2
50
157
-
http://www.moremuseum.org/omeka/files/original/70aafe69febc270b40bd91ac4320bc5a.jpg
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ibro Hasanović
Description
An account of the resource
Ibro Hasanović was born in Ljubovija (Yugoslavia) in 1981. He currently lives in Pristina, Kosovo. His works have been recently exhibited at Austrian Cultural Forum, New York, Künstlerhaus Vienna, Vienna; Munchner Stadtmuseum, Munich; Garage Museum of Contemporary Art, Moscow; Museum of Fine Arts, Split; Kunsthalle Wien, Wien; the 55th October Salon, Belgrade; National Gallery of Kosovo; Museum of Contemporary Art, Zagreb; Künstlerhaus - Halle für Kunst & Medien, Graz; the 2nd Project Biennial D-0 ARK Underground, Bosnia and Villa Romana, Florence.
Creator
An entity primarily responsible for making the resource
Hasanović, Ibro
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
Lilium Bosniacum
Description
An account of the resource
<p><em>Lilium Bosniacum</em> is a project that was thought to be realized in collaboration with scientists (e.g. botanist). It would include experiments in order to see if the Bosnian constitution - based upon the Dayton Peace Agreement in 1995 - could be translated, one way or another, into “natural law”.<br />Dayton Peace Agreement was reached in November 1995 at USA Air Force Base near Dayton (Ohio), and formally signed on 14th December 1995 in Paris. It brought peace to the country torn up by war which started on 6th of April 1992. Today, this peace agreement which also serves as the Bosnian constitution has become a political nightmare. Its complex structure makes any kind of progress in Bosnia seem impossible.<br />Lilium Bosniacum (a.k.a. golden lily or Bosnian lily) is a lily native to Bosnia and Herzegovina. Bosnian Lily is also a symbol that has been used in Bosnia since Middle Ages and it became especially popular during the rule of Bosnian king Tvrtko I Kotromanić. With the invasion of Ottomans into the region and the fall of Kotromanić Dynasty, the symbol went out of use. On 1st of March 1992, when Bosnia and Herzegovina gained independence from Yugoslavia, lilies were brought back onto the Bosnian flag. In 1998, after the protests of political representatives of the former Herceg-Bosna and Republika Srpska, the flag of the Republic of Bosnia and Herzegovina was replaced. The idea of the project is to try and create a set of rules and genetically modify Bosnian Lily in order that it complies with the complex structure of Dayton Peace Agreement. In collaboration with scientists (e.g. botanist), the project includes experiments in order to see if this specific “constitutional law” can be translated, one way or another, into “natural law”. All of the process would be photographically and video documented, in order to produce a book/herbarium and a short video documentary. Finally the goal would be to register this “hybrid lily”, if successfully created, to the EU database of registered plant varieties. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2999/1/Ibro%20Hasanović_Lilium%20Bosniacum.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Hasanović , Ibro
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
Scipioni, Elena Lydia
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Ibro Hasanović
MoRE museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2999" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2999</a>
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/8f716b008525ab533e60d4d8dd02945a.pdf
10c8407e51dc74b80127bd6361ef04d5
Dublin Core
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Title
A name given to the resource
Foto 01.doc
Subject
The topic of the resource
First of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/99ac8e2d27d5da8f565f769988488680.pdf
a3ef5d7bd5040d6a42c71c758b69b63a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Foto02.doc
Description
An account of the resource
Second of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/32ad58ab7d71fa99a65eb8fa6176b3a4.pdf
5f251dbf79f9ce441744da233036fd86
Dublin Core
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Title
A name given to the resource
Foto 03.doc
Description
An account of the resource
Third of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/5004aa9b2da843b900830cbf5a844a0a.pdf
9817dabaff3cc0c34afe43b0aab753bd
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Foto 04.doc
Description
An account of the resource
Fourth of four digital images that show, from different urban perspectives, the visual result of the suggested installation and its interaction with the urban architecture of Caio Mario square in Turin. The images are numbered progressively from 1 to 4 according to an order defined by the artist. In the letter that accompanies the project donated to MoRE, the artist says to have recently looked in the web what is the current state of the Turin square: “[…] ‘frozen’ to the condition it had when I went there with architect Marco Della Torre”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
http://www.moremuseum.org/omeka/files/original/6cbdf68abc57222bfdbc5d0c351fb7fd.pdf
66c1716037d85b6d063cfe49646ecd96
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Progetto.doc
Description
An account of the resource
Project presented by the artist for the contest, including an installation description, a poetics that reveals its objectives and its artistic and theoretical motivations, a detailed technical description with its realization costs and a four-page drawing of the project itself and of the “The Flower”.
Format
The file format, physical medium, or dimensions of the resource
file doc, archived in pdf.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Debora Hirsch
Description
An account of the resource
Born in São Paulo 19th August 1967. Lives and works between Milan and São Paulo.<br /><a href="http://www.deborahirsch.com" target="_blank">http://www.deborahirsch.com</a>
Creator
An entity primarily responsible for making the resource
Hirsch, Debora
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Il fiore e la pietra
Description
An account of the resource
<em>Il fiore e la pietra</em> is a project of a urban sculpture for square in Turin, Italy. It was presented by the artist, on invitation by Gianni Romano, at the contest for young artists «Premio Artegiovane/Torino Incontra. Una porta per Torino» curated by Guido Curto, 6th Edition, 2002. <br />The theme draws its first inspiration from B.C. comics by Johnny Hart: a frail flower dialogues with a stone. The ambiguity between solidity and frailty is symbolically set aside the then very adverse situation of FIAT, the most important manufacturing company of Turin, and the problem of the blue collar sleeping area. <br />The environment in which the project was developed is typical of a still common situation in contemporary art: conceived to apply to a contest, it was never realized, as well as all the other projects presented, due to lack of funds. <br /><a href="https://www.repository.unipr.it/bitstream/1889/1996/1/hirsch_il%20fiore%20e%20la%20pietra.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Hirsch, Debora
Date
A point or period of time associated with an event in the lifecycle of the resource
2002
Contributor
An entity responsible for making contributions to the resource
Bignotti, Ilaria
Language
A language of the resource
Italian
Format
The file format, physical medium, or dimensions of the resource
application/pdf
Type
The nature or genre of the resource
Still Image
Text
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/1996" target="_blank" rel="noopener"><strong><code>http://hdl.handle.net/1889/1996</code></strong></a>
Rights Holder
A person or organization owning or managing rights over the resource.
Debora Hirsch
MoRE Museum
Financial reasons
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/98a736ab24dcc1c6b4c0b6945f4161a1.eml
e21f682453afffe6b2abf97fe7ed2814
http://www.moremuseum.org/omeka/files/original/ce36a40158104eb256955a39166ed015.pdf
632cd0ce09405661fdba11c75b8a1e45
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
David Horvitz
Description
An account of the resource
David Horvitz is an artist from Los Angeles
Creator
An entity primarily responsible for making the resource
Horvitz, David
Dublin Core
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Title
A name given to the resource
Untitled
Description
An account of the resource
<p>This project, which has been presented directly by the artist with an e-mail, consists of just an idea: to pull one of the old trolly car of Los Angeles out of the ocean where they had been dumped, after the closure of this transport system. Reflecting on his native city, today completely dedicated to cars, on its past and on the processes of forgetting, Horvitz wants to brings back to light an episode – the throwing of the trollies into the ocean – that clearly becomes a metaphor.<br />The Los Angeles Railway was a system of streetcars that operated in Central Los Angeles and surrounding neighborhoods between 1901 and 1963 and there are several articles and photos that can confirm that during the Fifties a few of the discarded streetcars from the Los Angeles Transit Lines, created in 1945, were thrown into the ocean: in particular the July, 1959 issue of “Mass Transportation” magazine<a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftn1" name="_ftnref1"><span>[1]</span></a> featured an informative article about six ‘old’ Los Angeles Transit Lines streetcars being placed off the coast at Redondo Beach to create an artificial reef.<br />This work by David Horvitz can also be considered part of a wider reflection from the artist on the concept of water and time, which considers conceptual practices and applies “the fluid and impermanent dimension of the Fluxus movement and of Oriental culture”<a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftn2" name="_ftnref2"><span>[2]</span></a>. The search and recovery of a dumped trolly car then also become a poetic and surreal performative gesture, an ephemeral action that should have left several different traces, just like David Horvitz postal artworks, his stamps or his attempts to mimic the sound of the ocean using the human voice.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3985/1/David%20Horvitz_untitled.pdf" target="_blank" rel="noopener">Read more</a>.</p>
<p></p>
<p><a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftnref1" name="_ftn1"><span>[1]</span></a> Metro Digital Resources Librarian, <em>Before “Subway To The Sea,” There Was “Streetcar In The Sea”: Creating Artificial Reefs Off The Los Angeles Coast In 1959</em>, <span> </span>Metro's Primary Resources, Los Angeles County Metropolitan Transportation Authority, May 18, 2011, Available at: <a href="https://metroprimaryresources.info/before-subway-to-the-sea-there-was-streetcar-in-the-sea-creating-artificial-reefs-off-the-los-angeles-coast-in-1959/1324/">https://metroprimaryresources.info/before-subway-to-the-sea-there-was-streetcar-in-the-sea-creating-artificial-reefs-off-the-los-angeles-coast-in-1959/1324/</a></p>
<p><a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftnref2" name="_ftn2"><span>[2]</span></a> <span>M. Vecellio, <em>The Water in you</em>, in David Horvitz, <em>nuvola, nuvola, oceano, nuvola, foschia, tu</em>, Loom Gallery, Milano, 2018, s.p.</span></p>
Creator
An entity primarily responsible for making the resource
Horvitz, David
Date
A point or period of time associated with an event in the lifecycle of the resource
2009-2019
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
text/html
Language
A language of the resource
English
Type
The nature or genre of the resource
Email
Rights Holder
A person or organization owning or managing rights over the resource.
David Horvitz
MoRE Museum
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/fbb64d23d53775fe15fc0d58f6ff959a.pdf
3b1c3dafa812385225bc37c6d559bacf
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
Invernomuto
Description
An account of the resource
Simone Bertuzzi (b. Piacenza, 1983) and Simone Trabucchi (b. Piacenza, 1982) have been working together under the pseudonym Invernomuto since 2003. Moving images and sounds are the main tools they adopt when dealing with a precise, but wide variety of media. Invernomuto investigate sub-culture universes using different media in which common speech is both a sign of affection and a way to move closer to oral cultures and contemporary mythologies that are observed but also directly experienced. The declared inauthenticity of the materials they use plays a fundamental role in this process, which emphasizes the false and kitsch character of the mystifications by which they are inspired. Invernomuto has won numerous awards, including being finalists for the Furla Art Award in Bologna in 2013 and winning the MERU ART*SCIENCE Award at the GAMEC (Modern and Contemporary Art Gallery) in Bergamo. In 2014, they took part in Berlinale Talents in Berlin and received MIBAC funding to finish their first full-length film Negus, which was released in March 2016. Both artists also produce music individually, performing under the names Palm Wine and STILL.
Creator
An entity primarily responsible for making the resource
Invernomuto
Dublin Core
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Title
A name given to the resource
Noises from above
Description
An account of the resource
<div class="page" title="Page 3">
<div class="layoutArea">
<div class="column">
<p><span>This project started from the interest of the artists around the village of San Damiano, near Piacenza, the birthplace of Simone Bertuzzi and Simone Trabucchi. This area hosts both a NATO military base and a sanctuary dedicated to an apparition of the Virgin Mary during the early 1960s: this research was born from an attention focused both on the sound produced by the warplanes' exercises and the nature of the military space, and on the collective religious imagination, in search of a possible dialogue and common points, in the context of a small village alongside the Po Valley. </span></p>
<p><span>The first version of the project took the form of a documentary based on several interviews and filming of the surrounding landscape: at this stage just two trailers were produced, based on two interviews, and a parallel version was conceived as a live media performance composed of two video projections and a live soundtrack. In 2007, after a first stop decided by the artists themselves, the project was rethought as an installation on two screens, where they could have worked with loops and small variations, starting from shorter narrative models. This also included two structures for the vision of the films and an ambient soundtrack. In addition, during the research, the artists had the opportunity to confront themselves with the artist William Xerra - who was born in Piacenza too - who in 1976 staged </span><span>Le Apparizioni (Verifica del Miracolo) </span><span>in San Damiano, a piece related to the Marian apparitions in the area, which included as witnesses figures such as Pierre Restany, Renato Barilli and Vanni Scheiwiller. </span></p>
<p><span>While being used by Invernomuto in several presentations, publications, showcases and works - with images and references - </span><span>Noises from Above </span><span>has never reached a final form and has never been completed: still today the artists consider it stuck in a standby phase. <br /></span><a href="https://www.repository.unipr.it/bitstream/1889/3449/1/Invernomuto_Noises%20from%20above.pdf" target="_blank" rel="noopener">Read more.</a></p>
</div>
</div>
</div>
Creator
An entity primarily responsible for making the resource
Invernomuto
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
Language
A language of the resource
Italian
Rights Holder
A person or organization owning or managing rights over the resource.
Invernomuto
MoRE Museum
project abandoned by the artist
-
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http://www.moremuseum.org/omeka/files/original/3136e2ac37deaafc8f638fd3012fe4c3.rtf
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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
Emily Jacir
Description
An account of the resource
<p>Emily Jacir’s work investigates histories of colonization, exchange, translation, transformation, resistance, and movement. Jacir has built a complex and compelling œuvre through a diverse range of media and methodologies that include unearthing historical material, performative gestures and in-depth research. She was awarded a Golden Lion at the 52nd Venice Biennale (2007) for her work Material for a film; a Prince Claus Award from the Prince Claus Fund in The Hague (2007); the Hugo Boss Prize at the Guggenheim Museum (2008); the Alpert Award (2011) from the Herb Alpert Foundation; and the Andrew W. Mellon Foundation Rome Prize Fellow at the American Academy in Rome (2015).</p>
<p>Emily Jacir has had recent solo exhibitions at Alexander and Bonin, New York (2018); IMMA (Irish Museum of Modern Art), Dublin (2016–17); Whitechapel Gallery, London (2015); Darat al Funun, Amman (2014–15); Beirut Art Center (2010); and the Guggenheim Museum, New York (2009). Her work has been in major international group exhibitions, including the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Fondazione Sandretto Re Rebaudengo, Turin; dOCUMENTA (13) (2012); five consecutive Venice Biennales; Sharjah Biennial (2011); 29th Bienal de São Paulo, Brazil (2010); 15th Biennale of Sydney (2006); Sharjah Biennial 7 (2005); Whitney Biennial (2004); and the 8th Istanbul Biennial (2003).</p>
Creator
An entity primarily responsible for making the resource
Jacir, Emily
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
stazione
Description
An account of the resource
<p><em>stazione</em> is the title of a public intervention conceived by Palestinian artist Emily Jacir for a collateral project of the 53rd Venice Biennale titled Palestine c/o Venice in 2009 but never realised. Jacir’s initial idea was to translate the names of each of the 24 vaporetti stops along route #1 of the water bus route into Arabic and to place the Arabic translations on all the stops next to their Italian counterparts. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3844/1/jacir_lo%20pinto.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Jacir, Emily
Date
A point or period of time associated with an event in the lifecycle of the resource
2009-2010
Contributor
An entity responsible for making contributions to the resource
Lo Pinto, Luca
Format
The file format, physical medium, or dimensions of the resource
image/tiff
text/richtext
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Emily Jacir
MoRE Museum
Censored
Political reasons
-
http://www.moremuseum.org/omeka/files/original/e3959057d4fd694130db52a2ba75313c.jpg
0794412b5b74ed6fba9c4c2e3e93966f
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
Jevsovar 01 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
http://www.moremuseum.org/omeka/files/original/00e262b1f00eb59e4397190e8b92b732.jpg
a7ff633800eca75374c54f3774ee97ec
Dublin Core
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Title
A name given to the resource
Jevsovar 02 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
http://www.moremuseum.org/omeka/files/original/c470ab41030444b046c57b7f635a1ea7.jpg
473f32c262286d366a750614eabe2e0d
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
Jevsovar 03 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 92,551x 130,651 cm, 96 dpi
Dublin Core
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
Marijan Jevsovar
Creator
An entity primarily responsible for making the resource
Jevšovar, Marijan
Description
An account of the resource
Marijan Jevšovar (1922 - 1998) was a Croatian artist, born in Zagreb. He graduated from the Academy of Fine Arts of Zagreb in 1946. Between 1954 and 1956 he resided in France, where he approached the informal research, influenced in particular by Dubuffet. Since the late '50s he created paintings on surfaces which were coated in several layers of grey and white color, defined by the artist as a "negation of the form" obtained by "tainting the white surface of the canvas." During the '70s he also introduced the use of color in his works, though without ever distancing himself from this form of "anti-painting”. In parallel with this research, he has also created posters and art books. He has had exhibitions in Opatija (1959), Monaco (1960), Zagreb (1961, 1972, 1976, 1980, 1993), Dijon (1989), Varaždin (1990) and Umag (1993).
Jevšovar was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, the sculptor Ivan Ivan Kožarić, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Creator
An entity primarily responsible for making the resource
Jevšovar, Marijan
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
image/jpeg
image/jpeg
Type
The nature or genre of the resource
Still Image
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre,</a> which was never completed. <br />During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. <br />During his stay, Jevšovar created three different works of art. In two of them, both dated March 5th, he placed a quadrangular figure on the center of a white background, while in his third work, dated March 6th, he proposed a rectangular strip of color on a brown background. The works are therefore linked to the central theme of the artist's research, which is an attack on tradition - not ironically as it was in Dadaism, but rather looking at the surface as a central problem of pictorial structure.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2663/1/Jevšovar_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Marijan Jevsovar
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2663" target="_blank" rel="noopener">http://hdl.handle.net/1889/2663</a>
Ideological reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/65ca9b3a4ded844c5be8fc2d395a05b0.tif
b93fb1a7bba6a87368b77e6ed7855eb5
Dublin Core
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Title
A name given to the resource
notes.tif
Description
An account of the resource
The digital copy of a sheet of paper with drawings and words, hand made by the artist as a first study for the magazine.
Format
The file format, physical medium, or dimensions of the resource
tiff file, 21,565 x 29,667 cm, 200 dpi
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Title
A name given to the resource
Hassan Khan
Description
An account of the resource
Hassan Khan is an artist, musician and writer. He lives and works in Cairo, Egypt.
Creator
An entity primarily responsible for making the resource
Khan, Hassan
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Title
A name given to the resource
Sketches for an unrealised magazine
Description
An account of the resource
This project consists of an A4 paper with handwritten notes in both Arabic and English and sketches in black ink. It is the only existing document of a planned magazine to be produced by Hassan Khan with some friends at the time but was never realized. Still a rough draft, this sketch can be now interpreted in the light of Khan current practice, which includes visual arts, writing and music, mapping themes related to the current geo-political and social situation Contemporary life in Cairo was a fundamental reference next to diverse cultural influences including William Blake, punk, the philosophical mysticism of different traditions, various avant-garde movements of the twentieth century, modernist cinema and experimental music. A magazine could represent a way to subtly take on themes and be part of popular culture at the same time without being explicit. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3242/1/Khan_Sketches%20for%20an%20unrealised%20magazine.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Khan, Hassan
Date
A point or period of time associated with an event in the lifecycle of the resource
1995
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Relation
A related resource
<a href="http://dspace-unipr.cineca.it/handle/1889/3242" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3242</a>
Format
The file format, physical medium, or dimensions of the resource
image/tiff
Language
A language of the resource
English
Type
The nature or genre of the resource
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Hassan Khan
MoRE Museum
project abandoned by the artist
-
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
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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
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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/575536c016fbb8f38a5a7f59e31d8ce1.jpg
178ec5c3a40f5f29519315aed9847a93
Dublin Core
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Title
A name given to the resource
Knifer cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 121,497 x 168, 487 cm, 72 dpi
Dublin Core
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Title
A name given to the resource
Julije Knifer
Description
An account of the resource
Julije Knifer (1924-2004) was a Croatian artist, who was born in Osijek and died in Paris, where he had lived since 1994. A graduate of the Academy of Fine Arts of Zagreb in 1956, by the late '50s he developed his research starting from the geometrical pattern of the "meander", which he reproduced in different formats and with different techniques, eventually introducing a practice of conceptual matrix imprinted on seriality and formal reductionism. His first production, influenced by Russian Suprematism and serial music, was characterized by the repetition of the meander's pattern in black and white paintings; from the late 60s he introduced other colors and adopted large sizes and even murals.
The "meanders" were displayed for the first time in the exhibition "New Tendencies" at the Gallery of Contemporary Art in Zagreb in 1961, and later in “New Tendencies 2” in 1963, “New Tendencies 4” in 1969 and “New Tendencies 5" in 1973. He also participated in major international exhibitions such as the Art Abstrait Constructif International at the Denise René Gallery of Paris (1961-1962), Konstruktivisten at the Städtisches Museum in Leverkusen (1962), the VI International Art Biennale of San Marino “Beyond the Informal” (1963); he participated twice in the Venice Biennale (1976, 2001), and three times in the Sao Paulo Biennale (1973, 1979, 1981). His works are also included in major museum collections such as the MoMA in New York and the Centre Georges Pompidou in Paris.
Knifer was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Creator
An entity primarily responsible for making the resource
Knifer, Julije
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Untitled
Creator
An entity primarily responsible for making the resource
Knifer, Julije
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the <a href="http://www.msu.hr/" target="_blank" rel="noopener">Muzej Suvremene Umjetnosti - MSU Zagreb</a>, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre, </a>which was never completed.<br />During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. <br />At Brunnenburg, Knifer proposed his classic "meander" theme, a geometric structure characterized by the contrasts between black and white, which he introduced at the end of 1959 as a form of "anti-painting". Nena Dimitrijević identified it as a synonym of his "artistic identity" and claimed that he, inspired by Primary Painting and Hard Edge aesthetics, adopted a form of conceptualization of the artistic practice which identifies with a single pictorial solution, a symbol that is the sublimation of radical will. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2662/1/Knifer_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cineca.it/handle/1889/2662" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2662</a>
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Language
A language of the resource
English
Rights Holder
A person or organization owning or managing rights over the resource.
Julije Knifer
MoRE Museum
Ideological reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/cc3de28a80374fa75986ae2367c549fd.pdf
2e3e976560efef3580bf7e3e80df3a71
Dublin Core
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Title
A name given to the resource
01Kensuke-descrizione.docx
Description
An account of the resource
Letter in which the artist describes the project
Format
The file format, physical medium, or dimensions of the resource
File pdf
http://www.moremuseum.org/omeka/files/original/b7617816fbfdaf250fb685b9f9d79227.jpg
0ec9fae1161521ea4146f7303185ab2b
Dublin Core
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Title
A name given to the resource
01container3.jpg
Description
An account of the resource
Photograph of the first prototype of the work
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 28,222 x 35,278 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/d960d18645f416e511a29dd073a5eca7.jpg
219d2e486cc3d26ef504ca6ba70ff6cb
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Format
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file jpeg, 28,222 x 35,278 cm, 72 dpi
Description
An account of the resource
Photograph of the first prototype of the work
Title
A name given to the resource
01container4.jpg
http://www.moremuseum.org/omeka/files/original/804dbbb4aa43ad2528d1afc4d37b9071.jpg
7be259142679cf5a9b22df7de2c87edf
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Format
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file jpeg, 28,222 x 35,278 cm, 72 dpi
Title
A name given to the resource
01container5.jpg
Description
An account of the resource
Photograph of the first prototype of the work
Dublin Core
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Title
A name given to the resource
Kensuke Koike
Description
An account of the resource
Kensuke Koike (born in Nagoya, Japan in 1980 – lives and works between Sempas, Nova Gorica and Venice). His artistic research focuses on the variations of imagination and human perception; he works mainly on collages, from the traditional and technically simple photo collage to a three dimensional collage in motion, realized by collecting a series of <em>image-trouvé</em>. But the appeal of his work often comes from the fact of adding to the image of the readymade the concept, borrowed from alchemy, of “finding value in nothing”.
Creator
An entity primarily responsible for making the resource
Koike, Kensuke
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Title
A name given to the resource
Containers
Description
An account of the resource
<p>A series of frames of big size are overlapped in order to create a new shape, that goes beyond the content of the frames itself. The project was part of a series of works focusing on representation, but the artist abandoned it because he was busy on other works and moreover he saw at Venice Biennale 2013 a similar project, <em>Still the Same Place</em> by Petra Feriancová and Zbyněk Baladrán inside the Czech pavilion.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2900/1/Kensuke%20Koike_Containers.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Koike, Kensuke
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
Romano, Gianni
Format
The file format, physical medium, or dimensions of the resource
application/pdf
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Kensuke Koike
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2900" target="_blank" rel="noopener">http://hdl.handle.net/1889/2900</a>
project abandoned by the artist
-
http://www.moremuseum.org/omeka/files/original/25df0b9f90f0e7887d0b7764658fe172.jpg
e7235f6fa899cf290b1c22ce3bbd55b8
http://www.moremuseum.org/omeka/files/original/0f39fe90098305a93955f3e5f9a43866.jpg
58363cf664addd113f85ad401fddf9e6
http://www.moremuseum.org/omeka/files/original/8dc3a72832c2c198603523068864e32e.jpg
e5c7a946a3b3f3d69f151485e5cf4dd4
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Title
A name given to the resource
Ivan Kozaric
Creator
An entity primarily responsible for making the resource
Kožarić, Ivan
Description
An account of the resource
Ivan Kožarić (1921) (1921) is a Croatian artist who lives and works in Zagreb. His research has been focused mainly on sculpture, but he has also used other means of expression such as assemblage, painting, photography and installation. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, Đuro Seder, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself) and the creation of concepts, projects and various forms of artistic communication.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Physical Dimensions
The actual physical size of the original image
Kozaric 01 cm 30 x 42.jpg (file jpeg, 92,234x131,128cm, 96 dpi)
Kozaric 02 cm 30 x 42.jpg (file jpeg, 92,551x130,651cm, 96 dpi)
Kozaric 03 cm 30 x 42.jpg (file jpeg, 92,551x130,651cm, 96 dpi)
Dublin Core
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Title
A name given to the resource
Untitled
Date
A point or period of time associated with an event in the lifecycle of the resource
1991
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. Kozaric's three works are in line with his research, which investigates – both through painting and sculpturing - the relationship between positive and negative: in one particular work, the artist reuses a cropped shape as a graphic mask in order to achieve what Seder calls "imperfect surfaces", a theme that traces back to the Gorgona period. Kožarić's particular interest in the valley of Merano, which is in relation to his personal memories, emerges both through the video interview taped in Brunnenburg as well the testimonies of the artists who participated in the residency.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2664/1/Ivan%20Kožarić_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Ivan Kožarić
MoRE Museum
Creator
An entity primarily responsible for making the resource
Kožarić, Ivan
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2664" target="_blank" rel="noopener">http://hdl.handle.net/1889/2664</a>
Ideological reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/851bf3ab50b693f8ff1b64a26f7ac788.jpg
c25dea86be74b43d92c74cef8b36e359
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Title
A name given to the resource
Till Krause
Description
An account of the resource
<p>Till Krause lives in Hamburg. Together with the artist project space GFLK Galerie für Landschaftskunst and in many other cooperations he works on artistic ideas of urban and landscape spaces. Long-term projects such as <i>Free River Zone</i>, <i>Land for Five Final Acts</i>, <i>Hamburg Mapping Project</i>, <i>illegalevecht</i>. <a href="http://www.gflk.de/">www.gflk.de</a></p>
Creator
An entity primarily responsible for making the resource
Krause, Till
Dublin Core
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Title
A name given to the resource
The Square Opposite the Townhouse
Description
An account of the resource
<p>City centre of Hamburg, Germany. Until the early 1990's there were still "empty places", brownfields, remains of World War II. One of these wastelands I loved very much. A square in the middle of the business centre. It was raw and unkempt, hardly used. Significantly, it had (unlike today) no name. It was so beautiful, because it was a rare place of the unresolved and unclear in the chic, rich inner city. On it the hidden traces of its past paired with the still unthinking possibilities of a future. I began to observe and document it closely. I went into archives and searched for everything that had ever been on this square in past years and centuries. Around 1990, new buildings began to be erected in the immediate vicinity and on the larger part of the square. Office, commercial and hotel buildings. Thus the inner city centre lost its last (aesthetically) open, disorganized area. I made two suggestions for the remaining part of the square. A) The remaining wasteland was to be surrounded by an extremely high fence. I should have the only key to the piece of land. B) A panorama building was to be erected on the square for my extensive archive on the fallow land and on "everything that had ever been there".<br /><a href="https://www.repository.unipr.it/bitstream/1889/3717/1/Till%20Krause_The%20Square%20Opposite%20the%20Townhouse.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Krause, Till
Date
A point or period of time associated with an event in the lifecycle of the resource
1987-1995
Contributor
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Krause, Till
Format
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image/jpeg
Language
A language of the resource
Deutsch
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Till Krause
MoRE museum
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
G. Küng
Description
An account of the resource
<p>G. Küng (born 1982, New York) lives and works in Brussels since her 2013 residency at Wiels Contemporary Art Centre. She earned a BFA from The Cooper Union for the Advancement of Science and Art in New York in 2004 and an MFA from The Glasgow School of Art in 2012. Recent exhibitions include <em>Luigi Ghirri/G.Küng: Looking in</em> and a solo exhibition, <em>Inexhaustible Gifts of Celebratory Fruits</em>, both at Galerie Antoine Levi, Paris where she is represented. She was one of ten participants in the national competition of The Young Belgian Art Prize in 2015.</p>
Creator
An entity primarily responsible for making the resource
Küng, Georgia
Dublin Core
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Title
A name given to the resource
as yet untitled (Stairs)
Description
An account of the resource
<p>The idea was to reflect on the art fair context which is a recurring impulse in the artist's work. Context is not neutral, and can sometimes be oppressive as in the case of an art fair.<br />The proposal for Frieze London made reference to ambition and the competitive, attention grabbing motivation behind many projects for these art fairs. It would point to the competition for limited places and the curators’ power. The artist, caring very little about making a name for herself, uses the abbreviated 'G. Küng', which is meant to encapsulate a stance of resistance.<br />The project would consist of really oversized photographic prints on the theme of "stairs.” She would photograph models in board or plaster, variations on the stair form. They would be difficult stairs, treacherous ones or impossible to climb stairs: their shape would mean that if you tried to climb them, they would topple over, or a step would have a broken part, or they would get taller and taller as you climbed. Enlarging the photos hugely, the images would be too tall for the pseudo-walls of the art fair, and the prints would stick out above the walls.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2998/1/G.Kung_as%20yet%20untitled%20%28Stairs%29.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Küng, Georgia
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Contributor
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Scipioni, Elena Lydia
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
English
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
G. Küng
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/2998" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2998</a>
Project which wasn’t selected in a prize or competition
-
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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
Andrea Kvas
Description
An account of the resource
Andrea Kvas was born in 1986 in Trieste, he currently lives and works in Italy. His personal exhibitions include: the 2015 Staring Contest, Ermes-Ermes in Vienna, the double solo show Andrea Kvas and Nicola Martini at the Kaufmann Repetto gallery in Milan and in 2013 Campo the exhibition at the Museo Marino Marini in Florence. He has also participated in numerous collective exhibitions in various areas in Italy and abroad, such as the galleries Bugada & Cargnel in Paris, Francesca Minini in Milan, Chert in Berlin, CAR DRDE in Bologna and ZERO ... in Milan. He has presented his work in institutional spaces such as the Fondazione Bevilacqua la Masa in Venice, the Municipal Gallery of Contemporary Art in Monfalcone and the Macro in Rome, and in independent spaces such as Brown Project Space and Peep-Hole in Milan, and Cripta 747 in Turin.
Creator
An entity primarily responsible for making the resource
Kvas, Andrea
Dublin Core
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Title
A name given to the resource
Taccuino 2015
Description
An account of the resource
Andrea Kvas donated to MoRE some unrealized works from his notebook. The design material in these sheets is very varied and includes sketches of shapes, the conception, and development of a new alphabetical code and some self-supporting pictorial structures. Although the projects are heterogeneous, the critical point of this material would seem to be the alphabetical code studied by the artist, this created by him to answer a question concerning abstract art. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3474/1/Andrea%20Kvas_Taccuino%202015.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Kvas, Andrea
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
Rossi, Valentina
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
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Andrea Kvas
MoRE Museum
-
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
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
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
A name given to the resource
15_casa-scultore.jpg
Format
The file format, physical medium, or dimensions of the resource
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
The file format, physical medium, or dimensions of the resource
photo of the model
http://www.moremuseum.org/omeka/files/original/d48c8d3d482a53ccb0a0c615b6e06943.jpg
b6f66182f378f756a24232006ac8ad2f
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
13_casa-scultore.jpg
Format
The file format, physical medium, or dimensions of the resource
charcoal drawing, signed and dated on the lower right corner 1961
http://www.moremuseum.org/omeka/files/original/4da716865bdca22c5df237c2ca3e4e62.jpg
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Format
The file format, physical medium, or dimensions of the resource
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
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
1960-1962
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/1889/1770" target="_blank" rel="noopener">http://hdl.handle.net/1889/1770</a>
Theoretical exercise
-
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http://www.moremuseum.org/omeka/files/original/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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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/b3ea04ee21b6b7ec5df21c4198ece750.jpg
91812c601bd19b0e6b7049bec4aae11f
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
map.jpg
Description
An account of the resource
A photography of a map of the world, tattooed on a bottom.
Format
The file format, physical medium, or dimensions of the resource
jpg file, 21,565 x 29,667 cm, 200 dpi
http://www.moremuseum.org/omeka/files/original/00e2fb01c356b3af4ba824d48f82672c.pdf
2d4d1d4d58334a18be71d87b7ba70f1d
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
Dear Tattooist.docx
Description
An account of the resource
Letter used by the artist to present the project and invite the tatooists to contribute.
Format
The file format, physical medium, or dimensions of the resource
MS Word file/ PDF
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Runo Lagomarsino
Description
An account of the resource
<p>Runo Lagomarsino (b. 1977, Sweden) lives and works in Malmö and São Paulo. He participated in the Whitney Museum of American Art Independent Study Program in 2007-2008 and received his MFA at the Malmö Art Academy in 2003. The artist tries to construct frictions between language, representation, and dominant narratives by investigating fractures and blind paths from where to tell other stories, unlearn, read the past, and name the future. Lagomarsino has participated in numerous solo and group exhibitions across the world, including <em>West is everywhere you look</em>, Francesca Minini, Milano (2016); <em>Carla Zaccagnini & Runo Lagomarsino</em>, Malmö Konsthall (2015); <em>Against My Ruins</em>, Nils Stærk, Copenhagen (2014); <em>We have everything, but that’s all we have</em>, Mendes Wood DM, São Paulo (2013), and <em>For Each Light a Shadow</em>, Ignacio Liprandi, Buenos Aires (2013);<em> the World’s Futures</em>, the 56<sup>th</sup> Venice Biennale (2015); <em>Really useful knowledge</em>, Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); <em>Under the Same Sun</em>, Guggenheim Museum, New York (2014); <em>The 30<sup>th</sup></em> <em>São Paulo Biennial – The Imminence of Poetics</em> (2013); <em>Untitled – 12<sup>th</sup> Istanbul Biennial</em> (2011)<em> and The Moderna Exhibition</em>, Moderna Museet, Stockholm (2010).</p>
Creator
An entity primarily responsible for making the resource
Lagomarsino, Runo
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
Dear Tattooist
Description
An account of the resource
<p>This project moves from the interest of the artist in the map - a recurring theme inside his research - and wants to explore this form of historical representation with tattoos, a declared fascination of Runo Lagomarsino: in fact his idea was to invite several tattooists from all around the world to draw a world map, and in particular “a personal interpretation of the world map”, without any limit or rule.</p>
<p>This work, that has never been realized, could be seen as part of a series of practices through which the artist “examines how we come to know and speak about the conflicting geographies and temporalities of power”<a title="" name="_ftnref1" href="#_ftn1"></a>, investigating the map as way to measure, represent and control a territory, that contains in itself several contradictory truths and is strictly connected with an ideology, a vision or a point of view. In particular the use of metaphors and representations to study political and social environments<a title="" name="_ftnref2" href="#_ftn2"></a> here is declined through the potential multiple authorship of the tattooists that could have drawn the maps, and through the introduction of a technique usually connected with the idea of traveling and with the concept of identity. The tattoo, here a personal interpretation of something usually considered fixed, could have been another mean aimed at “the investigation of the historiographic, geographic and mathematical models that helped to ensure the colonialist domination of the world by Western modernity”.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3241/1/Lagomarsino_Dear%20Tattooist.pdf" target="_blank" rel="noopener">Read more.</a><br /><a title="" name="_ftnref3" href="#_ftn3"></a></p>
Creator
An entity primarily responsible for making the resource
Lagomarsino, Runo
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Format
The file format, physical medium, or dimensions of the resource
application/msword
image/jpeg
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://dspace-unipr.cineca.it/handle/1889/3241" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3241http</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Runo Lagomarsino
MoRE Museum
project abandoned by the artist
-
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.
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Dublin Core
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Title
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file.pdf
Format
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File pdf
Description
An account of the resource
Online article published on EXIBART.com covering H.H. Lim's car accident.
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Title
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H.H. Lim
Creator
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
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Title
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Omaggio a Wojtyla
Creator
An entity primarily responsible for making the resource
Lim, H.H.
Date
A point or period of time associated with an event in the lifecycle of the resource
2005
Contributor
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Scotti, Marco
Format
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image/jpeg
application/pdf
Language
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Italian
Type
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Still Image
Text
Description
An account of the resource
<p>This project was born in the aftermath of HH Lim's car accident which occurred on the highway on March 26th in 2005, while he was on his way from Rome to Naples for the opening of the inaugural exhibition of the PAN - Palazzo delle Arti di Napoli, <em>The Giving Person. Il dono dell'artista</em>, curated by Lóránd Hegyi, invited by the artist Yan Pei Ming who had visited Lim's exhibition at Fondazione Volume! in Rome a few days earlier. Despite the severity of the accident, Lim was unharmed and decided to proceed his journey abandoning the destroyed car on the side of the highway. The project was inspired by a series of events that occurred before the departure and during the trip, as well as a work of art by his friend Yan Pei Ming on display in the exhibition - a large red figure of a Buddha, similar to the one Lim has always been wearing on his neck - and ultimately the death of the pope a few days later. The project was never actually developed as it remained a mere thought, an idea the artist had. Lim imagined a large public exhibition to thank the Pope: the work would have consisted of a series of montages made using Photoshop, showing some drawings of Lim – linked to the series of <em>Words</em> - superimposed on the front pages of the newspapers and posted during the funeral of Wojtyla, which took place on April 8th 2005 in the St. Peter's Square. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2898/1/HH%20Lim_Omaggio%20a%20Wojtyla.pdf" target="_blank" rel="noopener">Read more</a>.</p>
<p> </p>
Rights Holder
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H.H. Lim
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2898" target="_blank" rel="noopener">http://hdl.handle.net/1889/2898</a>
Logistical reasons
Theoretical exercise
-
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Title
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fasilunari.jpg
Description
An account of the resource
Images of the various phases of the moon from full moon to waning moon to crescent moon.
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file jpg, 4,86x28,01 cm, 300 dpi
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Title
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Luna BN.jpg.
Description
An account of the resource
Image of the lunar surface visible.
Format
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file jpg, 18x18 cm, 150 dpi
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Title
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Prima.jpg.
Description
An account of the resource
Face of a boy with image of the moon.
Format
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file jpg, 53,56x48,58, 150 dpi
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Title
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Seconda.jpg
Description
An account of the resource
Face of a girl with image of the moon.
Format
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file jpg 53,34x48,26 cm, 300 dpi
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Title
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Quarta.jpg
Description
An account of the resource
Face of a girl with image of the moon.
Format
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file jpg 53,34x48,26 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/a411ec4ba01b97ba5f40328c86eee324.pdf
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Title
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6_Testi.pdf
Description
An account of the resource
Texts relating to the four-page catalog published on the Spa-SALUS PER ART, exhibition catalog edited by Roberto Daolio, Galleria d'Arte Moderna, Bologna, Italy, 16 June to 5 September 2004 Book no. 36, Bologna, Danilo Montanari Publisher 2004.
Format
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file pdf
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Title
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Claudia Losi
Creator
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Losi, Claudia
Description
An account of the resource
Claudia Losi (Piacenza, 1971). Her interest focuses on the relationship between man and the environment that surrounds him, on the relation between the individual and the community to which he belongs, the collective imagination in which he is identified. She has a strong interest in natural sciences and literature and is often involved in multidisciplinary projects and collaborations. Among the recent solo and group exhibitions: Biology of Proximity, Monica de Cardenas Gallery, Zuoz, Switzerland; Women for Life. Regina José Galindo - Claudia Losi , The Maréchalerie - center d'art contemporain de l' ENSA V, Versailles, 2013; "More from things", Musei Civici, Modena, 2012; "Les Funérailles de la Baleine " _Balena Project, at Viafarini - Docva, Milan; Cinema Massimo, Turin; Cesac CESAC _Il Filatoio di Caraglio Museum, Caraglio, Cuneo, 2011; Monica de Cardenas, Milan and Les Funerailles de la Baleine, Biella, 2010; Here and nowhere else. Here, a local communities project, ArtePollino, Basilicata, 2009; Museo Marino Marini, Florence, Stenersen Museum, Oslo, Ikon Gallery, Birmingham, 2008; Space, MAXXI, Rome, GSK -Aware, Royal Academy, London, SI Sindrome Italiana, MAGASIN, Grenoble; AiuolaTransatlantico, Mirafiori North, Turin, New Principals program, sponsored by the Fondation de France, 2008. In 2007 participates in the Sharjah Biennial 8, United Arab Emirates.
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Title
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Caleidoscopi; Allora la luna
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. For the Hospital department Losi imagined two projects: <em>Caleidoscopi (Kaleidoscopes)</em>, colored prisms to play with, enclosed in balsa wood cases, and <em>Allora la luna (Then the moon)</em>, a sort of luminous sign with a diameter of about two meters designed for outdoor installation, to be placed on one of the buildings in front of the windows of department: both projects were meant to stimulate the imagination of young patients and to allow them to forget their condition for a moment. The project was not realized as a result of a number of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2444/1/Losi_Caleidoscopi%20e%20Allora%20la%20luna..pdf" target="_blank" rel="noopener">Read more.</a>
Creator
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Losi, Claudia
Date
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2004
Contributor
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Modena, Elisabetta
Format
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image/jpeg
application/pdf
Language
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Italian
Type
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Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Claudia Losi
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2444" target="_blank" rel="noopener">http://hdl.handle.net/1889/2444</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
Dublin Core
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Title
A name given to the resource
Daniel Maier-Reimer
Description
An account of the resource
<p>Journeys: Apennin 2017, Castelnuovo d'Elsa - Florenz 2017, Christchurch - Bluff 2016,Auckland - Christchurch 2015, Journey to Tbilisi 2014, Apuan Alps 2013, Vom Tyrrhenischen Meer zur Adria 2013, Arno 2013, Florence city boundary line 2012, Great Wall, China 2011, Schwäbische Alb 2011, Bialowieza, Poland 2011, Pamir 2010, Iran 2009, Iran 2008, Dessau 2007. Caucasus 2007, Tajikistan 2006, Yarlung Tsangpo 2006, Caucasus 2005, Yarlung Tsangpo 2004, Hamburg state boundary 2003, Moldova / Ukraine 2003, Japan 2002, Great Wall of China 2001, Russia 2001, Amur 2000, Great Wall of China 2000, Yellow River 1998, Yarlung Tsangpo 1997, Yangtze River 1996, Iceland 1995, Poland 1995, Mackenzie River 1994, Vorderrhein 1993, Colorado River 1993, Bay of Biscay 1992, Irish Sea 1992, Scandinavia – autumn 1991, Scandinavia – spring 1991, Scandinavia – winter 1991, Germany 1990, Lapland 1990.</p>
Creator
An entity primarily responsible for making the resource
Maier-Reimer, Daniel
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Title
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Journey from the Yellow Sea to the Sea of Japan
Description
An account of the resource
<p>Daniel Maier-Reimer's art is travel. Most journeys are summarized in a single photo, some in a small group of pictures. There is no picture of some journeys. Since 2013, Daniel Maier-Reimer leaves it to others to determine how his travels appear in exhibitions and publications.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3719/1/Daniel%20Maier-Reimer_Journey%20from%20the%20Yellow%20Sea%20to%20the%20Sea%20of%20Japan.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
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Maier-Reimer, Daniel
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Contributor
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Krause, Till
Rights Holder
A person or organization owning or managing rights over the resource.
Daniel Maier-Reimer
MoRE museum
-
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Title
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David Maljković
Description
An account of the resource
<p>David Maljković is a Croatian artist known for his use of film, sculpture, collage, and installation. His work often explored themes related to time and the relationship between past and present through abstract structures and digital effects. He is most commonly associated with his video installation Out of Projection, which he describes various types of fissures, not only historical and generational, but narrative too. Therefore, he employs two projections to show two different cinema genres: science fiction and documentary. Through this he is able to generate both more interest in the viewer, and palpable frustration at not reaching an understanding of the historical message the leading characters are trying to portray. Born in 1973 in Rijeka, Croatia, he studied philosophy at the University of Rijeka and fine art at the University of Zagreb, before attending the Rijksakademie in Amsterdam. Since then, he has presented his work at number of exhibitions at major institutions around that world, including the Palais de Tokyo in Paris and the Museo Reina Sofía in Madrid. Today, his works are held in the collections of the Centre Georges Pompidou in Paris, the Stedelijk Museum in Amsterdam, The Museum of Modern Art in New York, and the Tate Gallery in London. Noticed to international attention as one of the most interesting contemporary artists, he is the protagonist of the 56th Venice Biennale, "All the World's Futures", directed by Okwui Enwezor. Maljković lives and works in Zagreb, Croatia.</p>
Creator
An entity primarily responsible for making the resource
Maljković, David
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
Lost Pavillion
Description
An account of the resource
<p>David Maljković's unrealized work was a reconstruction of the American Pavilion designed and built by John Johansen for the 1956 Zagreb Fair. The pavilion was meant to represent American presence at the fair, which had for many years, symbolized a bridge of exchange between Yugoslavia, Europe, the USA, USSR, Eastern and Western Bloc and non-alligned countries.<br />David Maljković decontextualized the pavilion and proposed rebuilding it as part of a public art project in the city of Lyon, <i>GrandLyon Habitat</i>. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3689/4/David%20Maljković_Lost%20Pavillion.%20def.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
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Maljković, David
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
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Rossi, Valentina
Format
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image/jpeg
application/msword
Language
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French
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
David Maljković
MoRE museum
Unknown
-
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Title
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Mangelos 01 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
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The file format, physical medium, or dimensions of the resource
file jpg, 123, 402 x 173,567 cm, 72 dpi
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Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Title
A name given to the resource
Mangelos 02 cm 30 x 42.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,845x 42,192 cm, 72 dpi
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Mangelos 03 cm 30 x 42.jpg
Description
An account of the resource
Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29,986 x 173,567 cm, 72 dpi
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Title
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Mangelos
Description
An account of the resource
Mangelos, pseudonym of Dimitrije Bašičević (1921 - 1987), was a Croatian artist, curator and art historian. Born in Šid, Serbia, he studied history and philosophy at the University of Vienna (between 1942 and 1944) and later in Zagreb (between 1945 and 1949) and earned a doctorate from the University of Philosophy in Zagreb (1957), focusing his thesis on the work of the artist Sava Šumanović. In 1952 he founded the Peasant Art Gallery, currently Croatian Museum of Naive Art, while simultaneously serving as assistant and curator at the Yugoslav Academy of Arts and Sciences. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966.
Parallel to his activities as a critic and curator, he proposed researches - defined by the artist himself as a "No-Art" - focused on the contrast between writing and painting, developing a series of posters dedicated to topics such as "functional thinking", "energy", "instinct" and “memory". In the essay dedicated to this specific artistic production, Stipančić says: “Many of them, regardless of the scope of the subject, included his notion of there being two civilization - a “handmade civilization” and a “mechanical” one. The latter, he believed, is based on “functional thought” and is, therefore, in opposition to the old “handmade civilization. In order to express his theses on the “death of art”, Mangelos engaged in a dialogue with numerous philosophers and theoreticians, from Hegel to W. Benjamin”.
Mangelos was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Marijan Jevšovar, Julije Knifer, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović and architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication.
Creator
An entity primarily responsible for making the resource
Mangelos
Dublin Core
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Title
A name given to the resource
Untitled
Creator
An entity primarily responsible for making the resource
Mangelos
Date
A point or period of time associated with an event in the lifecycle of the resource
[1991]
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Zinelli, Anna
Description
An account of the resource
In March 1991 the collector and publisher Francesco Conz, in collaboration with the <a href="http://www.msu.hr/" target="_blank" rel="noopener">Muzej Suvremene Umjetnosti - MSU Zagreb</a>, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre, </a>which was never completed.<br />During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. <br />Conz decided to include the works of Mangelos, who died in 1987, asking the remaining members of the group to place their signature on the back as sort of an homage. The three works signed by the members of Gorgona and presented for the exhibition are respectively attributed to the manifesto for energy, the series of landscapes dedicated to Pythagoras and the series dedicated to the dialogues.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2661/1/Mangelos_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Format
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image/jpeg
image/jpeg
image/jpeg
Type
The nature or genre of the resource
Still Image
Language
A language of the resource
English
Rights Holder
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Mangelos
MoRE Museum
Identifier
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<a href="http://dspace-unipr.cineca.it/handle/1889/2661" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2661</a>
Ideological reasons
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/0baaa6bde318fe9f6515a7e3a252b5ad.jpg
1a85bc1102bad1173998e27dd556c0e6
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Title
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Progetto x Gibellina.jpg
Format
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file jpeg, 20,003 x 18,256 cm, 240 dpi
Subject
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Photo of the model of the sculpture
http://www.moremuseum.org/omeka/files/original/6498d9f793a56d7a301f3c5ebef7ae43.jpg
6e61b01323edccd6b9920370e5d37ff9
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Title
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Progetto x Gibellina 001.jpg
Format
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file jpeg, 6,363 x 10,173 cm, 200 dpi
Description
An account of the resource
Photo showing Elio Marchegiani and Carola Pandolfo during the presentation of the model to the mayor of Gibellina, Ludovico Corrao.
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Title
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Elio Marchegiani
Description
An account of the resource
Elio Marchegiani was born in Syracuse in 1929 to Sicilian parents. In 1934 his family settled in Livorno, where he spent his childhood and youth. He began painting as an autodidact. Following the family tradition, he received a classical eduction and enrolled at the Law Faculty of the University of Pisa. However, Mario Nigro's acquaintance made him change his path. He began to organize exhibitions and cultural events, but it's his friendship with Gianni Bertini that convinced him to leave the province behind and pursue artistic adventures in cities such as Paris, Milan, Rome and Bologna. The island of Favignana is where he preferred to spend the summers. For several years now he has been living in Pianoro Vecchio, a residential area on the hills, on Via Toscana, alternating the summers in Misano Adriatico and the island of Ischia. <a href="http://www.eliomarchegiani.com" target="_blank">http://www.eliomarchegiani.com</a><br /><br />
Creator
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Marchegiani, Elio
Dublin Core
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Title
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Monolite in bilico
Creator
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Marchegiani, Elio
Date
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1979
Contributor
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Scotti, Marco
Relation
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Dspace:
Format
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image/jpeg
Type
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Still Image
Description
An account of the resource
<p><em>Monolite in bilico </em>consists of a block of slate or lava stone resting on its edge on top of an egg made of travertine from Trapani, and placed on a pedestal of white cement destined for an open space in the city of Gibellina. The exact placement and measurements were yet to be determined. The artist donated his project to MoRE and – given the occasion - recounted the complex history of his work: "After visiting the new town of Gibellina way back in December of 1979, invited by the mayor Ludovico Corrao, I thought of erecting a large monolith made of slate or better yet of volcanic lava, balanced on top of a travertine egg, which was then to be placed in one of the city squares as a symbol of rebirth and a representation of the force of nature. The egg is an archetype of mysterious and symbolic significance, the Sun in the yolk and the Moon in the glare, gold and silver, a reassembled dualism. From this union life is born and perpetuated. The egg prevails over the force of nature by holding up the monolith. That's why it is in the balance. Enthusiastic about the idea, the mayor immediately ordered works to be carried out on the egg. I even had the chance to see it finished, but I never got an answer about the monolith itself, which therefore remained unexecuted. Each time I inquired about the project, I've been given excuses and evasive answers. Thus I ceased to insist because I realized that something or someone was hindering the project. They even went so far as to deny that the egg had ever been made."<br /><a href="https://www.repository.unipr.it/bitstream/1889/2901/1/Elio%20Marchegiani_Monolite%20in%20bilico.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Rights Holder
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Elio Marchegiani
MoRE Museum
Identifier
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<a href="%20http://hdl.handle.net/1889/2901" target="_blank" rel="noopener">http://hdl.handle.net/1889/2901</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/7ff390665a5d0d510bb2e1b279b6de0f.jpg
ed49ff08e56af586b6cc9845658c555e
Dublin Core
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Title
A name given to the resource
2002_Progetto Rotonda Torino.jpg
Description
An account of the resource
Render of the project.
Format
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ile jpeg, 70,56×52,92 cm 72 dpi
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Title
A name given to the resource
Eva Marisaldi
Description
An account of the resource
Eva Marisaldi was born in 1966. She lives and works in Bologna. She graduated from the Academy of Fine Arts in Bologna. Her research is articulated, frequently through an open and participatory process, through different languages and media, such as drawings, videos, installations, performances, photography and sculpture, to approachdifferent and multiple perspectives on usual things and everyday life. Amongst her most recent solo show we can recall Gestein-gestalt, MIMA, Newcastle (2012), Democratic Psychedelia, Galleria Minini, Brescia (2011), Tjoloholm Castle, Goteborg (2009), Ghost track #2, S.A.L.E.S., Roma (2008), Jumps, MAMbo, Bologna (2007), Services, Galleria Massimo De Carlo, Milano (2007), Parties 3, Art positions, Art Basel Miami, Miami, USA (2006). Her works have been included in many important exhibitions, such as the 1993 and 2001 Venice Biennale; Soggetto Soggetto, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (1994), L’hiver de l’amour, ARC Musèe d’Arte Moderne de la Ville de Paris and PS1, New York (1994), Manifesta, Witte de With, Rotterdam (1996), Exchanging interiors, Museum van Loon, Amsterdam (1996), Fatto in Italia, Centre d’Art Contemporain, Geneva and ICA London (1997), The 504 show, Braunschweig Kunsthalle, Zentrum fur Kunst, Brauschweig (1997), Che cosa sono le nuvole, Fondazione Sandretto Re Rebaudengo, Guarene-Torino (1997), Officina Italia, Galleria Comunale d’Arte Moderna, Bologna (1997), La ville, le jardin, la memoire, Villa Medici, Rome (1998), Istanbul Biennial (1999), Alessandria Biennial, Egypt (1999), Gwangju Biennial, South Korea, (2004), Invisible Exports, New York (2007), Voyage Sentimentale, FRAC Languedoc Roussillon, (2009), Il confine evanescente, MAXXI, Roma (2011), No Soul for Sale, Tate Modern, London (2011), Think Twice, Whitechapel, London (2012), The Wordly House, Documenta, Kassel (2012).
Creator
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Marisaldi, Eva
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Title
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18.20 (Progetto per il Piazzale Caio Mario)
Description
An account of the resource
The project, originally conceived for the public contest «Premio Artegiovane/Torino Incontra. Una porta per Torino», proposed to realize a kind of silent room in the middle of the traffic congestion, with walls made of streams of air that rise toward the high and create a total sound proofing. To delimit the area Marisaldi plans to position a balaustre that works as a boundary. The idea, as the artists explains, is to create a kind of shelter in the middle of the traffic that can become a place for a date or be reached by tram. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2421/1/Marisaldi_piazzale%20caio%20mario.pdf" target="_blank" rel="noopener">Read more</a>.
Date
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2002
Contributor
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Modena, Elisabetta
Format
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image/jpeg
Language
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English
Type
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Still Image
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
Rights Holder
A person or organization owning or managing rights over the resource.
Eva Marisaldi
MoRE Museum
Identifier
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<a href="http://hdl.handle.net/1889/2421" target="_blank" rel="noopener">http://hdl.handle.net/1889/2421</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/11b9f201de71ead996549d3494b52f1d.jpg
44585ff391a1901ab81c8dc99b63c555
Dublin Core
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Title
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007_ progetto museion.jpg
Description
An account of the resource
Photomontage of the project in its context
Format
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file jpeg, 33,87×52,92 cm 120 dpi
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Title
A name given to the resource
Eva Marisaldi
Description
An account of the resource
Eva Marisaldi was born in 1966. She lives and works in Bologna. She graduated from the Academy of Fine Arts in Bologna. Her research is articulated, frequently through an open and participatory process, through different languages and media, such as drawings, videos, installations, performances, photography and sculpture, to approachdifferent and multiple perspectives on usual things and everyday life. Amongst her most recent solo show we can recall Gestein-gestalt, MIMA, Newcastle (2012), Democratic Psychedelia, Galleria Minini, Brescia (2011), Tjoloholm Castle, Goteborg (2009), Ghost track #2, S.A.L.E.S., Roma (2008), Jumps, MAMbo, Bologna (2007), Services, Galleria Massimo De Carlo, Milano (2007), Parties 3, Art positions, Art Basel Miami, Miami, USA (2006). Her works have been included in many important exhibitions, such as the 1993 and 2001 Venice Biennale; Soggetto Soggetto, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (1994), L’hiver de l’amour, ARC Musèe d’Arte Moderne de la Ville de Paris and PS1, New York (1994), Manifesta, Witte de With, Rotterdam (1996), Exchanging interiors, Museum van Loon, Amsterdam (1996), Fatto in Italia, Centre d’Art Contemporain, Geneva and ICA London (1997), The 504 show, Braunschweig Kunsthalle, Zentrum fur Kunst, Brauschweig (1997), Che cosa sono le nuvole, Fondazione Sandretto Re Rebaudengo, Guarene-Torino (1997), Officina Italia, Galleria Comunale d’Arte Moderna, Bologna (1997), La ville, le jardin, la memoire, Villa Medici, Rome (1998), Istanbul Biennial (1999), Alessandria Biennial, Egypt (1999), Gwangju Biennial, South Korea, (2004), Invisible Exports, New York (2007), Voyage Sentimentale, FRAC Languedoc Roussillon, (2009), Il confine evanescente, MAXXI, Roma (2011), No Soul for Sale, Tate Modern, London (2011), Think Twice, Whitechapel, London (2012), The Wordly House, Documenta, Kassel (2012).
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
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Title
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Promise. Progetto per la recinzione del cantiere del Museion di Bolzano
Description
An account of the resource
The project was proposed for the enclosure of the construction site of the museum contemporary art in Bolzano in 2008, on the occasion of the inauguration of its new location realised by the Berlin studio KSV Krüger Schuberth Vandreike in the city centre. The artist was invited to take part to an initiative called Arte in cantiere together with some other artists; the chosen project in the end was the work A Change Of Mind by the Scandinavian artist duo Elmgreen & Dragset. The Promise project is an allusion, explicit in its title, to a promise, an expectation introduced by a series of small resin sculptures (20 cm high) hold in 12 plexiglass display cases placed on the perimeter of the museum’s fence, every 2,20 meters. Inside the cases (round-shaped, 25 x 30 x 20 cm) an hostess show the twelve movements of the “pre flight briefing”, performed by the flight assistants before each take off. Two cases present an the back tent open with a view on the museum construction site. The idea was to realise the small sculptures with a software for 3D-modelling through a process of rapid prototyping (a technique already used by the artist in some other projects). The cases were supposed to be illuminated from below with neon lights, as in a light box, to make the artist’s work visible at night. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2422/1/Marisaldi_promise.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
Date
A point or period of time associated with an event in the lifecycle of the resource
2007
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
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Still Image
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2422" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2422</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Eva Marisaldi
MoRE Museum
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/84559e459b0ab70fc87e9813e0a1a9a5.jpg
a7af8d0f7da11ee4e5b4ac42e3644061
Dublin Core
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Title
A name given to the resource
2005_progetto pav.jpg
Description
An account of the resource
The artist realises a sketch of the facade outlined on a white-painted wall. On the facade are two entrance doors with their tents and lamps placed on each side, while on the top of it can be seen a decoration with three figures that ironically represent three reindeers as they usually appear on Christmas illuminations and decorations and that frame the sign “Cinema Italia”.
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 25,3×19,78 cm 300 dpi
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Title
A name given to the resource
Eva Marisaldi
Description
An account of the resource
Eva Marisaldi was born in 1966. She lives and works in Bologna. She graduated from the Academy of Fine Arts in Bologna. Her research is articulated, frequently through an open and participatory process, through different languages and media, such as drawings, videos, installations, performances, photography and sculpture, to approachdifferent and multiple perspectives on usual things and everyday life. Amongst her most recent solo show we can recall Gestein-gestalt, MIMA, Newcastle (2012), Democratic Psychedelia, Galleria Minini, Brescia (2011), Tjoloholm Castle, Goteborg (2009), Ghost track #2, S.A.L.E.S., Roma (2008), Jumps, MAMbo, Bologna (2007), Services, Galleria Massimo De Carlo, Milano (2007), Parties 3, Art positions, Art Basel Miami, Miami, USA (2006). Her works have been included in many important exhibitions, such as the 1993 and 2001 Venice Biennale; Soggetto Soggetto, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (1994), L’hiver de l’amour, ARC Musèe d’Arte Moderne de la Ville de Paris and PS1, New York (1994), Manifesta, Witte de With, Rotterdam (1996), Exchanging interiors, Museum van Loon, Amsterdam (1996), Fatto in Italia, Centre d’Art Contemporain, Geneva and ICA London (1997), The 504 show, Braunschweig Kunsthalle, Zentrum fur Kunst, Brauschweig (1997), Che cosa sono le nuvole, Fondazione Sandretto Re Rebaudengo, Guarene-Torino (1997), Officina Italia, Galleria Comunale d’Arte Moderna, Bologna (1997), La ville, le jardin, la memoire, Villa Medici, Rome (1998), Istanbul Biennial (1999), Alessandria Biennial, Egypt (1999), Gwangju Biennial, South Korea, (2004), Invisible Exports, New York (2007), Voyage Sentimentale, FRAC Languedoc Roussillon, (2009), Il confine evanescente, MAXXI, Roma (2011), No Soul for Sale, Tate Modern, London (2011), Think Twice, Whitechapel, London (2012), The Wordly House, Documenta, Kassel (2012).
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
Dublin Core
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Title
A name given to the resource
Cinema Italia
Description
An account of the resource
This unrealised project has to be considered in relation with <a href="http://moremuseum.org/omeka/items/show/id/29" target="_blank" rel="noopener">Ritz</a>, a project for the realization of an outdoor movie theatre inside a park in Trento proposed the year before (2004), and it consist in the proposal to place of a permanent movie theatre at the P.A.V. (Parco d’Arte Vivente) of Torino, project of the artist Piero Gilardi realized in collaboration with the landscape architect Gianluca Cosmacini. <br />The project, unrealized due lack of sponsorship, consisted in the facade of a movie theatre in deco style outlined in black on a white background, that recalls a movie theatre seen by the artist in the small city of Anzola Emilia (Bo), on a 4 x 3 meters wing made of painted bricks (as “a big A4 paper sheet”), as can be seen in the sketch that documents this work. On the facade are two entrance doors with their tents and lamps placed on each side, while on the top of it can be seen a decoration with three figures that ironically represent three reindeers as they usually appear on Christmas illuminations and decorations and that frame the sign “Cinema Italia”. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2418/1/Marisaldi_cinema%20italia.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
Date
A point or period of time associated with an event in the lifecycle of the resource
2005
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2418" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2418</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Eva Marisaldi
MoRE Museum
Financial reasons
-
http://www.moremuseum.org/omeka/files/original/66a1ab2aff35e1e117dd9a9529bb4534.jpg
8e18e7c7db6026b244a3c9c278eb50b7
Dublin Core
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Title
A name given to the resource
2004_progetto Parco Trento.jpg
Description
An account of the resource
drawing
Format
The file format, physical medium, or dimensions of the resource
file jpeg, 25,81×20,8 cm 300 dpi
Dublin Core
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Title
A name given to the resource
Eva Marisaldi
Description
An account of the resource
Eva Marisaldi was born in 1966. She lives and works in Bologna. She graduated from the Academy of Fine Arts in Bologna. Her research is articulated, frequently through an open and participatory process, through different languages and media, such as drawings, videos, installations, performances, photography and sculpture, to approachdifferent and multiple perspectives on usual things and everyday life. Amongst her most recent solo show we can recall Gestein-gestalt, MIMA, Newcastle (2012), Democratic Psychedelia, Galleria Minini, Brescia (2011), Tjoloholm Castle, Goteborg (2009), Ghost track #2, S.A.L.E.S., Roma (2008), Jumps, MAMbo, Bologna (2007), Services, Galleria Massimo De Carlo, Milano (2007), Parties 3, Art positions, Art Basel Miami, Miami, USA (2006). Her works have been included in many important exhibitions, such as the 1993 and 2001 Venice Biennale; Soggetto Soggetto, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (1994), L’hiver de l’amour, ARC Musèe d’Arte Moderne de la Ville de Paris and PS1, New York (1994), Manifesta, Witte de With, Rotterdam (1996), Exchanging interiors, Museum van Loon, Amsterdam (1996), Fatto in Italia, Centre d’Art Contemporain, Geneva and ICA London (1997), The 504 show, Braunschweig Kunsthalle, Zentrum fur Kunst, Brauschweig (1997), Che cosa sono le nuvole, Fondazione Sandretto Re Rebaudengo, Guarene-Torino (1997), Officina Italia, Galleria Comunale d’Arte Moderna, Bologna (1997), La ville, le jardin, la memoire, Villa Medici, Rome (1998), Istanbul Biennial (1999), Alessandria Biennial, Egypt (1999), Gwangju Biennial, South Korea, (2004), Invisible Exports, New York (2007), Voyage Sentimentale, FRAC Languedoc Roussillon, (2009), Il confine evanescente, MAXXI, Roma (2011), No Soul for Sale, Tate Modern, London (2011), Think Twice, Whitechapel, London (2012), The Wordly House, Documenta, Kassel (2012).
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
Dublin Core
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Title
A name given to the resource
Ritz
Description
An account of the resource
Ritz is a project conceived for the installation of an outdoor movie theatre inside a park in Trento, commissioned by the cultural association Numero Civico. The project, that was not realised, <a href="http://moremuseum.org/omeka/admin/items/show/28" target="_blank" rel="noopener">is proposed by the artist the following year with some changes for the P.A.V. (Parco d’Arte Vivente) of Turin</a>. The project, originally thought to be placed inside a wood, consists in the facade of a movie theatre outlined in black on a white background, on a 4 x 3 meters wing made of painted bricks (as the artist explains, “a big A4 paper sheet”). The facade recalls a liberty-decò style building, with the introduction of eclectic elements, and it refers to a movie theatre the artist saw in Antananarivo, Madagascar. To enter the theatre the audience needs to move around the wall, beyond which are placed four seats in concrete destined to be covered with moss. The seats address the landscape instead of the wall, that therefore becomes a wing and hides the watchers. Even though the project won the competition, it was not realised in the end because it was not possible to find an agreement with the neighbour that lived nearby the place that was identified as the most suitable for the realization and for other logistic and organizational reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2417/1/Marisaldi_ritz.pdf" target="_blank" rel="noopener">Read more</a>.
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2417" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2417</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Eva Marisaldi
MoRE Museum
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/2bc53a73e95c18489c5b10398a1a9235.jpg
12fe0cb8b0c4d803804a74aee7e8a5cf
Dublin Core
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Title
A name given to the resource
1_2004_progetto ageop EVA.jpg
Description
An account of the resource
Photos selected by the artist for the booklet to be printed and placed in the bedside tables.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 13,38x19,69 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/b76c601de2ebcffff9cdf2a9dad5de5f.jpg
01d1d08a5c1a04718cf15f6949d8c7ac
Dublin Core
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Title
A name given to the resource
2_2004_progetto ageop enrico.jpg
Description
An account of the resource
Photo donated by artist Enrico Serotti.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 13,55x10,16 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/f3954cf03151bed8af0fccbb12edb045.JPG
a36effe850c83b398e7cb6e41bb4bfcf
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Title
A name given to the resource
3_2004_progetto ageop.jpg.
Description
An account of the resource
Photos of the textile suitcase
Format
The file format, physical medium, or dimensions of the resource
file jpg, 8,67x10,84 cm, 300 dpi
http://www.moremuseum.org/omeka/files/original/9996023161b153eb9657fbce9260c0c5.jpg
85d3db752d9be622bf3fc280fb296a64
Dublin Core
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Title
A name given to the resource
4_2004_progetto ageop.jpg
Description
An account of the resource
Photos of the textile suitcase
Format
The file format, physical medium, or dimensions of the resource
file jpg, 12, 7x15,88 cm, 72 dpi
http://www.moremuseum.org/omeka/files/original/c7707f101ce210e213cafaecca4f7dee.JPG
50f2b53d2bb4622ca24fc9c420cdb7ae
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
5_2004_progetto ageop LAYOUT.jpg
Description
An account of the resource
Sketches and project notes
Format
The file format, physical medium, or dimensions of the resource
file jpg, 29, 7x21 cm, 150 dpi
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Eva Marisaldi
Description
An account of the resource
Eva Marisaldi was born in 1966. She lives and works in Bologna. She graduated from the Academy of Fine Arts in Bologna. Her research is articulated, frequently through an open and participatory process, through different languages and media, such as drawings, videos, installations, performances, photography and sculpture, to approachdifferent and multiple perspectives on usual things and everyday life. Amongst her most recent solo show we can recall Gestein-gestalt, MIMA, Newcastle (2012), Democratic Psychedelia, Galleria Minini, Brescia (2011), Tjoloholm Castle, Goteborg (2009), Ghost track #2, S.A.L.E.S., Roma (2008), Jumps, MAMbo, Bologna (2007), Services, Galleria Massimo De Carlo, Milano (2007), Parties 3, Art positions, Art Basel Miami, Miami, USA (2006). Her works have been included in many important exhibitions, such as the 1993 and 2001 Venice Biennale; Soggetto Soggetto, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (1994), L’hiver de l’amour, ARC Musèe d’Arte Moderne de la Ville de Paris and PS1, New York (1994), Manifesta, Witte de With, Rotterdam (1996), Exchanging interiors, Museum van Loon, Amsterdam (1996), Fatto in Italia, Centre d’Art Contemporain, Geneva and ICA London (1997), The 504 show, Braunschweig Kunsthalle, Zentrum fur Kunst, Brauschweig (1997), Che cosa sono le nuvole, Fondazione Sandretto Re Rebaudengo, Guarene-Torino (1997), Officina Italia, Galleria Comunale d’Arte Moderna, Bologna (1997), La ville, le jardin, la memoire, Villa Medici, Rome (1998), Istanbul Biennial (1999), Alessandria Biennial, Egypt (1999), Gwangju Biennial, South Korea, (2004), Invisible Exports, New York (2007), Voyage Sentimentale, FRAC Languedoc Roussillon, (2009), Il confine evanescente, MAXXI, Roma (2011), No Soul for Sale, Tate Modern, London (2011), Think Twice, Whitechapel, London (2012), The Wordly House, Documenta, Kassel (2012).
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Metto in moto il prato e partiamo
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Marisaldi structures the project into two proposals: the first consists in the publication of a book of pictures to be placed in the bedside tables of the rooms of the parents of the children staying in the hospital, while the second is the production of a textile bag – convertible into a chair - to be filled with toys that could be taken home once the children recovered and were discharged from the hospital. The project was not realized due to a series of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2447/1/Marisaldi_Metto%20in%20moto%20il%20prato.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Marisaldi, Eva
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Language
A language of the resource
Italian
Rights Holder
A person or organization owning or managing rights over the resource.
Eva Marisaldi
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2447" target="_blank" rel="noopener">http://hdl.handle.net/1889/2447</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/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
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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/de5c95c512f381715cb330a01b884801.pdf
bae393152af593256c24b7ae47842bea
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
MASBEDO
Description
An account of the resource
MASBEDO are Nicolò Massazza (1973) and Iacopo Bedogni (1970). They live in Milan and work together since 1999. The two artists have worked together since 1999, focusing on video art and installations. They express themselves through the language of video, in different forms such as performance, theater, installation, photography and recently cinema. In Italy they are recognized among the most important video artists and innovators in the field of contemporary art. Thanks to their unique feature of re-union of different arts the multiplicity of languages becomes a single chorus. Their artistic research has focused on the theme of incommunicability, highlighting the paradox of our communication society. This has led them to produce very intimate pieces alongside work with a greater anthropological, social, and political feel. They strive to engage their audience by using the moving image as an immersive installation. MASBEDO have also worked with video-performances to engage their audience within the creative space and gestures created by the video itself. The work is a synthesis of theatre, performance, architecture, and video.
MASBEDO’S artworks are collected by many important private foundations and the following public institutions: MART Museo d’arte Moderna e Contemporanea di Trento e Rovereto. Fondazione Merz, Turin. GAM Galleria d’arte Moderna Torino, Turin. Tel Aviv Art Museum. Da2 Museum, Salamanca. CAAM Centro Atlantico de Arte Moderno, Las Palmas. MACRO Museum of Contemporary Art, Rome. Junta de Andalucia, Spain. CAIRN Centre d’art contemporain, Digne.
Creator
An entity primarily responsible for making the resource
MASBEDO
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
Degna di Goebbels
Description
An account of the resource
<p><span>This project for an unrealised film was based on a Reiner Werner Fassbinder 1975 piece, <i>Der Muell, die Stadt und der Tod </i>(Garbage, the City and Death), an adaptation of Gerhard Zwerenz's novel <i>Erde ist unbewohnbar wie der Mond </i>(1973). The film's working title, <i>Degna di Goebbels,</i> is taken from one of the signs exposed during the violent protests that broke out in Germany and prevented the show from being staged in the country until 2009, due to accusations of anti-Semitism, linked to the character of the rich Jewish businessman, one of the main character of the representation, and the violent monologues on this theme. MASBEDO's work consisted in staging and shooting a performance with an actress, Silvia Calderoni, in a wood performing the theatrical text with a megaphone, until she reach a tombstone where the title phrase has been engraved, surrounded by a pack of wolves. The film should have had an original soundtrack composed by Carlo Boccadoro. This project is particularly significant inside the research of Nicolò Massazza and Iacopo Bedogni between video and performative, and can now be reconstructed through some photos from the set - -, several e-mails excerpts which reconstruct the various processing and - also graphic - design phases of the tombstone. As declared by the same artists, "The shooting was interrupted during the first day, and the tombstone thrown into the trash”.<br /></span><a href="https://www.repository.unipr.it/bitstream/1889/3448/1/Masbedo_Degna%20di%20Goebbels.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
MASBEDO
Contributor
An entity responsible for making contributions to the resource
Scotti, Marco
Language
A language of the resource
Italian
Rights Holder
A person or organization owning or managing rights over the resource.
MASBEDO
MoRE Museum
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/3448" target="_blank" rel="noopener">http://hdl.handle.net/1889/3448</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
2011
-
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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
Sandro Mele
Description
An account of the resource
<p>Born in Melendugno (Lecce) 1970, he lives and works in Rome. After graduating from the Academy of Fine Arts in Venice in 1994, he worked as an assistant to Fabio Mauri. Solo exhibitions: <em>Aquì todo bien</em>, 2016, Morelli Contemporary, Brussels; “Spunti per l’avvenire” Galleria Artforum Contemporary, Bologna 2015; "The American Brothers" Galleria Michela Rizzo, Venice, 2013; "Ventinovegiorni (di resistenza)" Menexa,Rome, 2012; “Lucha” fondazione Volume!, Rome, 2010; “Campo Argentino” galleria L’Union-fondazione Volume! Rome, 2006; “Argentina 2000” SACI Gallery, Florence, 2001. His works have been included in the following collettive exhibitions: "Lavoro/Work/Vore" Villa di Toppo Florio, Buttrio (UD), 2013; “GAP Generazioni a confronto” MAXXI B.A.S.E. Rome – 2012; Video Arte Italiana 2004-2012_Mamba Buenos Aires, 2012; “Hear Me Out” Castello Colonna, Genazzano, Rome, 2011; “Premiata officina trevana” Palazzo Lucarini Contemporary – Centro per l’arte contemporanea, 2011; “Non tutto è in vendita” via farini 33, Bologna 2011; Ente comunale di consumo” Galleria Nazionale palazzo Arnone, Cosenza, 2011; “Ente comunale di consumo” Palazzo Vittoriano, Rome – curated by Claudi Libero Pisano, 2011; “Ente comunale di consumo” castello Colonna, Genazzano (Rome), 2010; “I colori del territorio”, Spoltore (Pe) 2010;</p>
<p> “Arts for the Earth/Natura Naturans”, Cellino San Marco, Brindisi, 2010; “Il caos” Isola di San Servolo, Venice, 2009; “Mediterranean” Roma the road to contemporary art, Rome, 2009; Social forum europeo, Malmo –Sweden, 2008; “Latinolatino” Castello di Barletta, 2008; “Tracce del contemporaneo” Bos’art, Bosa, Alghero, 2007; “Todi arte festival “, Todi, 2006; “Querria cambiar el color a vuestro objeto mas querido?“, Puerto Lumbreras, Spain, 1999. </p>
Creator
An entity primarily responsible for making the resource
Mele, Sandro
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
Cartoneros - Buenos Aires
Description
An account of the resource
<p>The idea behind <em>Cartoneros</em>, which came to him whilst travelling to Argentina in 2006 to implement the project on the Fasinpat ceramic factory (<em>Fabrica sin patrones</em>), an example of corporate self-management among the most significant of the country. Mele had been following the labor movement since 2000, after attending a demonstration staged by local workers, until he decided to return to Argentina in 2006. On this occasion he noticed the reality of the “cartoneros”. The economic crisis of 2001 caused the foreclosure of thousands of industrial plants and shops in Argentina, with a subsequent dramatic increase of 3,500 improvised workers for the collection of waste paper and cardboard around the cities. These workers seamlessly blended in with the blind frenzy of the metropolis, rummaging through the trash or dragging stacks of cartons. The project was supposed to include a large installation made of cardboard, stacked from and compressed between the floor to the ceiling, along with some paintings that the artist had painted during his stay in Argentina’s capital as well as an extensive photographic documentation of the workers’ lives, often carried out in secret among the city's neighborhoods.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3000/1/Sandro%20Mele_Cartoneros%20–%20Buenos%20Aires.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Mele, Sandro
Date
A point or period of time associated with an event in the lifecycle of the resource
2006
Contributor
An entity responsible for making contributions to the resource
Scipioni, Lydia Elena
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
Still Image
Identifier
An unambiguous reference to the resource within a given context
<a href="http://dspace-unipr.cineca.it/handle/1889/3000" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3000</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Sandro Mele
MoRE Museum
Financial reasons
Logistical reasons
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Page catalog with an introduction to the project.
Title
A name given to the resource
1_img024.jpg
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,53 x17,83 cm, 300 dpi
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Dublin Core
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Title
A name given to the resource
2_img025.jpg
Description
An account of the resource
Catalog page with render of a baby in a bed in a dark room.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,53 x 17,99 cm, 300 dpi
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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
3_img026.jpg
Description
An account of the resource
Catalog page with the story of the project of the table lamp.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,53 x 17,72 cm, 300 dpi
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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
4_img027.jpg
Description
An account of the resource
Catalog page with render of a baby in a bed in a bright room with the bedside
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,53x18,31 cm, 300 dpi
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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
5_img028.jpg
Description
An account of the resource
Render color of the table lamp in which they are distinguishable designs imagined for the lamp itself.
Format
The file format, physical medium, or dimensions of the resource
file jpg, 18,15x18,31 cm, 300 dpi
Dublin Core
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
Sabrina Mezzaqui
Creator
An entity primarily responsible for making the resource
Mezzaqui, Sabrina
Description
An account of the resource
<p>Sabrina Mezzaqui (Bologna, 1964) lives and works in Marzabotto (BO ).</p>
<p>Many of her works are a materialization of the passing of time, bringing into play the sense of manual works in the repetition of little gestures for hours and hours (stringing beads, cutting, bending, drawing small motifs...). Writing often appears in the works (in the form of short texts, memoirs, literary references, rearranged books...). Even her videos tell of slow times, recording changes in the light or simple natural phenomena like the dust near a window or the stars reflected on the waves from the sun or the falling snow.<br /><br />She work with Galleria Massimo Minini Brescia (<em>Messaggi inviati, </em>1999; <em>Il pomeriggio è troppo azzurro</em>, 2001; <em>Quando le parole atterrano,</em> 2006; <em>Giocatori di perle</em>, 2010) and the Galleria Continua in San Gimignano (<em>Carezze, </em>2001; <em>Ecco adesso</em>, 2004; <em>Sottolineature</em>, 2005; <em>Mettere a dimora</em>, 2008; <em>ciò che la primavera fa con i ciliegi,</em> 2011).<br />She has exhibited in public spaces and cultural associations in Italy (GAM - Civic Gallery of Modern Art in Turin; Maxxi, Rome; Castel Sant 'Elmo, Naples; Papesse Palace, Siena; Museion, Bolzano; Open Space - GAM, Bologna; ViaFarini and Care of Milan; Scratch Gallery, Bologna ...) and abroad (PS1, New York; INOVA, Milwaukee, Wisconsin - WI; Modern Art Museum, Saint-Etienne - F; One Severn Street, Birmingham – UK; Raid Projects Gallery, Los Angeles - CA; Italian Institute of Culture - MOCA, Buenos Aires; Bengal Art Lounge, Dhaka - Bangladesh ...).</p>
Dublin Core
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Title
A name given to the resource
Abat-jour
Description
An account of the resource
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Mezzaqui proposes the creation of an abat-jour lamp to the placed on the bedside tables of the patients’ rooms, in the memory of her childhood. The project was not realized as a result of a number of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2448/1/Mezzaqui_Abat%20jour.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Mezzaqui, Sabrina
Date
A point or period of time associated with an event in the lifecycle of the resource
2004
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Language
A language of the resource
Italian
Rights Holder
A person or organization owning or managing rights over the resource.
Sabrina Mezzaqui
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2448" target="_blank" rel="noopener">http://hdl.handle.net/1889/2448</a>
Financial reasons
Logistical reasons
Regulatory/juridical/administrative reasons
-
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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
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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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
Wildflower Meadow
Description
An account of the resource
<p style="font-weight: 400;">This project consists in a proposal for the redevelopment of the Gorbals Partnership, Glasgow. Inspired by the lyrical settings in which Ingmar Bergman often placed his romancing youth, isolated in nature, protected from judgement and convention, the artist aimed at creating a site that could encompass all stages of a lifetime and maintain the same soft touch and beauty throughout.<br />The artist statement was: “I would like to propose the creation of a wildflower meadow. For children to play, for teens to have sex, for adults to take walks and for seniors to remind them of their youth”.<br />Aleksandra Mir should have worked with a botanist to develop a meadow in five years, planting local species and restoring the traditional cycles of mowing and grazing.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5202/1/Aleksandra%20Mir_Wildflower%20Meadow.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
2001
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
application/pdf
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
Censored
Failure to meet the commissioner's demands
Failure to reach an institutional agreement
Rejected
-
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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
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
CityForest
Description
An account of the resource
<p style="font-weight: 400;">In 1997, Aleksandra Mir proposed to the Public Art Fund to collect trees thrown away from the streets of New York City after the Christmas holidays and replant them in a common area until they had dried out completely. The project, while welcomed, was blocked by the city's fire department.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5198/1/Aleksandra%20Mir_CityForest.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
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
1997
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
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Aleksandra Mir
MoRE museum
Logistical reasons
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
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
Narvik Superstars
Description
An account of the resource
<p><span lang="EN-US">This project, commissioned by the Narvik City Council and Artscape Nordland, proposed to realise a star in the pavement for every child born in during the next 5-7 years in Narvik. This Norwegian city threatened to become vacated, with this work the </span><span lang="EN-US">harborfront</span><span lang="EN-US"> would have been covered in stars, made </span><span lang="EN-US">by the same company that provides </span><span lang="EN-US">those</span><span lang="EN-US"> for Hollywood's Walk of Fame</span><span lang="EN-US">, and </span><span lang="EN-US">every year a ceremony would have been held to reveal the new ones. The goal of the project is to turn the exclusive into the popular through a local recycling of the "star culture", where every newborn baby will become a star in its own life. Simultaneously the project represented a local mobilization to increase the population of Narvik. </span><span lang="EN-US">Due to budget cuts, the project was cancelled in 2006.<br /><o:p></o:p></span><a href="https://www.repository.unipr.it/bitstream/1889/5199/1/Aleksandra%20Mir_Narvik%20Superstars.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
2004
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
Type
The nature or genre of the resource
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Aleksandra Mir
MoRE museum
Financial reasons
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Aleksandra Mir
Description
An account of the resource
<p style="font-weight: 400;">Aleksandra Mir (born 1967) is a Swedish-American contemporary artist known for her collaborative installations and projects. Her work deals with travel, time, placehood, language, gender, identity, locality, nationality, globality, mobility, connectivity, performativity, representation, transition, translation and transgression. She is known for her large scale collaborative projects and for her anthropological methods, involving rigorous archival research, oral history and field work.<br />She has exhibited at Kunsthaus Zurich (2006), Tate Modern, London (2014), Tate Liverpool (2017), Modern Art Oxford (2017), Schirn Kunsthalle, Frankfurt (2009), M – Museum Leuven (2013), Whitney Museum of American Art (2014), Solomon R. Guggenheim Museum (2007), MoMA, New York City (2012), YUZ Museum, Shanghai (2018), Whitney Biennial (2004), Biennale of Sydney (2002), Biennale di Venezia (2009), and Mercosul Biennial, Porto Alegre (2015), Tai Kwun Contemporary, Hong Kong (2020).</p>
Creator
An entity primarily responsible for making the resource
Mir, Alexandra
Dublin Core
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Title
A name given to the resource
Stonehenge II
Description
An account of the resource
<p style="font-weight: 400;">Stonehenge II is a proposal for a work in a public space by Aleksandra Mir.<br />Originally presented to the Artangel/Times open commission in 1998 (and subsequently rejected), the proposal was to build a Stonehenge replica close to the original, to reduce the volume of pedestrian traffic and save this piece of cultural heritage from further destruction. To compensate for the necessary limited access to <em>Stonehenge I,</em> <em>Stonehenge II </em>would allow full access and promote a wide range of activities on its grounds. The project was proposed a second time to students on the Royal College of Art curating course, who were asked to join the artist in the production of the project over the summer of 2001 (also rejected). The scale model was constructed in 2002–03. Aleksandra Mir continues to further her ambition to realize this work and hopes to make contact with interested parties who wish to assist.<br /><a href="https://www.repository.unipr.it/bitstream/1889/5200/1/Aleksandra%20Mir_Stonehenge%20II.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Mir, Alexandra
Date
A point or period of time associated with an event in the lifecycle of the resource
1998-2001
Contributor
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Mir, Alexandra
Scotti, Marco
Format
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image/jpeg
Type
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Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Aleksandra Mir
MoRE museum
Project which wasn’t selected in a prize or competition
Rejected
-
http://www.moremuseum.org/omeka/files/original/ca54c9a635d64666b2f41ebcb5d0c96b.pdf
794ab998fd164998d78e27af9da9b6fe
Dublin Core
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Title
A name given to the resource
Helen Mirra
Description
An account of the resource
<p class="Standard">Helen Mirra’s art practice is based in walking, primarily in the mountains, in nature. But also cities could be a place for her walks – as for example in the exhibition series „gehend, Field Recordings (1-3)“ Mirra did in 2011 in Kunst Werke Berlin, Bonner Kunstverein and Haus Konstruktiv in Zurich.</p>
<p class="Standard">Her works are generated from making these walks – her perceptive experiences in the landscape, and the activity of her body. They develop in parallel. Not only is moving, walking, fundamental to Mirra’s work, but the places where the walks happen are essential elements. </p>
<p>Helen Mirra work was shown in solo exhibitions at Renaissance Society, Chicago, Kunst Werken, Berlin, Haus Konstruktiv, Zürich and Berkley Art Museum. Mirra participated in the 50th Venice Biennial, the 20th Sao Paulo Art Biennial and the 12th Havana Biennial.</p>
Creator
An entity primarily responsible for making the resource
Mirra, Helen
Dublin Core
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Title
A name given to the resource
Die Kristallader
Description
An account of the resource
<p class="Default"><em>Die Kristallader</em> (The Crystal Vein) is a project in public space that Helen Mirra developed in 2014 as part of a competition for the city of St. Gallen in Switzerland.<br />The assignment of the competition was that the artistic intervention should connect the newly built Natural History Museum, which is located in the periphery, with the city center.<br />Helen Mirra's project proposal was an irregular "line", a crack in the asphalt filled with a shiny metal that leads from the city center to the Natural History Museum on a path carefully defined by the artist. The shiny crystal vein guides the visitors on a 3 km long walk through St. Gallen, allowing them to perceive the surroundings, time and movement in a different way.<br />The jury ultimately chose another submitted project, so that the Crystal Vein was never realised.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3843/1/rekade_mirra.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Creator
An entity primarily responsible for making the resource
Mirra, Helen
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
Contributor
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Rekade, Christiane
Format
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application/pdf
Language
A language of the resource
English
Type
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Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Helen Mirra
MoRE Museum
Project which wasn’t selected in a prize or competition
-
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Dublin Core
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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
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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
An entity primarily responsible for making the resource
Monk, Jonathan
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
Contributor
An entity responsible for making contributions to the resource
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
Identifier
An unambiguous reference to the resource within a given context
<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
-
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8427676c58bf3e8615944df806188ca2
Dublin Core
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Title
A name given to the resource
progetto-kassel.JPG
Description
An account of the resource
Collage of the unrealized project, that consisted in stretching a steel cable - anchored at the artist’s car with the engine running (a red Fiat 126) - till the museum’s opposite wall, where it would be fixed so that it would pass through the whole length of the building.
Format
The file format, physical medium, or dimensions of the resource
jpg file, 19,236 x 14,427 cm, 300 dpi
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Dublin Core
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Title
A name given to the resource
disegno 1992
Description
An account of the resource
A drawing of the project, taken by the artist in a sketchbook in 1992.
Format
The file format, physical medium, or dimensions of the resource
jpg file, 115,147 x 86,36 cm, 72 dpi
Dublin Core
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Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Dublin Core
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Title
A name given to the resource
Tiramolla 92
Description
An account of the resource
<em>Tiramolla 1992</em> is a project presented by Liliana at the <a href="http://www.kassel.de/miniwebs/documentaarchiv_e/08204/index.html" target="_blank" rel="noopener">documenta 9</a> of Kassel, directed by Jan Hoet with a team constituted by Pier Luigi Tazzi, Denys Zacharopoulos e Bart de Baere. The place chosen for the work was the Neue Galerie and the project was particularly complex and elaborated with the support of an engineer of a specialized firm. The plan was to stretch a steel cable till the museum’s last wall; this should go through the whole length of the building and come outside, where it should be anchored at the artist’s car, a red Fiat 126, left turned on with the engine running. The steel cable (that has been reproposed in the work exhibited in Kassel instead of this project, <em>Tiramolla</em>) would have passed therefore through the whole exhibition’s space, suggesting to the viewer a different understanding of the place and converging outside towards an object connected with the artist’s everyday life: her car. Technical and structural problems were the main reason it hasn't been realized; the project was also considered too dangerous. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2442/1/Liliana%20Moro_Tiramolla%2092.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Date
A point or period of time associated with an event in the lifecycle of the resource
1992
Contributor
An entity responsible for making contributions to the resource
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Type
The nature or genre of the resource
Still Image
Language
A language of the resource
Italian
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE Museum
Identifier
An unambiguous reference to the resource within a given context
<a href="http://hdl.handle.net/1889/2442" target="_blank" rel="noopener">http://hdl.handle.net/1889/2442</a>
Logistical reasons
Regulatory/juridical/administrative reasons
-
http://www.moremuseum.org/omeka/files/original/83d6ec93eb64c7bd12a9b96ad1b43c98.pdf
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Dublin Core
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Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Dublin Core
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Title
A name given to the resource
Preferisco il rumore del mare. Concorso di progettazione Piazza Verdi - La Spezia
Description
An account of the resource
The project, realised in collaboration with Studio 5 + 1 AA, was presented in 2009 on the occasion of the design contest to renovate Piazza Giuseppe Verdi from an architectural and artistic point of view. The contest was promoted by city of di La Spezia and P.A.A.L.M.A. (Premio Artista Architetto La Marrana Arte Ambientale) in collaboration with Fondazione Cassa di Risparmio della Spezia. The project was shortlisted among the top five entries. <br />The title-manifesto of the project, <em>I prefer the sound of the sea</em>, is the title of a film directed by Mimmo <span class="st">Calopresti</span> (2000), inspired by a verse of Dino Campana.<br />The idea was to realise a flooring with a decoration made of tiles and rubberized asphalt whose colours were inspired by the mosaics of Fillia, Prampolini e Mazzoni inside Palazzo della Posta. Moreover, they wanted to place inside the square 99 red and blue trumpets, connected to the tide predictions centre in Genoa. The trumpets would have emitted a whistle, registered by the artist, in case of high tide.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3444/1/Liliana%20Moro_Concorso%20di%20progettazione%20Piazza%20Verdi%20-%20La%20Spezia%20def.pdf" target="_blank" rel="noopener">Read more.</a>
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Studio 5+1AA
Date
A point or period of time associated with an event in the lifecycle of the resource
2009
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/pdf
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Text
Still Image
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE Museum
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/3444" target="_blank" rel="noopener">http://hdl.handle.net/1889/3444</a>
Project which wasn’t selected in a prize or competition
-
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Dublin Core
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Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
In bocca al lupo
Description
An account of the resource
<p><span><em>In bocca al lupo </em>– (ed. “in the mouth of wolf” that is a way to wish good luck in Italian) isan artwork proposed by Liliana Moro for the 3rd International Sculpture Award of the Piemonte Region in Italy, promoted by the Piemonte Region and organized by the Association Piemontese Arte.<br /></span>The project included the creation of a large sculpture in the shape of a wolf in the public park of Savigliano, which could be accessed through a spiral staircase.<br />Like <em>Testa di Pinocchio</em> (the Pinocchio's Head), in this work Moro referred to an iconographic repertoire linked to the world of childhood, combining it with a reflection on public space and with the relationship between interior and exterior.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3442/1/Liliana%20Moro_In%20bocca%20al%20lupo.pdf" target="_blank" rel="noopener">Read more.</a></p>
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Date
A point or period of time associated with an event in the lifecycle of the resource
2002
Contributor
An entity responsible for making contributions to the resource
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE Museum
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cineca.it/handle/1889/3442" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3442</a>
Project which wasn’t selected in a prize or competition
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Testa di Pinocchio
Description
An account of the resource
<p><em>Testa di Pinocchio </em>è il progetto proposto da Liliana Moro in occasione della mostra itinerante <em>Playgrounds and Toys</em>, organizzata dall’associazione con sede a Ginevra <a href="http://www.artfortheworld.net/">Art for the World</a> e curata da Adelina von Fürstenberg, con l’intento di sensibilizzare il pubblico sul gioco come diritto fondamentale, spesso negato, di ogni bambino. In particolare la rassegna invitava artisti, architetti e designer di tutto il mondo a proporre progetti di parchi giochi e giocattoli destinati a bambini costretti a vivere in condizioni di ingiustizia sociale. Il progetto, proposto in occasione della tappa all’Hangar Bicocca nel 2005, prevedeva la realizzazione di una “casa gioco” per bambini a forma di testa di Pinocchio, con un’apertura sulla bocca da cui sarebbe dovuto partire uno scivolo, delle altalene realizzate con pneumatici pendenti dalle orecchie e dei finti mattoncini sulle pareti laterali per permettere ai bambini di arrampicarsi.<br /><a href="https://www.repository.unipr.it/bitstream/1889/3443/1/Liliana%20Moro_Moro_Testa%20di%20Pinocchio.pdf" target="_blank" rel="noopener">Read more.</a></p>
<p><span><em> </em></span></p>
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Contributor
An entity responsible for making contributions to the resource
Zinelli, Anna
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
application/msword
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE Museum
Relation
A related resource
DSpace: <a href="http://dspace-unipr.cineca.it/handle/1889/3443" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3443</a>
Project which wasn’t selected in a prize or competition
-
http://www.moremuseum.org/omeka/files/original/1d692358a3508f6244727c33bf709c06.jpg
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http://www.moremuseum.org/omeka/files/original/e2c00c2b70d03ae88a0b926863438bb1.jpg
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http://www.moremuseum.org/omeka/files/original/df9424a61e4f66082d5cf2c0b5b306c2.jpg
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http://www.moremuseum.org/omeka/files/original/e74e1ee66ff7307653896a079c9fcb13.jpg
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http://www.moremuseum.org/omeka/files/original/423f9d18dd5f296f5afa56380b6e411e.jpg
0339d44e8778c6d53d2aeb954f2fbede
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Liliana Moro
Description
An account of the resource
Liliana Moro was born in 1961 in Milan, where she lives and works.
She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993.
Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation.
Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia.
Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009).
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Viene e va
Description
An account of the resource
<p><span><em>Viene e va </em>is an installation by Liliana Moro that won the 7th edition of “</span><span>Premio <em>ArteGiovane</em> – <em>Torino</em> incontra l'arte. <em>Una porta per Torino” – </em>conceived for the Iveco roundabout in </span><span>Corso Giulio Cesare, Turin. The roundabout - that already presented two commas made of stone chippings on the grass – would host two groups of street lamps with a fixed light, one yellow and one white, with two street lamps with intermittent light at the centre, representing two lighthouses, whose function is to serve as a navigational aid for the sailors. <br /><a href="https://www.repository.unipr.it/bitstream/1889/3446/1/Liliana%20Moro_Viene%20e%20va.%20Concorso%20Torino%20Arte%20Giovane%202005.pdf" target="_blank" rel="noopener">Read more.</a></span></p>
Creator
An entity primarily responsible for making the resource
Moro, Liliana
Date
A point or period of time associated with an event in the lifecycle of the resource
2005
Contributor
An entity responsible for making contributions to the resource
Modena, Elisabetta
Format
The file format, physical medium, or dimensions of the resource
image/jpeg
Language
A language of the resource
Italian
Type
The nature or genre of the resource
Still Image
Text
Rights Holder
A person or organization owning or managing rights over the resource.
Liliana Moro
MoRE museum
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/3446" target="_blank" rel="noopener">http://hdl.handle.net/1889/3446</a>
Logistical reasons
-
http://www.moremuseum.org/omeka/files/original/e8aa02d06ac9a357ae3647eeb79735c5.pdf
3fbb527bde90955b4b568f95a828b2f1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Triton1.pdf
Description
An account of the resource
A pdf file that reproduces the original 15 pages typescript of the project, a kind of articulated concept with small handwritten notations here and there.
Date
A point or period of time associated with an event in the lifecycle of the resource
1976-1977
http://www.moremuseum.org/omeka/files/original/054f142ed01a61ae22c38b8dc027187f.pdf
7438ee1517e0df3962f2ddc1efdb2a1c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Triton.pdf
Description
An account of the resource
a pdf file that reproduces the typescript of the project in a detailed phase. In the 32 pages all the technical-musical infos needed to perform the songs are provided with precision.
Date
A point or period of time associated with an event in the lifecycle of the resource
1976-1977
http://www.moremuseum.org/omeka/files/original/415e39a64f7a4cf6654afa2d68be8e44.pdf
f2151e782b14d994800088ef13656ccc
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
Mosconi Ars Electronica.pdf
Description
An account of the resource
A pdf file that reproduces the typescript of the 11 pages proposition for Ars Electronica, complete with floor plans and diagrams depicting the positions of the various instruments.
Date
A point or period of time associated with an event in the lifecycle of the resource
1984-1986
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
Davide Mosconi
Description
An account of the resource
<em><span>D</span></em>avide Mosconi was born in 1941 in Milan, the same city where he died in 2002. After graduating in piano and composition at the Milan Conservatory, in 1961 he moved to London where he studied photography at the London College of Printing. Since 1963, in New York, he worked for four years as an assistant to Richard Avedon and Hiro. He returned to Milan in 1967, a year later took place at the Gallery Il Diaframma his first solo exhibition entitled <span><em>Il sogno di Davide</em></span><span>. </span>In the same year he opened the photographic studio “Studio X” which he will carry out advertising campaigns, fashion and lifestyle works, while working also for music and video art. In 1972 he participated to the exhibition “The New Domestic Landscape” at the MOMA in New York with the short film “Something to Believe In.” In 1974 he took part in “Fotomedia”, a traveling exhibition curated by Daniela Palazzoli in various venues, including the Museum am Ostwall in Dortmund, and, in 1975, the Rotonda della Besana in Milan. In the early eighties he began to work, following an invitation from Polaroid, with the new oversized camera 51×61 cm, focusing on the theme of coincidences in the 150 years of the history of photography. Randomness is one of the aspects which Mosconi devotes a particularattention. 1984 is the year of the first series of triptychs, <em>In Morte del Padre</em>. From 1986 to 1997 the main projects are the triptychs of Prague on the theme of the body, of still lifes and the Day skies and Night skies, then exhibited at the Guggenheim in New York and at the Museum voor Fotografie in Antwerp, as well as in private galleries in Europe and the United States. In 1991 and 1993 he participated at the Venice Biennale. Towards the end of the nineties he realised the two photographic cycles<em> Disegnare l’aria and Polveri</em>,dedicated to Bruno Munari and exhibited in 1997 at alla Galleria Milano as part of a solo exhibition (catalog published by Charta). The latest series of works <em>Autoritratti bucati</em>,was exhibited posthumously at the Galleria San Fedele in Milan in 2003. Mosconi has always flanked his photographic production with a thriving multi-disciplinary activity in performing arts, inside which musical improvisation has always had a strong centrality. In 1970 thas been published the volume <em>Lastoriadellamusicadidavidemosconi</em> that provides a set of recipes for the execution of sonic performances. Many of his projects remained unfulfilled, just because they were by far too ambitious imagining a much broader involvement of operational forces.
Creator
An entity primarily responsible for making the resource
Mosconi, Davide
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Triton / La Luce del Suono
Description
An account of the resource
TRITON, a 7 days-long event designed and proposed by the artist for the 1977 edition of the Bonn Beethoven Festival, was then restructured and partially reduced in 1984 to be presented under the title LA LUCE DEL SUONO at the 1986 edition of the “Ars Electronica” festival in Linz, Austria.<br /><br />The first two projects of the same title, <em>TRITON</em>, deal, on a different level of detail, with the same event that, mainly involving sound, designed for a duration of seven days, would have involved the entire city of Bonn, starting from the river, on which he passed on a barge that housed the orchestra. It would have been a form of homage to the great composer Beethoven not only in terms of sound/ environment, but also from a visual point of view, considering that in the project this aspect is lagerly considered.<br /><br /><em><span>LA LUCE DEL SUONO,</span></em> a project for “a concert of lights and sounds” that would have involved a vast area of the Danube river and nearby land, conceived by Mosconi in 1984 and presented for the 1986 edition of the festival “Ars Electronica” in Linz, is the result of the further development of a core part of the same imaginative unit that shaped<em><span> TRITON.<br /></span></em>Read more.
Creator
An entity primarily responsible for making the resource
Mosconi, Davide
Date
A point or period of time associated with an event in the lifecycle of the resource
<em>TRITON:</em> 1976-1977 <br /><em>LA LUCE DEL SUONO</em>: 1984-1986
Contributor
An entity responsible for making contributions to the resource
Longari, Elisabetta
Relation
A related resource
DSpace: <a href="http://hdl.handle.net/1889/1999" target="_blank" rel="noopener">http://hdl.handle.net/1889/1999</a>
Format
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
Document
Rights Holder
A person or organization owning or managing rights over the resource.
Davide Mosconi
MoRE Museum
Financial reasons
Logistical reasons