Proposed as part of the Monuments for the USA exhibition in 2005, the project involved the construction of two monumental ears, respectively placed on the East and West coasts of the United States.
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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 Pablo di Neanderthal, 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.
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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.
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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.
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.
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 Þ the male molds Þ 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.
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Rouge Selavy 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. 
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".
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 Rrose Selavy is transformed into Rouge Selavy. 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.
Furthermore, this continuous use of the word imagination can only bring to the mind the famous slogan of the seventies "the imagination to power".
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Do it yourself confession 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.
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A lighting system 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. 
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Project for a book (2017) consists of three A4 sheets of paper, the draft for a book which was never published, donated as source of inspiration and research.
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Prazno miesto [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.
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Pjesma se ne vraća u abecedu (Poem is not coming back into the Alphabet) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized.
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Ništa [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.
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Mislim na umjetnost (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.
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arte arte arte  (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.
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Ambivalentna tautologija 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.
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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. The Rhine Swing 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.
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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.

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.

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.

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.
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http://dspace-unipr.cineca.it/handle/1889/3245]]>
In 1996 Braco Dimitrijević, interviewed by Jean-Hubert Martin for "Flash Art", said: 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.

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 Dust of Louvre Mist of Amazon at the Weddington Gallery, where he let two peacocks roam freely through the exhibition of modern art collections. The work that most closely resembles Lion walking freely in the Louvre was realised by Dimitrijević in 1995 for the exhibition at the Hessisches Landesmuseum in Darmstadt. Against historic sense of gravity 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.

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: [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.
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http://dspace-unipr.cineca.it/handle/1889/3247]]>
Monument for a Forgotten Education is a model version of the public monument of Mathias Goeritz and Luis Baraggan Torres de satellite (satellite towers) which is located in Mexico City and is assumed to be one of the most characteristic public projects of Mexican modernity.
Monument for a Forgotten Education 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.
Monument for a Forgotten Education is included to a production of works under the general title of Part Company. 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.
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.
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http://dspace-unipr.cineca.it/handle/1889/3002]]>
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, The Giving Person. Il dono dell'artista, 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 Words - 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.
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http://hdl.handle.net/1889/2898]]>
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.
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http://hdl.handle.net/1889/2703]]>
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 power of thoughts, 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.
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http://hdl.handle.net/1889/2704]]>
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.
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. 
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http://hdl.handle.net/1889/2650]]>
Read more.]]> http://hdl.handle.net/1889/1772]]> The documents donated by Ugo La Pietra and named Nodi Urbani constitutes, compared to the Progetto per la Casa dello Scultore Cappello, 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.
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Read more.]]> http://hdl.handle.net/1889/1770]]> Roue de bicyclette, 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.
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.
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http://hdl.handle.net/1889/2000]]>
island of Favignana, 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 Carmelo Bene in which the actor claims that the public should pay the cost of the show with his own life.
Because of its utopian nature, it has never been possible to realize the performance.
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http://hdl.handle.net/1889/2054]]>
Serpentine Map Marathon event.
A Better Britain 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.
MoRE has also realized an interview with the authors to talk about the projects, published on the museum website. 
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http://hdl.handle.net/1889/2410]]>
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http://hdl.handle.net/1889/1757]]>