Fourth Plinth Proposals
Two proposals presented as part of the great public art project connected to the Fourth Plinth in Trafalgar Square, London and never realized. The "Fourth Plinth" was in fact originally built in the second half of the nineteenth century, as a base to host the equestrian statue of William IV, but has remained empty for over 150 years and the debate about its possible use has continued till 1999, when the first three temporary commissions were assigned to contemporary artists for site-specific projects. Following the success of this first initiative it was decided to form a committee of experts, which comprises Jeremy Deller himself, to follow the subsequent calls, invitations and selection of projects: this committee has officially and unanimously established the final destination use of the fourth plinth as a support for specifically commissioned installations of contemporary art.In particular, Jeremy Deller in the two projects donated to MoRE, both developed in 2008, proposes an anti-monumental and deeply political vision, working - in his own words - more from the perspective of a citizen than from the one of an artist, closely linked to the contemporary situation of the country involved in the Iraqi war. A first proposal was the life-size statue of David Kelly, the British scientist found death after his supposed suicide, as a result of statements made to the media about his doubts about a real presence of the weapons of mass destruction held by the Iraqi government, and the subsequent Parliament investigation. <br />The second proposal, called <em>The Spoils of War</em>, proposed to expose the carcass of a car destroyed by a bomb in Iraq, bringing a trace of the war in what has been for centuries the heart of the British Empire and still is universally recognized as a place with a strong monumental character.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2094/1/deller_fourth%20plinth%20proposals.pdf" target="_blank" rel="noopener">Read more</a><em>.<br /></em>
Deller, Jeremy
2008
Scotti, Marco
English
Still Image
<a href="http://hdl.handle.net/1889/2094" target="_blank" rel="noopener">http://hdl.handle.net/1889/2094</a>
Small Proposals Book
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>
Monk, Jonathan
1990
Scotti, Marco
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/1757" target="_blank" rel="noopener">http://hdl.handle.net/1889/1757</a>
Big Suit Departing
Big Suit Departing was conceived for the Berlin Schönefeld airport; the project consisted in the realization of a giant figure – 10 x 3,5 mt – hanging inside the airport hall with a 50% slope. The “dummy” has neither head nor limbs, it is totally hollow so that the passengers can see through it; the realization is really realistic, with details such as buttons, eyelets and fabric rendered in every detail. This characteristic is typical of Erwin Wurm’s works, that partially distort the reality we live in. This sort of “monument” is not intended to celebrate the common man, but, as in all Wurm’s work, it aims at glorifying an exorcism of the everyday life, a praise of a different reality, of visionary and distorted perceptions. Erwin Wurm says that the project remained unrealized because: “The commission found a human suit not sufficiently representative enough for an international airport.” <br /><a href="https://www.repository.unipr.it/bitstream/1889/2327/1/Wurm_big%20suit%20departing.pdf" target="_blank" rel="noopener">Read more</a>.
Wurm, Erwin
2010
Rossi, Valentina
application/octet-stream
application/pdf
video/quicktime
English
Still Image
Text
Moving Image
<a href="http://hdl.handle.net/1889/2327" target="_blank" rel="noopener">http://hdl.handle.net/1889/2327</a>
A Better Britain
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>.
King, Scott
Worley, Matthew
CRASH!
2010
Scotti, Marco
application/pdf
English
Text
Still Image
<a href="http://hdl.handle.net/1889/2410" target="_blank" rel="noopener">http://hdl.handle.net/1889/2410</a>
Karlsruhe Boat
Karlsruhe Boat is a project for the main venue in the German city of EnBW, a society dealing with and trading energy, and consists of a real size boat – situated in a small fountain-like pool of water indoor – that paradoxically deforms itself climbing up on the wall of the building. Even this sculpture creates a decompensation of perception, which is typical of the Austrian artist, where an object totally defunctionalized subverts its normal role and does something ironic and totally out of the ordinary logic. In this case the boat stands on a small and thin layer of water, placed almost vertically to the floor itself, and magically folds, almost crashing against the wall, in a process of deformation that we can find in some important series of the artist’s work. This “absurd” situation reflects a kind of broken up narrative that is typical of the way the artist operates; his works seem to tell a story that suddenly stops and whose ending is left to the interpretation of the viewer. Instead of the classic final apotheosis of the happy ending, for Wurm’s project we could talk about the apotheosis of paradox; the end is certainly not dictated by the victory of good over evil but rather an event that subverts the rules of the classic interpretation of the user. The artist is giving us a different interpretation of reality, that subverts the traditional forms of sculpture and perception. The reasons why the project remained unrealized aren't specified. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2330/1/Wurm_Karlsruhe%20Boat.pdf" target="_blank" rel="noopener">Read more</a>.
Wurm, Erwin
2008
Rossi, Valentina
image/tiff
Still Image
<a href="http://hdl.handle.net/1889/2330" target="_blank" rel="noopener">http://hdl.handle.net/1889/2330</a>
Iggy Pop Life Drawing Class
The project consisted in inviting an icon of popular culture – such as Iggy Pop – to pose, without revealing his identity to the students, as a model for a drawing class: the results of these sessions would then have been donated and preserved at the Smithsonian Institution. The artist’s research focuses here on the importance of preserving social content and values related to pop music and to its fruition, placing them in a broader cultural context, and in particular on the role which certain bands and musicians assume for specific communities of fans or, as in this case, for an heterogeneous and often unconscious public. <br />The document is a drawing by Sarah Tynan, and serves as an example of what could have been the result of the work of the class.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2099/1/deller_iggy%20pop%20life%20drawing%20class.pdf" target="_blank" rel="noopener">Read more</a>.
Deller, Jeremy
2006-2011
Scotti, Marco
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/2099">http://hdl.handle.net/1889/2099</a>
Forum Vogelsang Banana
This project started as a cooperation with Coop Himmelb(l)au: the idea was to fill up the consisting building of the so called Adlerhof with reinforced concrete and build new rooms within the huge banana, that should be arranged above that “Sarkophag”. The criticism in this project lies exactly in the relationship with the context and with the place itself: Vogelsang, indeed, once called Ordernsburg, was built from 1934 to 1936, as a former training institution for young party members of the National Socialist German Workers’ Party (NSDAP). The artist himself underlined the historical references, which are also summarised at the <a href="http://www.vogelsang-ip.de/nextshopcms/show.asp?lang=en&e1=902&ssid=1&mdocid=803" target="_blank" rel="noopener">official page</a>. Erwin Wurm declared that the project has been officially refused for formal reasons.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2331/1/Wurm_Forum%20Vogelsang.pdf" target="_blank" rel="noopener">Read more</a>.
Wurm, Erwin
Coop Himmelb(l)au
2008
Rossi, Valentina
application/pdf
Still Image
<a href="http://hdl.handle.net/1889/2331" target="_self">http://hdl.handle.net/1889/2331</a>
Venus
The Venus project was studied for the Patscherkofel mountain, which is part of the Tux Alps – near Innsbruck, Austria, and consists in a proposal for positioning a classic wooden table of dimensions of 100x120x76 cm, but actually made in bronze, alongside a dish made of bronze and glossy, coated aluminum, and one knödel, a typical Austrian dish, realized in paginated white bronze. he work is conceived according to the almost theatrical setting,the sculpture creates a kind of suspension between the real and the unreal caused by the decontextualization conceived by the artist. <br />The possible commissioners and the reasons why the project remained unrealized haven’t been specified by the artist. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2332/1/Wurm_Venus.pdf" target="_blank" rel="noopener">Read more</a>.
Wurm, Erwin
2007
Rossi, Valentina
image/jpeg
application/octet-stream
Deutsch
Still Image
<a href="http://hdl.handle.net/1889/2332" target="_blank" rel="noopener">http://hdl.handle.net/1889/2332</a>
Mission Accomplished
Jeremy Deller was invited for the Carnegie International in 2004, and this one was the first idea he presented – which could be referred to a more complex series of research and reflections about the contemporary war in Iraq – with the intention to present one of his large banners on the facade of the museum, that recalled the one used as a background by President George Bush during a speech, which presented the words ‘Mission Accomplished’. In the picture, on the side of the banner, there are two post-it notes that refer respectively to the exposure, always on the facade, of a photograph – taken from existing documentation – of Donald Rumsfeld, then special envoy of President Reagan in the Middle East, meeting Saddam Hussein in 1983, and the ambiguous flyer posted on the doors of some houses in Florida during the 2000 presidential election, which recalls what the artist considers a strategy of the Republican Party to discourage voters opponents. This stated, falsely, that to vote it was required to have paid all the fines, while also recalling a wrong date for the elections.<br />As reported by the artist himself, the theme of the work was “just too raw at the time”, so instead he realized for the exhibition <em>Breaking News (Dedicated to Peter Watkins), </em>a site-specific work for the miniature rooms at the Carnegie Museum of Art, where he overlapped the rooms and reconstructions of ancient battles with architectural elements, coeval furnishing and a television for the transmission of images.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2097/1/deller_mission%20accomplished.pdf" target="_blank" rel="noopener">Read more</a>.
Deller, Jeremy
2004
Scotti, Marco
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/2097" target="_blank" rel="noopener">http://hdl.handle.net/1889/2097</a>
Proposal for the Olympic Park Gateways
Deller proposed here a structure similar to Stonehenge, or simply menhir-like, to highlight the entrances and exits of the Olympic Park that would have hosted stadiums and structures in London, 2012. The deliberate ambiguity consisted in building a structure – altough contemporary – that appears to be preexisting the context and foreshadows a possible fate of ruins for all the structures inside this high-tech area; but also revolves around the values associated with Stonehenge, an icon of the British identity, whose meaning remains basically unknown.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2103/1/deller_proposal%20for%20the%20olympic%20park%20gateways.pdf" target="_blank" rel="noopener">Read more</a>.
Deller, Jeremy
2010
Scotti, Marco
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/2103" target="_blank" rel="noopener">http://hdl.handle.net/1889/2103</a>
Rejected Tube Map Cover Illustration
This was the first idea proposed by Jeremy Deller, after he received the appointment from TFL to design the cover of an edition of the map of the London Underground, distributed free in all the stations. The proposed design was initially a bicycle, composed with colors that distinguish the lines on the Tube map.<br />It was rejected, as it conveyed a message that could – according to the commissioner – confuse some users of the London Underground service, as the service for bicycles was not guaranteed on all the lines.<br /><br />The commissioner was TFL – Transport for London, the company responsible for the transport in the London area – within the project <em>Art on the Underground</em>, which invites contemporary artists to design projects for the environment of the London Underground , both transient and permanent. Jeremy Deller then realized the cover of the Tube Map together with artist Paul Ryan, a work presented July 1, 2007, which is still visible at the address <a href="http://art.tfl.gov.uk/projects/detail/1119/" target="_blank" rel="noopener">http://art.tfl.gov.uk/projects/detail/1119/</a>. This consisted of a portrait of John Hough, who was then the current longest serving member of staff at TFL.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2101/1/deller_rejected%20tube%20map%20cover%20illustration.pdf" target="_blank" rel="noopener">Read more</a>.
Deller, Jeremy
2007
Scotti, Marco
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/2101">http://hdl.handle.net/1889/2101</a>
Cannocchiale Ottico Percorribile
The <em>Cannocchiale ottico percorribile</em> was designed by the artist for the 1968 Milan Triennale, dedicated to the theme of the Grande Numero, in the never-realised exhibition Interventi nel paesaggio. Inside this project artworks by young artists should have been exposed in town and city centers to offer an artistic vision of the world in scale with the physical environment. <br />In the oral reconstruction provided by his wife Franca Scheggi Dall’Acqua, in support of the two photographs of the project, the optical telescope should have been made in chromed steel and in collaboration with Italsider. Scheggi of this project produced a maquette, also in chromed steel. The <em>Cannocchiale ottico percorribile</em> was to be shown in Florence, between the Cathedral of Santa Maria del Fiore and the Baptistery, in line with Via de ‘Calzaiuoli and Via dei Martelli. The dimensions hypothesized by the artist had to be such as to accommodate about a man of medium height in it, who could have been following the inside path in all its lenght. The work unravels itself in a zigzag and irregular shape, such as to produce an effect of disorientation on the viewer, increased by a very dramatic interior lighting; in addition responding to the theme of the exhibition inside the Triennale it was also a reflection on the Florentine Renaissance perspective, made explicit with its placing in the square in Florence (Scheggi was a native of the city and soaked in humanities); but we can also place it among the top experiences of Paolo Scheggi related to the concept of tunnel and path in the dark that would then be developed in the following years, bringing us the environment <em>ONDOSA</em> (as reported in the bibliographies and biographies of the artist) or <em>ONDOSA NERA</em> (as shown on the projects of the artist himself) otherwise made for the show Eurodomus in Milan, 1970, and then destroyed.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1998/1/scheggi_cannocchiale%20ottico%20percorribile.pdf" target="_blank" rel="noopener">Read more</a>.
Scheggi, Paolo
1968
Bignotti, Ilaria
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/1998" target="_blank" rel="noopener">http://hdl.handle.net/1889/1998</a>
St. Pancras Truck
This sculpture was thought for St. Pancras station, located in northern London; the building dates back to 1861 and its victorian character contributes to frame this work as unreal, even if the artist through his works wants to communicate much more than that and goes beyond this “fantastic” dimension to reach a much deeper reflection on the de-functioning of the object, gazing at reality from a different perspective. The twisting of the vehicle is always part of this techniques of distortion of perception that Wurm adopts almost to create an epiphany of the object itself, a new life and a new meaning. The project was commissioned by St. Pancras train station, but has never been realized. The artist declared that “the truck was planned with a maximum length of 10m, the Commission found that too small, it should have been 20m!”. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2361/1/Wurm_st.pancras%20truck.pdf" target="_blank" rel="noopener">Read more</a>.
Wurm, Erwin
2012
Rossi, Valentina
image/jpeg
Still Image
<a href="http://hdl.handle.net/1889/2361" target="_blank" rel="noopener">http://hdl.handle.net/1889/2361</a>
Mind Bubbles
<em>Mind Bubbles </em>is a project designed as an installation for the entrance hall of the head office of the Volksbank Wien, a building by the german architect Carsten Roth.The sculptures seem to be suspended in the air, as if a device had frozen them: a process that inflates, distorts, makes things bigger and smaller, creates unexpected shapes and new realities that become an inspiration for our everyday life. The reasons why the project remained unrealized haven’t been specified by the artist. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2363/1/Wurm_mind%20bubbles.pdf" target="_blank" rel="noopener">Read more</a>.
Wurm, Erwin
2008
Rossi, Valentina
image/jpeg
Still Image
<a href="http://hdl.handle.net/1889/2363" target="_blank" rel="noopener">http://hdl.handle.net/1889/2363</a>
Meteorite al contrario
David Bertocchi’s project, <em>Meteorite al contrario</em> (2010) is the launch into space of a normal stone of medium size, which would constitute a kind of meteorite, according to a trajectory opposite the one that usually leads an asteroid to accidentally stumble on our planet. With this project, in addition a to normal challenging of the scientific premises that describes the trajectory and the ablation with the atmosphere of an extraterrestrial impact directly on the ground, the artist is trying to subvert the classic paradigm of contemporary technology: the maximum technology in minimum space, which in this case would be the minimum technology in maximum “space”. The project is closely related to the poetic of the artist, since long time resident in Paris, and it is referable to a system of signs and meanings, an interest in the universe that started with a work in progres born in 1999 entitled precisely Space, which in more than ten years has involved Bertocchi in the creation of a parallel universe: around 3000 images of galaxies and planets invented by the artist. The project has not been realized yet because of its high costs. <br /><a href="https://www.repository.unipr.it/bitstream/1889/1997/1/bertocchi_meteorite%20al%20contrario.pdf" target="_blank" rel="noopener">Read more</a>.
Bertocchi, Davide
2010
Rossi, Valentina
application/pdf
Italian
Still Image
<a href="http://hdl.handle.net/1889/1997" target="_blank" rel="noopener">http://hdl.handle.net/1889/1997</a>
Coraza
Invited to take part to the second edition of the performance festival curated by Adriana Rispoli and Eugenio Viola, Corpus. Art in action, 7-26 June 2010 at MADRE Museum in Naples, Galindo focused on the social problems that affects the city. As a result, the artist’s project recalls a kind of training practiced by the Camorra: to shoot a person who is close to his killer. The performance was supposed to happen like this: the artist, wearing a bulletproof vest, is locked in a room with a man standing a meter and a half to her. The man is armed with a gun and he shoots at the artist after asking her for three times, in English: “Are you afraid?”. The audience attends in a adjacent room, where he can only listen to the sounds coming from the performance. Immediately after the shot the artist and the man come out (the man from a side door, without being noticed) and the room remains empty and accessible to the public. According to Galindo, the project was refused because it had been considered too dangerous. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2089/1/galindo_coraza.pdf" target="_blank" rel="noopener">Read more.</a>
Galindo, Regina José
2010
Modena, Elisabetta
image/jpeg
application/msword
Italian
Still Image
Text
<a href="http://hdl.handle.net/1889/2089" target="_blank" rel="noopener">http://hdl.handle.net/1889/2089</a>
La camera della morte
The project donated by Luigi Presicce (Porto Cesareo, 1976) consists in an unrealized performance. The action, with an utopian and theatrical nature, is inspired by the annual event in which the tuna migrate to the <a href="http://www.youtube.com/watch?v=nZvGrvT4OhE&feature=youtu.be" target="_blank" rel="noopener">island of Favignana</a>, in the south of Italy, to reproduce themselves, and according to the artist to make a journey of love. On this occasion the fish goes through a maze made up of fishing nets to end up inexorably in the death chamber, where they are harpooned and killed. The action has been designed by the artist as a game of reversing roles, in which the men take the place of the tuna and unaware they are ready to participate to the last moment of their life, just waiting to be slaughtered by other men. It is a transposition of the man from hunter to prey, from victim to victimizer, an inversion that creates alienation and a violent trauma. All these elements lead the viewer to a possible kind of visionary hallucination, where the role of Presicce is no longer that of the protagonist of his own performance but of an expert Director of expert careful towards the construction of a new appearance. This performance also draws inspiration from a short aphorism by <a href="http://www.youtube.com/watch?v=s-4OrG6kows&feature=relmfu" target="_blank" rel="noopener">Carmelo Bene</a> in which the actor claims that the public should pay the cost of the show with his own life. <br />Because of its utopian nature, it has never been possible to realize the performance. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2054/1/presicce-camera%20della%20morte.pdf" target="_blank" rel="noopener">Read more</a>.
Presicce, Luigi
2012
Rossi, Valentina
image/jpeg
Still Image
<a href="http://hdl.handle.net/1889/2054" target="_blank" rel="noopener">http://hdl.handle.net/1889/2054</a>
I Nomi del tempo
<p>Installation in 2 parts, 2009. Venice, Basin of the Arsenale, Gaggiandre, and Tese delle Vergini, Italian Pavilion.</p>
<p>Environmental dimensions. Light, water, photography, sound.</p>
<p>A) Outside: A semi-submerged photographic image of 60x20m. occupies the stretch of water of one of two ancient covered basins of the Arsenale. The image represents simultaneously two circles of water and the symbol of Infinity. A stone thrown in water has created the splitting of the first cell, giving rise to a multiplicative process. The photographic act freezes the action and renders eternal the instant and the becoming of time, Past and present, stasis and change, finite and infinite are simultaneously present: the place is real and virtual at the same time.</p>
<p>B) Inside: 12 light-boxes placed in the niches of the left wall of the Theater of the Virgin transform the wall in a great self-illuminating façade. Light and architecture are welded into a single radiating structure that transmits light within the building. On the floor in front, a water tank of about 16×16 m. reflects the architecture of light, generating the virtual image space. The still surface of the water is perturbed by the undulatory motion of concentric waves that propagate rhythmically from the center of the tank. The vibration of this liquid surface corresponds with the intangible sounds diffused into the great emptiness of the room: visual and sound waves interact, creating the vibrating movement of the water.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2001/1/wolf_i%20nomi%20del%20tempo.pdf" target="_blank" rel="noopener">Read more</a>.</p>
Wolf, Silvio
2009
Longari, Elisabetta
image/jpeg
English
Still Image
<a href="http://hdl.handle.net/1889/2001" target="_blank" rel="noopener">http://hdl.handle.net/1889/2001</a>
Il fiore e la pietra
<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>.
Hirsch, Debora
2002
Bignotti, Ilaria
application/pdf
Italian
Still Image
Text
<a href="http://hdl.handle.net/1889/1996" target="_blank" rel="noopener"><strong><code>http://hdl.handle.net/1889/1996</code></strong></a>
Looking for the Island
<em>Looking for the island</em> is a video project dedicated to the Garbage Patch, an ‘island “dump” located in the Pacific Ocean that began to form around 1950. This particular island, composed of polymers in the form of bottles, packaging, networks and other kinds of junk, is moved constantly by ocean waves that wear the matter down by reducing it to tiny particles dissolved in water. The floating mass of “particle waste”, which apparently resembles plankton becomes food for fish and birds, reintroduced into our food chain and consequently in our bodies. <br />The artists projects is based right on this contrast between natural and artificial, landscape and industry; through the video they want to document the journey of these plastic particles that paradoxically become feed for fishes, and therefore food for human beings. Challenging the common perception of this place, that is often considered improperly as a real island, this video wanted to place a videocamera waving slowly inside the water, extending and shortening the length of the take from time to time through these fragments of memory. The artists realised specifically for MoRE a series of watercolors that represent the Garbage Patch; moreover, they donated two charts, part of the project, that analyze the ocean and its currents. All the five sketches present a circular design that reminds, indeed, the island or cloud of garbage, while the lines in subtle colors seem to remind a rarefied and immaterial universe The artists were invited to realise this project by Fondazione Hermes in 2007, but it wasn’t selected in the end. It's still unrealized due lack of funds. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2329/1/goldiechiari_Looking%20for%20the%20Island.pdf" target="_blank" rel="noopener">Read more</a>.
goldiechiari
2007
Rossi, Valentina
image/jpeg
application/pdf
English
Still Image
Text
<a href="http://hdl.handle.net/1889/2329" target="_blank" rel="noopener">http://hdl.handle.net/1889/2329</a>
18.20 (Progetto per il Piazzale Caio Mario)
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>.
Marisaldi, Eva
2002
Modena, Elisabetta
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English
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<a href="http://hdl.handle.net/1889/2421" target="_blank" rel="noopener">http://hdl.handle.net/1889/2421</a>
Orbite
<em>Orbite</em> is a site-specific project designed for the Palazzo della Regione Lombardia in Milan: on two of its façades (the south-east and north-west one) Uberti wanted to install the light drawing of a portion of the orbits of the solar system. The orbital map was taken from the NASA site and redesigned, scaled. The request was made to Massimo Uberti, along with four other international artists, by a manager of the Lombardy Region in 2009. The goal was the development of the new headquarters of the Lombardy Region with large, site-specific contemporary art works. The project<em> Orbite</em> was developed by Uberti in collaboration with N.O. Gallery, directed by Ilaria Barbieri Marchi. The cost of the project was € 200,000 and covered all expenses, from concept design to the set up and the communication plan. Until the delivery of the executive projects, the work was feasible. Once delivered, the reasons for non-completion have never been made public.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2341/1/uberti_orbite.pdf" target="_blank" rel="noopener">Read more</a>.
Uberti, Massimo
2009
Bignotti, Ilaria
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<a href="http://hdl.handle.net/1889/2341" target="_blank" rel="noopener">http://hdl.handle.net/1889/2341</a>
Esser Spazio
<span><span>The project was submitted to the commission for the International Competition <em>SPAZIO/MAXXI due percento</em>, published in October 2008, for the creation of two works of art for the MAXXI Museo nazionale delle arti del XXI secolo, Rome: one had to be designed for the atrium of the museum and another one for the outdoor areas. </span><br />The light work <em>Esser Spazio</em> had to be placed outside the MAXXI Museum, integrating the architectural environment with discretion and inhabiting the final steps of the square above the entrance to the museum. Uberti, coherent with its artistic research which often aims at drawing symbolic shapes and signs on the architectural and urban public space – sometimes with effects of displacement, sometimes to emphasize the characteristics and peculiarities of the place - in this case suggested a sentence, a motto and at the same time a call, asking the public to actively participate in the construction of the museum: then reflecting on the meaning of this new space for contemporary art, on its role in respect to the culture, but also on the shape of the city itself. The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008 by the Provveditorato interregionale per le opere pubbliche per il Lazio, l’Abruzzo e la Sardegna, in agreement with the PARC Direzione generale per la qualità e la tutela del paesaggio, l’architettura e l’arte contemporanee.<br />The work didn't win the competition.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2333/1/uberti_essere%20spazio.pdf" target="_blank" rel="noopener">Read more</a>.</span>
Uberti, Massimo
2008
Bignotti, Ilaria
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English
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<a href="http://hdl.handle.net/1889/2333" target="_blank" rel="noopener">http://hdl.handle.net/1889/2333</a>
Promise. Progetto per la recinzione del cantiere del Museion di Bolzano
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>.
Marisaldi, Eva
2007
Modena, Elisabetta
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2422" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2422</a>
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Cinema Italia
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>.
Marisaldi, Eva
2005
Modena, Elisabetta
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2418" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2418</a>
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Ritz
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>.
Marisaldi, Eva
2004
Modena, Elisabetta
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2417" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2417</a>
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Rotonda di Verduno
Project to create a sculpture for the traffic circle, commissioned by the town of Verduno, a town in the heart of the Langhe where Valerio Berruti has chosen to live and establish his own studio in a deconsecrated church. The sculpture should have been realised with Corten steels, with a diameter of 8,5 metres and 4 meters height. The administration didn’t realized Berruti’s project because it did not include any explicit reference to local goods such as wine and grapes. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2105/1/berruti_rotonda.pdf" target="_blank" rel="noopener">Read more.</a>
Berruti, Valerio
2009
De Felice, Letizia
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English
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<a href="http://dspace-unipr.cilea.it/handle/1889/2105" target="_blank" rel="noopener"><strong><code>http://hdl.handle.net/1889/2105</code></strong></a>
Scala
Site-specific project: fresco on the walls of a large scale of a nineteenth century building, recently renovated to become the site of a well-known italian bank. Initially, Berruti was contacted directly by the Director of the Bank in order to realize the site specific project. Only during the vernissage of the new bank headquarter, Berruti discovered that the project had been given to another artist. Childhood is once again the main concept of this work, with the almost stylized figure of a girl that is at the same time minimal and strongly expressive. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2106/1/berruti_scala.pdf" target="_blank" rel="noopener">Read more.</a>
Berruti, Valerio
2009
De Felice, Letizia
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2106" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2106</a>
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Arciteatro
Arciteatro is a simple and clear project – although very well articulated - that Varisco prepared when she was invited to participate in the competition organized by the Municipality of Milan for the construction of a sculpture intended to be located in the square near the Arcimboldi Theatre. The artist then thought of "inhabit" the public space with geometric - but open - shapes, of the kind that it’s often possible to find in his work, forms that, in their mutual dialectical relationship and tension with the surrounding environment, create a new and different spatial dimension, in which the perception habits of the public are challenged, as it always happens in her work, which are often declined in the concrete dimension of the surrounding space.<br />The project never won the competition. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2055/1/varisco_arciteatro.pdf" target="_blank" rel="noopener">Read more.</a>
Varisco, Grazia
2000
Casero, Cristina
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2055" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2055</a>
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Senza Titolo
This unrealized work donated to MoRE museum consists in a performance staged simultaneously in two different galleries in Berlin, in one venue there are many young mothers with babies, while in the other there are elderly people. The overlaying of the two actions creates a kind of disorientation in the viewer who is facing the two venues to enjoy the same work of art, the visitor entrance is potentially submerged by these presences that are on an ambiguous track between irony, sarcasm and an uncanny feeling of “homologation” of the protagonists. This work can be considered a modern allegorical composition of the three ages of man, on the one hand young women with their children – maturity and youth – while in the other gallery there is the last stages of life. Even if the work has an “aulic” meaning and evokes an iconography of the past, it developed through a ludic dimension which characterizes a great part of the work of the artist. Therefore there’s not only a Marcel Duchamp vein in Scotto di Luzio’s poetic, as we can see in <a href="http://moremuseum.org/omeka/admin/items/show/35" target="_blank" rel="noopener">the other project donated to MoRE</a>, but also a performative research that approaches both the avant-garde of the Seventies that the more recent trends of the Nineties, and that is penetrated by a Neapolitan sense humor with ancient roots (remembering Totò and Eduardo de Filippo) that conceals melancholy and irony.<br />The project was created in collaboration wirh the Krome Gallery (Berlin), but a second gallery has never been found.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2415/1/scotto_untitled.pdf" target="_blank" rel="noopener">Read more.</a>
Scotto di Luzio, Lorenzo
2012
Rossi, Valentina
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2415" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2415</a>
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Triton / La Luce del Suono
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.
Mosconi, Davide
<em>TRITON:</em> 1976-1977 <br /><em>LA LUCE DEL SUONO</em>: 1984-1986
Longari, Elisabetta
DSpace: <a href="http://hdl.handle.net/1889/1999" target="_blank" rel="noopener">http://hdl.handle.net/1889/1999</a>
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English
Document
Scala mobile con deserto
The project involves the construction of an escalator in the desert. In this project, as in<a href="http://moremuseum.org/omeka/admin/items/show/id/33" target="_blank" rel="noopener"> the other one donated to MoRE</a>, Lorenzo Scotto di Luzio works on the opposites, inserting in a totally neutral setting – a distinctive trait of the Eastern world – an element with a strong “western” connotation, that represent the commerce and that clashes with the unspoiled landscape of the desert. In the idea of Scotto di Luzio, the staircase is defunctionalized and will not need any maintenance, it should deteriorate and become a relic, an abandoned monument, almost “commemorative” of a past world. Even here the artist hides a paradox, perhaps a joke: the celebration of the western cult just inside the eastern world, two concepts and two cultures that come together to create a sort of epiphany of the vision, just like a “mirage” in the desert. The artist, in the review of the project, calls it a “bachelor machine”, a sterile and unproductive device, a sort of ready-made on a large-scale, defunctionalized and completely out of context, designed not to be placed in the hall of a museum but in the desert, an aseptic and neutral space.<br />The project was born withouth clients, and with the willingness to propose it to some commissioners in the Emirates, but has never been proposed to any possible commissioner.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2414/1/scotto_scala%20mobile%20con%20deserto.pdf" target="_blank" rel="noopener">Read more.</a>
Scotto di Luzio, Lorenzo
2012
Rossi, Valentina
DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2414" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2414</a>
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A conceptual noise...
The idea is to put a small gadget on a very famous Duchamp’s work, <em>Roue de bicyclette</em>, a ready-made exhibited in several museums all around the world (Centre Pompidou in Paris, Tate Gallery in London, Moma in NY...). Considering that his work is a reproduction itself, a copy of the lost original, the idea of a “posthumous homage-enrichment” is really close to Duchamp spirit. The introduction of a credit card establishes a link with other artist who changed the art world, investigating the role of money and material goods, such as Dali (Avida Dollars) but above all Wharol. There is a recreational element in this gadget: the artist took inspiration from the playing cards that children put on their bikes to simulate the sound of an engine. The kit, made of a copy of the artist’s credit card and a clothes peg to decorate Duchamp’s work according to Bonacorsi’s instructions, is sold apart in the museum shop.<br />This work was planned by the artist on the occasion of the re-opening of Centre Pompidou collections in 2000, but he never proposed it to the museum: a typical development of Bonacorsi’s work, really influenced by the concept of dépense.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2000/1/bonacorsi_a%20conceptual%20noise.pdf" target="_blank" rel="noopener">Read more.</a>
Bonacorsi, Ivo
1999
Longari, Elisabetta
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<a href="http://hdl.handle.net/1889/2000" target="_blank" rel="noopener">http://hdl.handle.net/1889/2000</a>
Casa per uno Scultore (Casa per lo scultore Carmelo Cappello)
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>
La Pietra, Ugo
1960-1962
Zanella, Francesca
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English
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<a href="http://hdl.handle.net/1889/1770" target="_blank" rel="noopener">http://hdl.handle.net/1889/1770</a>
Nodi Urbani
<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>
La Pietra, Ugo
1965-1968
Zanella, Francesca
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English
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<a href="http://hdl.handle.net/1889/1771" target="_blank" rel="noopener">http://hdl.handle.net/1889/1771</a>
Mine Vaganti
The projects, partially realised, aimed at creating arbitrarily identities of not existing artists and critics who actively took part to the art system with their pretended and artificial professionalism through fake works and statements or even exhibition well communicated and promoted. The goal was to cause a short circuit in the art system to stress the subtle borderline between reality and fiction, but also between what is arbitrary and what belongs to the specific art system in order to prove its predictability. The projects dates back to 1987-88 and has been described also in the publication How to become an artist in 1992.<br />A partial realisation of the project has been the creation, together with a team of curators, of an invented artist who realised some works and took part to some experimental exhibitions.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1776/1/CESARE%20PIETROIUSTI_Mine%20Vaganti.pdf" target="_blank" rel="noopener">Read more.</a>
Pietroiusti, Cesare
1987-1988
Modena, Elisabetta
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<a href="http://hdl.handle.net/1889/1776">http://hdl.handle.net/1889/1776</a>
Finestre
The project, entitled <em>Finestre</em> since its first conception, has undergone several revisions and can be considered only partially realised. The idea of opening windows on adjoining rooms to offer the spectators an unusual continuity of vision between contiguous spaces is conceived initially as a real demolition of the walls of the building hosting one of the seats of Vivita 2 Gallery of Ciotti and Camillo D'Afflitto in Florence (adjacent to an old abandoned cinema). This idea was abandoned for technical and practical difficulties, and in January 1990 the artist realized a different version of the project (inside Vivita 1 gallery in Florence) by exhibiting on the walls of the gallery pictures of the adjoining rooms that were recessed inside the walls that should have been tore down to produce a kind of trompe l’oeil effect (as can be seen in an undated sketch found among the artist's papers that probably dates back to 1989).<br /><a href="https://www.repository.unipr.it/bitstream/1889/1773/1/CESARE%20PIETROIUSTI_Finestre.pdf" target="_blank" rel="noopener">Read more</a>.
Pietroiusti, Cesare
1989
Modena, Elisabetta
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English
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<a href="http://hdl.handle.net/1889/1773" target="_blank" rel="noopener">http://hdl.handle.net/1889/1773</a>
Inchieste Oggetti
This unrealised project dates back to 1990 and has been published by Jartrakor in 1992. The idea was to test the relativity of individual definitions by asking to a certain number of people to identify an object in their home that satisfies certain requirements such as the relation form-function or that has a specific aesthetical or emotional value for its owner. The objects should then have been exhibited with a very precise setting (e.g. according to the alphabetical order of the owner's names) regardless of the value of each object, responding to a principle of seriality. The theme of this research, that is the “definitions” and the involvement of a generic audience on the most important topics of contemporary art, can be found also in the “Enquiry about art works”, an unrealised project in which the author supposes to ask to common people to create in their mind an art work in details. Thus, among the author's unrealised projects we can see also several projects of unrealised exhibitions, an element that confirms once more his interest for the exhibition practices of the art system. This project was not commissioned.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1774/1/CESARE%20PIETROIUSTI_Inchieste%20oggetti.pdf" target="_blank" rel="noopener">Read more</a>.
Pietroiusti, Cesare
1990
Modena, Elisabetta
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Italian
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<a href="http://hdl.handle.net/1889/1774" target="_blank" rel="noopener">http://hdl.handle.net/1889/1774</a>
Inviti
The project, part of the author's criticism towards the system, concerns the issue of the fruition of contemporary art and of the so called art system in general. A first version of the project was developed since 1991. We can see on one of the artist's notebooks some notes about a personal exhibition that should have took place in a private gallery in Rome at the beginning of 1992 and that was never realised probably because the art dealer was afraid of a possible misunderstanding of the performance; the project, infact, was based on the participation of a group of prostitutes as guests paid for their presence. Their participation should have caused a sensation of alienation to the spectators, who should have perceived something unusual compared to usual vernissage. The performance should then have been documented through pictures and audio recording, but it was <em>c</em>ancelled by the commissioner a few days before the opening. An alternative version of this project can be found in the book published by Jartrakor Study Center in 1992; it was based on the possibility to invite people with distinctive features that usually are easy to be recognized (such as ecclesiastics) but dressed “normally, in order to create in the spectator a sensation of undefined oddity. The same project has been described inside the catalogue of the exhibition <em>Exhibit A</em> at the Serpentine Gallery in London, focused on the problem of the role and meaning of the “exhibition”.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1775/1/CESARE%20PIETROIUSTI_Inviti.pdf" target="_blank" rel="noopener">Read more</a>.
Pietroiusti, Cesare
1991-1992
Modena, Elisabetta
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Italian
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<a href="http://hdl.handle.net/1889/1775" target="_blank" rel="noopener">http://hdl.handle.net/1889/1775</a>
Museo degli artisti dimenticati
<span>In 2000 Pietroiusti prepares the draft of a project for a "Museum of forgotten artists”; the idea was to look for artists which were very valuable but forgotten, in order to write an alternative history of italian contemporary art for the last three decades. This project was never realized, but it is possible to find similarities with some other projects realized by the artist. Coherently with his research on the art system, Pietroiusti has indeed imagined an exhibition of artists who gave up working. This idea too is linked to the enquiry on the social role of the artist and his function; for this reason, the idea described in a notebook comes together with a later note that refers to an exhibition of artists that are not recognized by the system, but by a limited and non influential number of people or even just one single person, simply because they produced some art works. Through this project Pietroiusti underlines the importance of one element of the system, that is the necessity to be recognized as an artist, an event that in most cases requires a first acknowledgement by the members of the system itself, a theme on which the artists returns with the institution of a <em>Museum of exiled Italian contemporary art</em>, an itinerant museum without a place that collects marginal and ignored artistic experiences. The project of an exhibition of artists who gave up working was then partially realized thanks to the collaboration with two curators, M. Clark and M. Dickenson, on the occasion of the exhibition <em>democracy! Socially Engaged Art</em> at London's Royal College of Arts in May 2000.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1777/1/CESARE%20PIETROIUSTI_Museo%20degli%20artisti%20dimenticati.pdf" target="_blank" rel="noopener">Read more</a>.<br /></span>
Pietroiusti, Cesare
2000 ca.
Modena, Elisabetta
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Italian
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<a href="http://hdl.handle.net/1889/1777" target="_blank" rel="noopener">http://hdl.handle.net/1889/1777</a>
[Progetti per una mostra retrospettiva]
Since 2000 in the artist’s notebooks we can find several information and notes about the project of a retrospective exhibition that has never been realized.<br />One note dated 2001 sketches out the idea of an exhibition of artists who developed ideas similar to Pietroiusti's ones or who even accused him of stealing their ideas. With this project Pietroiusti continues his reflection on the concept of authenticity, uniqueness, physical and intellectual property of the art work.<br />One more hypothesis, dating back to 2002, rather refers to an exhibition in which the artist planned to exhibit all his art works and to exchange them with new projects realized in collaborations with the visitors or inspired by them.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1778/1/CESARE%20PIETROIUSTI_Progetti%20per%20una%20mostra%20retrospettiva.pdf" target="_blank" rel="noopener">Read more</a>.
Pietroiusti, Cesare
2000-2013
Modena, Elisabetta
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Italian
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<a href="http://hdl.handle.net/1889/1778" target="_blank" rel="noopener">http://hdl.handle.net/1889/1778</a>
Certificati di Autenticità
The artist developed a never-realized project for the production of different typologies of certificates of authenticity, like for instance one attesting a person's own identity, or unrealized art works or sophisticated certificates printed on papyrus for objects of little value (e.g. A one cent coin). The unrealized project is coherent with the author's research that often investigates ironically the economic system and the attribution of a commercial value to objects.<br /><a href="https://www.repository.unipr.it/bitstream/1889/1772/1/CESARE%20PIETROIUSTI_Certificati%20di%20autenticità.pdf" target="_blank" rel="noopener">Read more</a>.
Pietroiusti, Cesare
1987-1988
Modena, Elisabetta
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Italian
Still Image
<a href="http://hdl.handle.net/1889/1772" target="_blank" rel="noopener">http://hdl.handle.net/1889/1772</a>
Tiramolla 92
<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>
Moro, Liliana
1992
Zinelli, Anna
image/jpeg
Italian
Still Image
<a href="http://hdl.handle.net/1889/2442" target="_blank" rel="noopener">http://hdl.handle.net/1889/2442</a>
Il pop up che non si apre
<em>Il pop up che non si apre (The pop up that will not open)</em> is an artist's book designed by Luca Trevisani in 2011. The artist starts from his series of works, printed on copper and cardboard, named <em>Fly fishing</em> (2010), to elaborate the structure of a pop up book. In this editorial project many of the attitudes and characteristics of the artist's work are visible, such as the sculptural gesture, the condition of equilibrium, manual skills and the chosen material: the paper. The project was initially designed as a self-production by the artist himself, and then proposed to the publishe cura.books, but it has never been realized for the high costs and because of the many difficulties in finding the necessary financial coverage. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2443/1/Luca%20Trevisani_Il%20pop%20up%20che%20non%20si%20apre.pdf" target="_blank" rel="noopener">Read more.</a>
Trevisani, Luca
2011
Rossi, Valentina
application/pdf
Italian
Text
<a href="http://hdl.handle.net/1889/2443" target="_blank" rel="noopener">http://hdl.handle.net/1889/2443</a>
Il Respiro di uno spazio / Livella il cielo
<em>Il Respiro di uno spazio / Livella il cielo</em> is a project created by Luca Trevisani in 2011 and donated to the museum MoRE in 2014. The artist through his working methodology, that starts here from a scientific data, designs a system of pipes that pass through a house, the network of tubes is sectioned and receives the rain and other weather elements, the water level therefore changes according to atmospheric events. The water, among other things, is also the subject of an artist book, <em>Water Ikebana Stories about solid & liquid things</em> (Humboldt Books, 2014), published by Luca Trevisani. <br />The project donated to the museum has not been realized due to the lack of a commisioner and of a suitable location for the development of the work.<br /><a href="https://www.repository.unipr.it/bitstream/1889/2450/1/Trevisani_Il%20Respiro%20di%20uno%20spazio%20-%20Livella%20il%20cielo.pdf" target="_blank" rel="noopener">Read more.</a>
Trevisani, Luca
2011
Rossi, Valentina
application/pdf
Italian
Text
<a href="http://hdl.handle.net/1889/2450" target="_blank" rel="noopener">http://hdl.handle.net/1889/2450</a>
Caleidoscopi; Allora la luna
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>
Losi, Claudia
2004
Modena, Elisabetta
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application/pdf
Italian
Still Image
Text
<a href="http://hdl.handle.net/1889/2444" target="_blank" rel="noopener">http://hdl.handle.net/1889/2444</a>
Simpatia Cosmica; De mi amor mi canto
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. Torelli proposed two projects: <em>Simpatia Cosmica (Cosmic sympathy)</em>, conceived for the communication room diagnosis (BCM), and <em>De mi amor mi canto</em>, for the area where the remains rest. The project was not realized due to a series of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2445/4/Torelli_Simpatia%20cosmica%20de%20mi%20amor%20mi%20canto.pdf" target="_blank" rel="noopener">Read more.</a>
Torelli, Sabrina
2004
Modena, Elisabetta
application/pdf
image/jpeg
Italian
Text
Still Image
<a href="http://hdl.handle.net/1889/2445" target="_blank" rel="noopener">http://hdl.handle.net/1889/2445</a>
Laboratori
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. Fantin aims at creating a great book on the fairy tale "The Bremen Town Musicians" and a series of workshops for children in collaboration with the teachers of the school Garagnani Maria Steiner of Bologna (<em>Meet the tale and represent it; Take care; Sculpting with hot beeswax</em>). The book was made and donated to the department , while the laboratories were not realized, due to a series of economical, technical and logistic reasons. <br /><a href="https://www.repository.unipr.it/bitstream/1889/2446/1/Fantin_Laboratori.pdf" target="_blank" rel="noopener">Read more.</a>
Fantin, Emilio
2004
Modena, Elisabetta
application/pdf
image/jpeg
Italian
Text
Still Image
<a href="http://hdl.handle.net/1889/2446" target="_blank" rel="noopener">http://hdl.handle.net/1889/2446</a>
Metto in moto il prato e partiamo
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>
Marisaldi, Eva
2004
Modena, Elisabetta
image/jpeg
Italian
Still Image
<a href="http://hdl.handle.net/1889/2447" target="_blank" rel="noopener">http://hdl.handle.net/1889/2447</a>
Abat-jour
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>
Mezzaqui, Sabrina
2004
Modena, Elisabetta
image/jpeg
Italian
Still Image
<a href="http://hdl.handle.net/1889/2448" target="_blank" rel="noopener">http://hdl.handle.net/1889/2448</a>