpg
8ada4f746702da7ddffd11e72f8074d3
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
Ugo La Pietra
Description
An account of the resource
Born in 1938, in Bussi sul Tirino, Pescara, Ugo La Pietra graduated from Milan’s Politecnico in 1964. In 1962 his artistic research attempts to clarify the relationship “individual-environment.” Within the framework of this process he develops knowledge tools (“models for understanding”) that seek to transform the traditional “artwork-viewer” relationship. He always acted inside and outside disciplines, describing himself as a “researcher in visual arts”; an unconventional and peculiar artist, not easy to classify. Since 1960 he embraced different art movements with his researches. He spread his thoughts and experiences through an intense editorial and academic activity. Moreover he was a founding member of several groups, such as Gruppo del Cenobio, Gruppo Design Radicale and Global Tools, and promoter of many exhibitions that involved a great number of professionals (artists, designers and architects).<br /><a href="http://www.ugolapietra.com" target="_blank">http://www.ugolapietra.com</a>
Creator
An entity primarily responsible for making the resource
La Pietra, Ugo
Dublin Core
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Title
A name given to the resource
Casa per uno Scultore (Casa per lo scultore Carmelo Cappello)
Description
An account of the resource
The project of the house for the sculptor Carmelo Cappello (Casa per lo scultore Carmelo Cappello) has for its own nature of academic exercise to be inevitably assigned to the sphere of 'unrealised'. However, if we leave out an analysis limited to the development of the theme proposed to the students for the course of interior design at the Faculty of Architecture, Politecnico di Milano, hosted by Carlo De Carli, we realize that this project and in particular the set of drawings Ugo La Pietra has entrusted to MoRE could be brought back within a path of continuous experimental exercise than in the earlier years of his research is aimed at proposing a reformulation of the relationship between the arts.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1770/1/UGO%20LA%20PIETRA_Casa%20per%20uno%20scultore.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
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La Pietra, Ugo
Date
A point or period of time associated with an event in the lifecycle of the resource
1960-1962
Contributor
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Zanella, Francesca
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.
Ugo La Pietra
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1770" target="_blank" rel="noopener">http://hdl.handle.net/1889/1770</a>
Theoretical exercise
-
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http://www.moremuseum.org/omeka/files/original/bde6447c2d28abe1074612d066ad2e66.jpg
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http://www.moremuseum.org/omeka/files/original/fcf50047f8705e1d0d32d10963a069d8.jpg
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http://www.moremuseum.org/omeka/files/original/5d8c1b15117e1def4a2af87aba03c9ca.jpg
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http://www.moremuseum.org/omeka/files/original/be4ca74999b612725e57c6ef9e2df551.jpg
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http://www.moremuseum.org/omeka/files/original/ee3f50d06ac17c2b5b87b4ff5ddb0623.jpg
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http://www.moremuseum.org/omeka/files/original/7741dc8b9a95bb1e5a0f73ccc48c7cb6.jpg
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http://www.moremuseum.org/omeka/files/original/7c686de81494ec91df1a42bd7db8af7e.jpg
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http://www.moremuseum.org/omeka/files/original/5224a5373e1e626183be9f11fa186c9c.jpg
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http://www.moremuseum.org/omeka/files/original/6e68cf772cdc134c387a080fbd8969cb.jpg
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http://www.moremuseum.org/omeka/files/original/3ca32241f7bd5ccd96b3fa1dd12df9ef.jpg
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http://www.moremuseum.org/omeka/files/original/611dfdda124441e3022dd15a8812d37b.jpg
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http://www.moremuseum.org/omeka/files/original/2daf95f4715a68ca8e1ef3013c449cd8.jpg
8c789d05d7d8565547d1db59c930a5f0
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
Ugo La Pietra
Description
An account of the resource
Born in 1938, in Bussi sul Tirino, Pescara, Ugo La Pietra graduated from Milan’s Politecnico in 1964. In 1962 his artistic research attempts to clarify the relationship “individual-environment.” Within the framework of this process he develops knowledge tools (“models for understanding”) that seek to transform the traditional “artwork-viewer” relationship. He always acted inside and outside disciplines, describing himself as a “researcher in visual arts”; an unconventional and peculiar artist, not easy to classify. Since 1960 he embraced different art movements with his researches. He spread his thoughts and experiences through an intense editorial and academic activity. Moreover he was a founding member of several groups, such as Gruppo del Cenobio, Gruppo Design Radicale and Global Tools, and promoter of many exhibitions that involved a great number of professionals (artists, designers and architects).<br /><a href="http://www.ugolapietra.com" target="_blank">http://www.ugolapietra.com</a>
Creator
An entity primarily responsible for making the resource
La Pietra, Ugo
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
Nodi Urbani
Description
An account of the resource
<span>The documents donated by Ugo La Pietra and named <em>Nodi Urbani</em> constitutes, compared to the <em>Progetto per la Casa dello Scultore Cappello</em>, a further variation of the 'unrealised'. If the casa per uno scultore is a ‘theoretical’ academic exercise that engages even the pictorial research of La Pietra, the drawings titled Nodi Urbani represent the 'frame' of a series of lexperiments carried out in the years following his graduating in architecture at the Politecnico di Milano.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1771/1/UGO%20LA%20PIETRA_Nodi%20urbani.pdf" target="_blank" rel="noopener">Read more.</a><br /></span>
Creator
An entity primarily responsible for making the resource
La Pietra, Ugo
Date
A point or period of time associated with an event in the lifecycle of the resource
1965-1968
Contributor
An entity responsible for making contributions to the resource
Zanella, Francesca
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.
Ugo La Pietra
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1771" target="_blank" rel="noopener">http://hdl.handle.net/1889/1771</a>
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/826e394020e080841f9700acd53809ae.jpg
d1097a20ecf62d1e1290f8e30b9e12c4
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
L'omaggio - 2005.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 10,837x7,214 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
http://www.moremuseum.org/omeka/files/original/bbec47775b018deb9c169fd5d4165304.jpg
d4e84eb66bd211273dd5da95d27e34ef
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
L'omaggio 2 - 2005.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 25,468x 16,933 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
http://www.moremuseum.org/omeka/files/original/ab25f6ab3d284e32ffc9566ba0ca9540.jpg
b2deec6bbc1938bf6fe472228f386407
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
L'omaggio 3 - 2005.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 10,837x7,214 cm, 300 dpi
Description
An account of the resource
Montage of the work for the funeral of Pope John Paul II.
http://www.moremuseum.org/omeka/files/original/ef6f2b425710cc904856d60e08d1307d.pdf
469c50d38d5f624ce213e33caf72eb81
Dublin Core
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Title
A name given to the resource
file.pdf
Format
The file format, physical medium, or dimensions of the resource
File pdf
Description
An account of the resource
Online article published on EXIBART.com covering H.H. Lim's car accident.
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
H.H. Lim
Creator
An entity primarily responsible for making the resource
Lim, H.H.
Description
An account of the resource
H.H. Lim was born in Malaysia and graduated from the Academy of Fine Arts in Rome. Since 1976 he has been living and working between Rome and Penang. He is the founder and organizer of the exhibition space Edicola Notte, which has been one of the most dynamic and proactive realities in the capital since 1990. He has participated in numerous solo and group exhibitions: Oltre. Il primo piano, Italian Cultural Institute, Budapest (2015); Brera in contemporaneo Accademy of Brera, Milan (2015); No coffee no cigarettes, Paola Verrengia Gallery, Salerno (2015); Passaggi, Musée d'Art Modern et Contemporain, Saint- Etienne (2015); Mirare Giacomo Leopardi, Idill'io No. 13, Recanati (2015); Mirare, Idill'io No. 11, Recanati (2015); RI-FLESSIONI, R.A.M. radioartemobile, Rome (2015); National Visual Arts Gallery, Kuala Lumpur, Malaysia (2015); Migrating Forms and Migrating Gods, The Museum of Goa, a side event of the Biennale of Muziris Kochi, India (2014); Tornare al Senso Costruttivo, performance at the Verdi Theatre, Milan (2014); Open Museum Open City, project for R.A.M. radioartemobile and for the collection Maxxi, Rome (2014); Sconfinamenti, the 57th Festival of the Two Worlds, Spoleto (2014), Politicamente Parlando, Bianconi Gallery, Milan (2014); La Nuit Blanche, La Gaite Lyrique, Paris (2013); 6th Prague Biennale, Prague (2013); 55th International Art Exhibition of the Venice Biennale, Pavilion of the Republic of Cuba, Venice (2013); John Cage Experiments And Its Context, NCCA National Center of Contemporary Art, Moscow (2013); Landscape on the Move, De Vleeshal & De Kabinetten van de Vleeshal, Middelburg, The Netherlands (2012); Il tesoro nascosto, GNAM National Gallery of Modern Art, Rome (2011); Hidden Treasure, Tang Gallery, Bangkok (2011); 12th International Architecture Exhibition of the Venice Biennale, Venice (2010); 3 Camere, R.A.M radioartemobile, Rome (2010); Gone with the Wind, UCCA Ullens Center for Contemporary Art, Beijing (2010); Onda Anomala, a side event of Manifesta 7, Von Morenberg, Trento (2008); Guangdong Station, Art Museum, Guangdong (2008); Emergency Biennale, the Istanbul Biennial, Istanbul (2007); Wherever We Go, Walter & McBean Galleries, San Francisco (2007); The 5th Ink Painting Biennial of Shenzhen, He Xiangning Art Museum, Shenzhen (2006); "Sweet Taboos" "Go Inside", 3rd Tirana Biennale, National Art Gallery, Tirana (2005); À l'ouest du sud de l'est, CRAC Regional Center of Contemporary Languedoc-Roussillon Art, Sète, France (2004); Villa Arson, Nice (2004); Le Opere e i Giorni, Certosa of San Lorenzo, Padula (2002); Tribù dell'Arte, MACRO Museum of Contemporary Art, Rome (2001).
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
Omaggio a Wojtyla
Creator
An entity primarily responsible for making the resource
Lim, H.H.
Date
A point or period of time associated with an event in the lifecycle of the resource
2005
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Description
An account of the resource
<p>This project was born in the aftermath of HH Lim's car accident which occurred on the highway on March 26th in 2005, while he was on his way from Rome to Naples for the opening of the inaugural exhibition of the PAN - Palazzo delle Arti di Napoli, <em>The Giving Person. Il dono dell'artista</em>, curated by Lóránd Hegyi, invited by the artist Yan Pei Ming who had visited Lim's exhibition at Fondazione Volume! in Rome a few days earlier. Despite the severity of the accident, Lim was unharmed and decided to proceed his journey abandoning the destroyed car on the side of the highway. The project was inspired by a series of events that occurred before the departure and during the trip, as well as a work of art by his friend Yan Pei Ming on display in the exhibition - a large red figure of a Buddha, similar to the one Lim has always been wearing on his neck - and ultimately the death of the pope a few days later. The project was never actually developed as it remained a mere thought, an idea the artist had. Lim imagined a large public exhibition to thank the Pope: the work would have consisted of a series of montages made using Photoshop, showing some drawings of Lim – linked to the series of <em>Words</em> - superimposed on the front pages of the newspapers and posted during the funeral of Wojtyla, which took place on April 8th 2005 in the St. Peter's Square. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2898/1/HH%20Lim_Omaggio%20a%20Wojtyla.pdf" target="_blank" rel="noopener">Read more</a>.</p>
<p> </p>
Rights Holder
A person or organization owning or managing rights over the resource.
H.H. Lim
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2898" target="_blank" rel="noopener">http://hdl.handle.net/1889/2898</a>
Logistical reasons
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/f6b23f4e401d12562ead00aea0b966f4.jpg
2898d4d72897468e14bf8b7532294c98
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
Vlado Martek
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Description
An account of the resource
Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ambivalentna tautologija
Description
An account of the resource
<i>Ambivalentna tautologija </i>is dated 2013. The idea was to display a picture of Martek’s studio in the studio of Goran Trbuljak (Varaždin, Croatia, 1948). Although it was never carried out, thanks to documents describing it, we can say that the work was realised in the form of a statement.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3684/4/vlado%20martek_Ambivalentna%20tautologija.ING.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Date
A point or period of time associated with an event in the lifecycle of the resource
2013-2014
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Rights Holder
A person or organization owning or managing rights over the resource.
Vlado Martek
MoRE Museum
Type
The nature or genre of the resource
Text
Still Image
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/a1632d1332276cfbf144df6610421c1e.jpg
fee113a5caaa4fedfd1e1b2bc9199959
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
Vlado Martek
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Description
An account of the resource
Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism.
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
arte arte arte
Description
An account of the resource
<p><i>arte arte arte</i> (art art art) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3683/6/Vlado%20Martek_arte%20arte%20arte%20eng.pdf" target="_blank" rel="noopener">Read more.</a><b></b></p>
Creator
An entity primarily responsible for making the resource
Martek, Vlado
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
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Rights Holder
A person or organization owning or managing rights over the resource.
Vlado Martek
MoRE museum
Type
The nature or genre of the resource
Text
Still Image
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/3faf9503eb0ae5e09dcf9c2f7975b423.jpg
c1a4debcc3f93368c50ab1d14ef98a65
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
Vlado Martek
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Description
An account of the resource
Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mislim na umjetnost
Description
An account of the resource
<p><i>Mislim na umjetnost </i>(I think of art) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3682/4/Vlado%20Martek_Mislim%20na%20umjetnost%20eng.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Date
A point or period of time associated with an event in the lifecycle of the resource
2017
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Vlado Martek
MoRE museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/1d076a77e55bc7f487aec77271e06973.jpg
4b23b6a8dcf9e260beb2f417044ed244
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
Vlado Martek
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Description
An account of the resource
Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Pjesma se ne vraća u abecedu
Description
An account of the resource
<p><i>Pjesma se ne vraća u abecedu </i>(<i>Poem is not coming back into the Alphabet</i>) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3680/6/Vlado%20Martek_Pjesma%20se%20ne%20vraća%20u%20abecedu%20eng.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Martek, Vlado
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
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Rights Holder
A person or organization owning or managing rights over the resource.
Vlado Martek
MoRE museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/cbfa3ace08757fb88f31c987175e2f00.jpg
39f4208e32f64653f4c5979e56284f8b
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
Vlado Martek
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Description
An account of the resource
Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Prazno miesto
Description
An account of the resource
<p><i>Prazno miesto </i>[Empty mind] should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3679/4/Vlado%20Martek_Prazno%20miesto%20ing.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Martek, Vlado
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
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Vlado Martek
MoRE museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/75f90980e702d721af2df70602177a3f.jpg
11cb055b0698017d8c556a95f4f207d0
http://www.moremuseum.org/omeka/files/original/76643f6444aff111144105c8e6bbe833.jpg
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http://www.moremuseum.org/omeka/files/original/eb9d3d84ea3ed3669b2049f24934a1dd.jpg
18bc2b11ad20d1c710c8e02fef2cb73f
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
Vlado Martek
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Description
An account of the resource
Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
[Project for a book]
Description
An account of the resource
<p><i>Project for a book</i> (2017) consists of three A4 sheets of paper, the draft for a book which was never published, donated as source of inspiration and research. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3678/4/Vlado%20Martek_Project%20for%20a%20book%20eng.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Date
A point or period of time associated with an event in the lifecycle of the resource
2017
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Vlado Martek
MoRE museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/f91e0be9a825a5458be642ef72677ef1.jpg
330de33e3a3672179a8b344348d354b4
http://www.moremuseum.org/omeka/files/original/82f5f563bbc5352d0993b7e982355768.jpg
6f9768e5145480cb3fa1ccdb8d55092d
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
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
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
The Great Ears
Description
An account of the resource
<p style="font-weight: 400;">Proposed as part of the <em>Monuments for the USA</em> exhibition in 2005, the project involved the construction of two monumental ears, respectively placed on the East and West coasts of the United States.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5201/1/Aleksandra%20Mir_The%20Great%20Ears.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Mir, Aleksandra
Date
A point or period of time associated with an event in the lifecycle of the resource
2005
Contributor
An entity responsible for making contributions to the resource
Mir, Aleksandra
Scotti, Marco
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
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Aleksandra Mir
MoRe museum
Theoretical exercise
-
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http://www.moremuseum.org/omeka/files/original/f061779a018a51e30469f2752c891933.jpg
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http://www.moremuseum.org/omeka/files/original/fb511aa09b2cd93b1dc3c3b35ef196e9.jpg
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http://www.moremuseum.org/omeka/files/original/0b1dc8fa412207cc04a515e06c332566.jpg
3d01c05c80dbe2d8d3f97d23ca73a3ec
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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
Jonathan Monk
Description
An account of the resource
Jonathan Monk born 1969 in Leicester, UK. Lives and works in Berlin, Germany<br /><a href="http://www.lissongallery.com/artists/jonathan-monk" target="_blank">http://www.lissongallery.com/artists/jonathan-monk</a><br /><br />
Language
A language of the resource
Italian, English
Creator
An entity primarily responsible for making the resource
Monk, Jonathan
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
hand-bound book, unique copy made by the artist himself.
Physical Dimensions
The actual physical size of the original image
various (approximately 21,5x30cm.)
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
Small Proposals Book
Description
An account of the resource
This project is primarily a reflection on the feasibility of art projects of and the artist’s relationship with the client inside the contemporary art system, coming up with the irony and poetic projects that will characterize the artist more recent works to put under a different light dynamics and more general meanings. In this work, carried out when Jonathan Monk was still a student at the Glasgow School of Art, the artist shows in fact a series of proposals for projects by their very nature impossible, crazy, as he describes them. Closely related to the nomination of Glasgow as European City of Culture in 1990, it consisted of a presentation for each project, six in all: a (fake) letter of reply of the responsible for the Cultural City of Europe Committee to which the artist should have brought the project and an image. If the letter was obviously written by the artist himself, and signed with the name of the Visual Arts Officer Tessa Jackson, the figurative part underlines the irony in the dynamics to criticise the event, using stereotypes, absurd and familiar images. As long as these proposals were not in fact presented inside the project, in the responses it’s possibile to read that the ideas were to bring the pyramids in Glasgow Green, moving the Golden Gate over the river Clyde (the picture was, however, the Humber Bridge, and for this reason it was to be rejected), to report the direction of travel to continental standards, to transplant one of the giant sequoias of Red Woods, to move Stonehenge to redevelop the fountain of Kelvingrove Park, and finally to move for a year Disneyland in the parking lot of St. Enochs Centre: all of this on the occasion of the great projects of Glasgow 1990.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1757/1/JONATHAN%20MONK_Small%20proposal%20book.pdf" target="_blank" rel="noopener">Read more</a><a href="http://dspace-unipr.cilea.it/bitstream/1889/1757/1/JONATHAN%20MONK_Small%20proposal%20book.pdf">.<br /></a>
Creator
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Monk, Jonathan
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
Contributor
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Scotti, Marco
Format
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image/jpeg
Language
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English
Type
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Still Image
Identifier
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<a href="http://hdl.handle.net/1889/1757" target="_blank" rel="noopener">http://hdl.handle.net/1889/1757</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Jonathan Monk
MoRE Museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/dc5a1a605d3d5273ab23168fb52b664f.jpg
6ad951c130a083237de7ec33953ee69e
Dublin Core
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Title
A name given to the resource
taccuino 055.jpg
Description
An account of the resource
<p>Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects</p>
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Title
A name given to the resource
Cesare Pietroiusti
Description
An account of the resource
The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.<br />Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.
Creator
An entity primarily responsible for making the resource
Pietroiusti, Cesare
Dublin Core
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Title
A name given to the resource
Certificati di Autenticità
Date
A point or period of time associated with an event in the lifecycle of the resource
1987-1988
Description
An account of the resource
The artist developed a never-realized project for the production of different typologies of certificates of authenticity, like for instance one attesting a person's own identity, or unrealized art works or sophisticated certificates printed on papyrus for objects of little value (e.g. A one cent coin). The unrealized project is coherent with the author's research that often investigates ironically the economic system and the attribution of a commercial value to objects.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1772/1/CESARE%20PIETROIUSTI_Certificati%20di%20autenticità.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
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Pietroiusti, Cesare
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
Rights Holder
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Cesare Pietroiusti
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/1772" target="_blank" rel="noopener">http://hdl.handle.net/1889/1772</a>
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/4d9635b313020164999fea5014ee2ab1.jpg
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Dublin Core
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Title
A name given to the resource
camera della morte.jpg
Description
An account of the resource
The work donated to MoRE is a drawing that represents the final phase of the performance. The line drawing is stylized and the Chamber of death is represented according to a central perspective as if it were a long corridor with balconies, from where the perpetrators overlook the massacre.
Format
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file jpg, 20,003x15,275 cm, 300dpi
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Title
A name given to the resource
Luigi Presicce
Description
An account of the resource
He was born in Porto Cesareo (Lecce) in 1976, and lives and works in Milan and Porto Cesareo. He attended the Fine Arts Academy in Lecce, but his work has been decisively influenced by his independent studies. In 2007 he took part in the Advanced Course in Visual Arts (CSAV) at the Antonio Ratti Foundation in Como with the American artist Joan Jonas. In 2008, as part of the Artist in Residence initiative, he took part in the workshop at Viafarini in Milan with the American artist Kim Jones. In Milan in 2008 he also founded (with Luca Francesconi and Valentina Suma) the magazine Brownmagazine followed by the Brown Project Space, for which he acts as curator. In 2011 with Giusy Checola and Salvatore Baldi he started running “Archiviazioni” (research and discussion activities regarding contemporary culture in southern Italy) in Lecce. In 2012 he took part in Artists in Residence at MACRO, Rome. With Luigi Negro, Emilio Fantin, Giancarlo Norese and Cesare Pietroiusti he is involved in the Lu Cafausu project, which has been invited by AND AND AND at dOCUMENTA13, Kassel.<br />He performed at Fondazione Claudio Buziol, Venice (2010), Performance Festival Thessaloniki Biennale 3, Greece (2011), Festival Reims Scènes d’Europe, Frac Champagne-Ardenne, France (2011), MADRE, Neaples (2012), We Folk – Drodesera Festival, Centrale Fies, Dro (2012).<br />He won Epson Art Prize, Antonio Ratti Foundation, Como (2007), Emerging Talents Prize, CCC Strozzina, Palazzo Strozzi, Florence (2011), Long Play, MAGA, Gallarate (2012).
Creator
An entity primarily responsible for making the resource
Presicce, Luigi
Dublin Core
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Title
A name given to the resource
La camera della morte
Creator
An entity primarily responsible for making the resource
Presicce, Luigi
Contributor
An entity responsible for making contributions to the resource
Rossi, Valentina
Description
An account of the resource
The project donated by Luigi Presicce (Porto Cesareo, 1976) consists in an unrealized performance. The action, with an utopian and theatrical nature, is inspired by the annual event in which the tuna migrate to the <a href="http://www.youtube.com/watch?v=nZvGrvT4OhE&feature=youtu.be" target="_blank" rel="noopener">island of Favignana</a>, in the south of Italy, to reproduce themselves, and according to the artist to make a journey of love. On this occasion the fish goes through a maze made up of fishing nets to end up inexorably in the death chamber, where they are harpooned and killed. The action has been designed by the artist as a game of reversing roles, in which the men take the place of the tuna and unaware they are ready to participate to the last moment of their life, just waiting to be slaughtered by other men. It is a transposition of the man from hunter to prey, from victim to victimizer, an inversion that creates alienation and a violent trauma. All these elements lead the viewer to a possible kind of visionary hallucination, where the role of Presicce is no longer that of the protagonist of his own performance but of an expert Director of expert careful towards the construction of a new appearance. This performance also draws inspiration from a short aphorism by <a href="http://www.youtube.com/watch?v=s-4OrG6kows&feature=relmfu" target="_blank" rel="noopener">Carmelo Bene</a> in which the actor claims that the public should pay the cost of the show with his own life. <br />Because of its utopian nature, it has never been possible to realize the performance. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2054/1/presicce-camera%20della%20morte.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
2012
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
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/1889/2054" target="_blank" rel="noopener">http://hdl.handle.net/1889/2054</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Luigi Presicce
MoRE Museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/106003f5cbce9b4c9ec59daaa8a1929c.tiff
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http://www.moremuseum.org/omeka/files/original/92ccbd417abbfdfbcc9c4aed8055cc50.odt
9204767aad0296f1e793a08583f1db97
Dublin Core
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Title
A name given to the resource
Veit Stratmann
Creator
An entity primarily responsible for making the resource
Stratmann, Veit
Description
An account of the resource
Born in Bochum, Germany, Veit Stratmann is a visual artist based in Paris. His work revolves around questioning: can an artistic gesture be based on the notions of choice and decision-making – the postures of those who encounter the work? Can this decision-making and the infinite suspension of time involved in doing so become constructive material (Morgan Marlet describes this in her MA thesis on Veit Stratmann's work in the urban space as “suspending space to suspend time”)? If political action originates in the act of decision making, can an encounter with art gener-ate a permanent oscillation between political and artistic gestures? Can an artistic gesture undo the coherence of a space without affecting its physical integrity? Or create a “paren-thesis” or construct a loophole in its meaning in order to create the blurring of status? Can this become creative matter? Can an artist's work be a deflector? Can art be the departure point of observation rather than that which is observed? Stratmann's work is often done in and for public space. The presence of an object in public space does not necessarily confer a particular status to that given object. The encounter with an object in public space does not impose any particular status or behavioural code upon the public. Both the viewer and the work viewed define the nature and the quality of this encounter. Public space thus presents an ideal place for posing questions - and a way of transforming its fragile status into creative material. Veit Stratmann's personal history is also at the root of his work in public space and it has undoubtedly conditioned the social issues that underline his line of questioning. Born in Germany, he moved to France in 1981. This displacement of his personal “territory” and focal point from a general sense of “belonging” (in Germany) to an acute awareness of “not belonging” (in France) reoriented his perception of space, territory, separation and be-longing. He began to explore the possibilities of influencing his space without actually modifying it. Becoming aware of the limits of his space brought about questioning: how can the limits be made permeable? How can the interstices be used? How can these territories be adjusted, modified, transformed? The range of Veit Stratmann's artistic preoccupations is anchored in this socio-cultural and spatial questioning. Yet his line of questioning enters the sphere of “art” only when there is exchange with others – as many others as possible. This naturally pulls his artistic action towards the « polis » – public space (not the political space but the space of politics). This is where decision and choice-making, negotiation, stance-taking, limitations and borders take form and make sense.
Dublin Core
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Title
A name given to the resource
The Rhine Swing
Description
An account of the resource
<p><span>Veit Stratmann research makes use of the unrealised and the concept of unrealisability as a tool to deal with - in line with a conceptual tradition - political or economic-political discourses, often connected with the concept of security and with the structures of power, from a critical point of view and trying to give a clear form to the discourse while questioning the role of the artist himself, reflecting on impossibility and inefficiency as elements for the production of a project. <em>The Rhine Swing</em> is a project for a giant swing to be placed over the Rhine River, between the locations of Daubensand (Alsace, France) and Schwanau (Baden, Germany), a site identified by the artist for the relatively low amplitude of the river as well as the beauty of the landscape. A representation - not without irony - of the Franco-German cooperation, this project contains a first feasibility analysis through a study of the modalities of access, operation and use together with the security requirements, a study which reveal himself as a functional tool for the artist to criticise the design method and, more generally, the economic and political dynamics between the European countries.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3447/1/Veit%20Stratmann_The%20Rhine%20Swing.pdf" target="_blank" rel="noopener">Read more.</a></span></p>
<div><span><br /> </span></div>
Creator
An entity primarily responsible for making the resource
Stratmann, Veit
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
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
text/plain
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Veit Stratmann
MoRE Museum
Relation
A related resource
DSpace: http://dspace-unipr.cineca.it/handle/1889/3447
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/dcfabfdbc5a5ca844940d2678c3c6ce5.pdf
337acc1f4351ace62e58beaa44ce0623
http://www.moremuseum.org/omeka/files/original/4f7bf22b3d79e62d02e0977c5cc70731.pdf
7cc010c7a766c0db612f578d92460570
http://www.moremuseum.org/omeka/files/original/f4ca10e1ad64379060313ef7da4fa778.mov
26df352d6743e979c72b7fc4c791c428
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
Veit Stratmann
Creator
An entity primarily responsible for making the resource
Stratmann, Veit
Description
An account of the resource
Born in Bochum, Germany, Veit Stratmann is a visual artist based in Paris. His work revolves around questioning: can an artistic gesture be based on the notions of choice and decision-making – the postures of those who encounter the work? Can this decision-making and the infinite suspension of time involved in doing so become constructive material (Morgan Marlet describes this in her MA thesis on Veit Stratmann's work in the urban space as “suspending space to suspend time”)? If political action originates in the act of decision making, can an encounter with art gener-ate a permanent oscillation between political and artistic gestures? Can an artistic gesture undo the coherence of a space without affecting its physical integrity? Or create a “paren-thesis” or construct a loophole in its meaning in order to create the blurring of status? Can this become creative matter? Can an artist's work be a deflector? Can art be the departure point of observation rather than that which is observed? Stratmann's work is often done in and for public space. The presence of an object in public space does not necessarily confer a particular status to that given object. The encounter with an object in public space does not impose any particular status or behavioural code upon the public. Both the viewer and the work viewed define the nature and the quality of this encounter. Public space thus presents an ideal place for posing questions - and a way of transforming its fragile status into creative material. Veit Stratmann's personal history is also at the root of his work in public space and it has undoubtedly conditioned the social issues that underline his line of questioning. Born in Germany, he moved to France in 1981. This displacement of his personal “territory” and focal point from a general sense of “belonging” (in Germany) to an acute awareness of “not belonging” (in France) reoriented his perception of space, territory, separation and be-longing. He began to explore the possibilities of influencing his space without actually modifying it. Becoming aware of the limits of his space brought about questioning: how can the limits be made permeable? How can the interstices be used? How can these territories be adjusted, modified, transformed? The range of Veit Stratmann's artistic preoccupations is anchored in this socio-cultural and spatial questioning. Yet his line of questioning enters the sphere of “art” only when there is exchange with others – as many others as possible. This naturally pulls his artistic action towards the « polis » – public space (not the political space but the space of politics). This is where decision and choice-making, negotiation, stance-taking, limitations and borders take form and make sense.
Dublin Core
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Title
A name given to the resource
A Lighting system
Description
An account of the resource
The project <em>A lighting system</em> tries to tie together the discourse on security and the machine for the production of good conscience – and of control - as which the ecological discourse is often used into one structure. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3715/1/Veit%20Stratmann_A%20lighting%20system.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
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Stratmann, Veit
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
Contributor
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Stratmann, Veit
Format
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application/pdf
video/quicktime
Language
A language of the resource
French
Type
The nature or genre of the resource
Text
Still Image
Moving Image
Rights Holder
A person or organization owning or managing rights over the resource.
Veit Stratmann
MoRE museum
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/5bea5629327db8f13222106a5320e08e.jpg
46f036a720b148a7e00bd357fbdbf2ba
http://www.moremuseum.org/omeka/files/original/4a671a9224d056322aeabf7ad1047812.jpg
d7d3cb64e8ecf62da6128db4f92aec75
http://www.moremuseum.org/omeka/files/original/a5f79782d81e2f2c4fd5156a9e41838d.jpg
db55f867f6cb35e5b5404f7b6f5d7345
http://www.moremuseum.org/omeka/files/original/317d49c40069ccec681f47df91c07d36.jpg
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Dublin Core
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Title
A name given to the resource
Kostis Velonis
Description
An account of the resource
Kostis Velonis received his Doctorate in architecture from the N.T.U.A University of Athens (2009). He studied Cultural Studies at the London Consortium (A A, Birckbeck College, ICA) and visual Arts at the Paris VIII University, Maitrise, D.E.A. Among the recent SOLO shows: This probably will not work Lothringer 13 - Städtische Kunsthalle München, Munich, 2015; Mount the Air, Kalfayan Galleries, Athens, 2015; The Grammary of Puppetry, Monitor Gallery, Rome, 2012; The promise of Happiness, Signal Center for Contemporary Art, Malmo, Sweden, 2011. Among the group shows: Adventures of the Black Square: Abstract Art and Society 1915- 2015, Whitechapel Gallery, London, 2015; Supersuperstudio, Padiglione Arte Contemporanea, Milan, Italy; In the Name of Le Corbusier, Spiteris Residence, School of Architecture N.T.U.A, Athens, 2015; The Theater of the World, Museo Tamayo, Mexico City, 2015; This is Not My Beautiful House, Kunsthalle Athena, Athens, 2014; No Country for Young Men, BOZAR, Brussels, 2014; Tout Feu Tout Flamme, Lefebvre & Fils, Paris, 2014; Direct Democracy, MUMA /Monash University Museum of Art, Melbourne, 2013; Hell as a Pavillion, Palais de Tokyo, Paris, 2013; Newtopia. The State of Human Rights, Mechelen Cultural Centre, The Academy of Fine Arts, Scheppers Institute Mechelen, Belgium, 2012; Material and Culture - MAK Center for Art and Architecture-Schindler, California.
Creator
An entity primarily responsible for making the resource
Velonis, Kostis
Dublin Core
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Title
A name given to the resource
Monument for a Forgotten Education (based on Goeritz's and Barragan's “Torres de Satélite”,1958)
Description
An account of the resource
<p><em>Monument for a Forgotten Education</em> is a model version of the public monument of Mathias Goeritz and Luis Baraggan <em>Torres de satellite</em> (satellite towers) which is located in Mexico City and is assumed to be one of the most characteristic public projects of Mexican modernity.<br /><em>Monument for a Forgotten Education</em> is conceived with the aim to replace the walls of the Monument “Torres de satellite" made from reinforced concrete with chalkboard paint on wood, giving an emphasis to the educational awareness, rewriting the history of a certain modernity that deals with abstraction and collective amnesia. The aesthetic values of public monuments have thus been reverted as by the substitution of the original material as well as the different scale of the model.<br /><em>Monument for a Forgotten Education</em> is included to a production of works under the general title of <em>Part Company</em>. These works combine antithetical approaches to community living and social participation by two distinct figures of Mexican Modernism, Greek-Mexican activist Plotino Rhodakanaty (1828-1892) and Mexican artist of German origin Mathias Goeritz (1915-1990). The artist adapts models of public sculptures by Goeritz informed by research on Rhodakanatys’ political concepts. The constructions explore a broader context around social class, politics of sculpture, architecture and design, encompassing rather than isolating these two separate ideologies.<br />Understanding modernity's discourse through Goeritz's approach is an intriguing way to justify the rejection of memory (from collective to interpersonal relationships) and complements Rhodakanaty's ethics through which Goeritz cannot be restricted exclusively to the field of aesthetics, just as socialist narratives may not be solely perceived through a passive reception of a political message.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3002/1/Kostis%20Velonis_Monument%20for%20a%20Forgotten%20Education.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Velonis, Kostis
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Contributor
An entity responsible for making contributions to the resource
Scipioni, Lydia Elena
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.
Kostis Velonis
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3002" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3002</a>
Theoretical exercise
-
http://www.moremuseum.org/omeka/files/original/69ca073973dde62b8eb76be74546bd5b.jpg
f32607adc1998de4e3b23b2de047c310
Dublin Core
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Title
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Vlado Martek
Creator
An entity primarily responsible for making the resource
Martek, Vlado
Description
An account of the resource
Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
paper
Dublin Core
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Title
A name given to the resource
Ništa
Description
An account of the resource
<p><i>Ništa </i>[Nothing] should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3681/4/Vlado%20Martek_Ništa%20eng.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Vlado Martek
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
Modena, Elisabetta
Rights Holder
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Vlado Martek
MoRe museum
Format
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image/tiff
Type
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Text
Still Image
Theoretical exercise