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Is the horse that you are exhibiting at the Fondazione Giuliani unique? Each piece is unique. To date, I have produced three horses and five dogs. This kind of piece takes a while to make as the coal burns very slowly. The coal that was burnt in the head was in equal measure with the coal used to make the bronze. In the piece presented in Rome, the mouth of the horse disappeared, because the concentration of ash was too high and the liquid bronze did not reach the end of the mould, it disappeared in the blend formed by the coal, ash and bones.

That is why the object obtained is a distortion of the image expected. The horse is dead, the neck is therefore already very narrow, as it is no longer attached to the withers the volume disappears. As for the ear, it is straight as if the animal were still alive and listening.

In another piece, another horse, I achieved an open mouth with the outline of worn down teeth, but without the ears. When I work with dogs, the body is often incomplete; sometimes it is difficult to recognise the animal in the final form. Do you consider bronze as precious? In these horses and dogs, the quality of the bronze is very poor, because they are the reverse of what is traditionally sought in bronze.

Bronze is not there to add any additional market value to the piece: A very rich texture is achieved through a direct and intense process. The interior density is visible. To some extent, with the horse the history of the process used to achieve the object and the object itself are contemplated in equal measure. Should your work be considered from an anthropological point of view? I am delighted that the outer appearance has a Baroque style. Indeed, I strive to make objects that have a certain timelessness it is not important whether they were made now or ten years ago and universality I am not meticulous regarding specific cultural elements.

At the same time, my work follows in the tradition of great sculptors and, in certain respects, witchcraft with skin, hair, fetishes, horns and teeth: I chose dogs and horse. These are meat, but above all they are also animals closely related to man. There is something disturbing about working with a dead animal as the starting point; predation and sacrificing animals comes to mind.

But I do not reduce animals to a metaphor. A dead dog is more moving than the mass unemployment of young Africans. What I do with these animals is only possible because my partners are very cooperative, armed with a good knowledge of the land and a long-standing friendship. But I practice sculpture, not art brut. Elle a été réalisée au Burkina Faso. Pourquoi les modes de production importent tant dans ton travail?

Jean-Marie Perdrix Je travaille au Burkina avec des artisans bronziers qui sont mes partenaires depuis 20 ans. Ces animaux sont des totems de mes partenaires, mais je ne le savais pas. On trouve le cheval en boucherie à Ouagadougou ; quant au chien, il y existe tout un circuit informel où les chiens morts circulent. Il a parfaitement compris que je menais une expérience avec les possibilités que je pouvais trouver dans ce pays. Est-ce toi qui a inventé ce procédé?

Je distinguerai deux choses. Ils recherchent la même image que leur modèle, mais en bronze. Le cheval que tu exposes à la Fondazione Giuliani est-il une pièce unique? Chaque pièce est unique. Ce genre de pièce est long à faire car le charbon a brûlé très lentement. On a utilisé autant de charbon qui a brûlé dans la tête que de charbon qui a servi à faire le bronze.

Accordes-tu une valeur précieuse au bronze? La densité intérieure est visible. Ton travail est-il à comprendre du point de vue anthropologique? Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3 , , cast of copper alloy, carbon and ash, 25 x 77 x 33 cm 3. Jean-Marie Perdrix, Chien à la Chair Perdue 2 , , cast of copper alloy, coal and ashes,14 x 39 x He has always tried to include the viewer in his works, with varying levels of participation being essential to complete each piece.

Given that viewers do not approach works from one direction alone, in his architectural projects and video installations Graham challenges and deconstructs the Renaissance theory of perspective. It includes a memorial honoring the artist, a museum, and a research center. The model features a series of houses of the same size, one of which plays host to the museum.

Homes for America reveals another area that Dan Graham has been interested in since the s: This work, in the style of a photographic reportage, explores the American suburbs and their rows of identical homes. La carriera artistica di Dan Graham attraversa diversi linguaggi: Dato che il punto di vista dello spettatore non è unico né unidirezionale, nei suoi progetti architettonici e nelle sue installazioni video Graham decostruisce la teoria della prospettiva rinascimentale.

Il modellino consiste in una serie di case della medesima dimensione, una delle quali ospita il museo. Si tratta di una serie di fotografie di taglio giornalistico, dedicate agli spazi della periferia americana e alla serialità delle sue abitazioni. Born , Paris, France Lives and works in Metz, France Mathieu Kleyebe Abonnenc seeks to question the cultural hegemony on which the evolution of contemporary societies is based. His collection of living insects includes a mosquito that now bears his name.

Narrated by two female figures whose personalities are revealed as the story unfolds, the plot takes place in several museums in France and Africa, disconnected from the dimensions of time and the outside world, and serves as a pretext for a reflection on historical collective and personal perception. Slaven Tolj is one of the leading exponents of the art scene in Croatia. His radical minimalist practice, which includes performance, photography, actions, and ready-mades, explores social situations and historic events.

In the s, Tolj focused on the situation in his country, namely the break-up of Yugoslavia and in particular the siege of Dubrovnik, his home town. In his solo show Low Season , hosted by the Dubrovnik Museum of Modern Art in , Slaven Tolj recreated a stylized version of the city inside the museum, linking the areas of the building with various neighborhoods of Dubrovnik.

The title of the exhibition refers to the tourist season and is a clear indication that the project was mainly destined for the local population. The show also featured the work Map of the City of Dubrovnik , a city plan reworked by the artist. After the conflict, a map showing where the city was bombed after the siege in was placed by the road going into the city.

Tolj used the same map, but in his version the key refers to the bars, fast food outlets, souvenir shops, etc. It is a vision of a city that is being emptied and turned into a holiday destination: Slaven Tolj è uno dei più importanti esponenti della scena artistica croata. La sua pratica radicale e minimalista, che comprende performance, fotografie, azioni e oggetti ready-made, si focalizza su fatti sociali ed eventi storici.

Tolj ha usato la stessa mappa, ma nella sua versione la legenda evidenzia i bar, i fast-food, i negozi di souvenir ecc. Si ha quindi la visione di una Dubrovnik progressivamente assediata da spazi di ricezione turistica: In mostra sono presenti due piantine: Below, between the two entrances, the Austrian double-headed eagle wearing the imperial crown sits above the coat of arms of the Magistrato Mercantile.

The façade is atmospherically lit by more than 3, candles on the windowsills and band courses between floors. At the bottom of the print is the long dedication from the Guild of Merchants to their guest, with the names of the two groups of judges in office in and the chancellor. Two of the three portraits displayed for the occasion are those belonging to the Magistrato Mercantile.

Matthieu Saladin is an artist, musician, and researcher. His practice is founded on a conceptual art approach, reflecting, through an ongoing use of sound, on the production of spaces, the history of forms and processes of creation, as well as the economic and political relations of art and society.

The work Economic Score transposes a cultural economy into a musical score. For the version Economic Score: Soleil politique , the exhibition budget, including production costs and private financial support, has been transcribed as a musical score.

The work refers to aspects of social and economic life that, given their immaterial nature and omnipresence, escape direct perception and yet nevertheless dictate and mold attitudes, discourses, social relations, and daily activities. The ideological imprint of material production is appropriated as a medium in order to investigate the tensions of social space, along with the relation between aesthetic perception and the economic activities that govern it. Another way of raising similar questions is Calendar of Revolts , which takes the form of a calendar for the year that replaces the celebrations of the patron saints on all days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

Matthieu Saladin è artista, musicista e ricercatore. La creatività di Saladin si esprime sia attraverso installazioni sonore e performance, sia attraverso pubblicazioni, video e creazioni di software: Per la versione Soleil politique, il budget della mostra, si tratti delle spese legate alla realizzazione dei progetti o dei contributi finanziari, è stato tradotto in forma di componimento musicale.

Questa composizione sarà interpretata il 29 ottobre durante il Festival di Musica Contemporanea di Bolzano. Matthieu Saladin est artiste, musicien et chercheur. Cette dernière est interprétée le 29 octobre dans le cadre du Festival de Musique Contemporaine de Bolzano. Another way of raising similar questions is Calendar of Revolts, which takes the form of a calendar for the year that replaces the celebrations of the patron saints on all days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

Emilio Prini, Stampa di un consumo. Il caffè del Kunstverein , detail. Having studied sculpture in Vienna, Josef Dabernig subsequently developed an artistic practice in a wide variety of media. Using conceptual tools, Dabernig investigates the ways in which knowledge and rationality are categorized through conventional forms and behavioral norms.

He has copied entire books by hand in response to the discipline present during his years at boarding school, made lists, and built sculptures from found materials or according to mathematical rules. His films favor a structured storyline and an open end, introducing systems of order where confusing and implausible parameters create discrepancies.

The absent subject of his photographs, which represent empty spaces on the outskirts of large cities, nevertheless offers a sense of narrative and traces of economic and social change. Dopo gli studi in scultura a Vienna, la pratica di Josef Dabernig si diffonde in diversi campi. Il soggetto assente delle sue fotografie, che rappresentano luoghi deserti nei dintorni delle grandi città, lascia spazio a una narrazione in filigrana e alle tracce dei cambiamenti economici e sociali.

Il copie des livres entiers à la main en réaction à ses années de pensionnat à la discipline prononcée, dresse des listes, réalise des sculptures à partir de matériaux trouvés et selon des règles mathématiques. Le sujet absent de ses photographies, représentant des espaces vides aux alentours des grandes villes, laisse place à une narration en filigrane et aux traces des changements économiques et sociaux. Interested in giving art a more dynamic role in everyday life and society, Brehmer analyzes in his works the growing presence of the media and media language in Western consumerist society.

His oeuvre spans painting, graphics, books, films, musical arrangements, and installations. The two crossed flags form a portrait of German society, its social changes and political tendencies. The colors are proportioned to convey various statistics on the distribution of wealth in the country. The left-hand flag interprets data from , dividing German families into three income brackets represented by the national colors: The right-hand flag uses the same colors to represent the increase in per capita earnings between and according to occupation: The fact that the two flags are crossed over represents the inextricable link between social class and distribution of wealth.

Le sue ricerche trovano forma in lavori pittorici e grafici, in pubblicazioni, film, arrangiamenti musicali e installazioni. I colori e la superficie delle bandiere veicolano una serie di informazioni statistiche sulla distribuzione del reddito in Germania. Nella bandiera di sinistra, che fa riferimento al , le famiglie tedesche sono suddivise in base al loro reddito in tre fasce, identificate dai tre colori nazionali: La bandiera di destra, utilizzando gli stessi tre colori, indica la crescita del reddito pro capite tra ileilinbasealtipodi attività svolta: Mattin is a Basque artist whose work responds to the social and economic conditions of experimental music production, through live performance, recordings, and writings.

He investigates the parameters of improvisation, notably the notion of freedom and constant innovation dictated by its conventions and which distinguish it as a genre. For Mattin, improvisation does not merely entail an interaction between musicians and their instruments, but also all the other elements that make a concert. He reveals the stereotypical relations between the active player and the passive audience, which he aims to disrupt by provoking experiences of alienation.

The Audience is Not the Mother of Self-Invention , presented here as a video recording, is a performance that took place in at Index an independent art space in Stockholm during a week-long performance series titled The Audience is the Mother of Self-Invention. The performance began with a video camera equipped with a light projector aimed at Mattin, who stood in the middle of a circle spontaneously formed by members of the audience.

During one hour the camera slowly revolved degrees, moving away from the performer and steadily filming the audience. During the traveling shot, Mattin uttered a series of almost inaudible phrases. The performance ended when the camera came full circle to once again frame him. Una videocamera, munita di proiettore, è puntata su Mattin, che si trova al centro del cerchio formatosi spontaneamente tra gli spettatori. Durante questa carrellata, Mattin pronuncia delle frasi quasi incomprensibili.

La performance si chiude con la videocamera che torna a inquadrare Mattin. La performance prend fin avec le retour du champ de la caméra sur Mattin. Language is totally poetry, as if life were just a song, but there is no naivety in his work. This language seeks to join up with the affective dimension of the objects which punctuate his installations with burnt photographs. Without focusing on any specific practice, he precisely defines his own based on installation and exhibition.

Involved is a spectacular presentation of an atmosphere which steps out as much through the tongue, the furniture, the colors, and the sets of photographs and drawings. Eppure, non vi è nulla di spontaneo.

Le opere sono pensate, ponderate, talvolta scritte, se non pianificate in un futuro più o meno prossimo, come 7 plans de vol , prima di essere realizzate. Né en à Grenoble. Cependant, rien de spontané. Marie Cool and Fabio Balducci began to work together in , and their art is performance-based. Simple, clear, precise, slow gestures, performed mainly by Marie Cool, seek to place the body, time and the materials used on the same plane of meaning and importance.

These materials include sheets of paper, pencils, adhesive tape, water and shadows. At the end of the action, which might just be a simple movement. They are, in fact, displayed on a table covered by a thin film of water, contained at the edges by a strip of adhesive tape. Marie Cool e Fabio Balducci iniziano a collaborare nel La loro pratica artistica si attua principalmente nella performance. Tra i materiali figurano fogli di carta, matite, nastro adesivo, acqua e giochi di ombre: Il tavolo in mostra è coperto da un sottile strato di acqua, trattenuta ai margini da una striscia di nastro adesivo.

The work of Tony Fiorentino is characterized by a continuous search for expression and experimentation through several materials and practices. Objects, thoughts and actions turn into compositions that display a narrative and poetic impact, by which he comments visually on our human condition with all our troubles as well as our social and existential issues. In he won a scholarship that allowed him to attend the Anotati Skoli Kalon Tecknon in Athens for a year. He then moved to Amsterdam and London.

He was invited to take part in several exhibitions in Italy and abroad, among which are: He currently lives and works in Milan. Tony Fiorentino nasce a Barletta nel Successivamente si trasferisce a Amsterdam e a Londra.

Vive e lavora a Milano. Né à Barletta en Vit et travaille à Milan. Hi work has been internationally exhibited in both institutional and commercial venues. He recently had solo exhibitions at the Hamburger Kunsthalle in Hamburg , Midway Contemporary in Minneapolis , and at the Museum Ludwig in Cologne , among others.

Courtesy ProjecteSD, Barcelona 2. Director since of La Synagogue de Delme , an art centre located in a rural area in Eastern France, she co-founded and co-curated the art center Bétonsalon in , with Mélanie Bouteloup. She has been freelance curator between and Between and she has been a board member of d. De à , elle a été membre du bureau de d. First in terms of its history, and then its architecture, and especially its location in a rural area.

In your view, what are the strengths and weaknesses of this context? The weakness could be its isolation in a rural area within a village of residents, 35 km from the towns of Metz and Nancy. But this isolation is relative: Delme is three hours by car from Brussels, Basel and Frankfurt, and Paris is only one-and-a-half hours from Metz or Nancy by train. This region of eastern France has strong connections with other art scenes in Belgium, Holland, Luxemburg, Germany, Switzerland and other countries.

Making the trip to Delme and finding yourself in this landscape — with fields as far as the eye can see — is part of the experience you get from the visit. It turns this visit into a special moment. As for the place itself, its history and architecture have a magnetic power. This historical depth is what makes it so complex and interesting. Unlike the white cube and its supposed neutrality, a place like the Synagogue de Delme conceals infinite resources and questions, and this is what makes it so fascinating.

Where does Delme sit in the context of the overall French art policy? In a context of fiscal austerity, culture is jeopardised. Delme is a very small cog in a very large chain of cultural institutions that are going through major upheavals in terms of cultural policy. In contexts like this, these ambitions should be supported all the more: The reality is more subtle and nuanced.

Why did you want to participate and what programme are you proposing? Working collectively and as a network has always been an essential aspect of my way of conceiving my work as a curator and organisation director.

I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking. Moreover, the meeting with Peep-Hole in Milan was decisive. This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society.

Selon vous, quelles sont les forces et les faiblesses de ce contexte? Mais cet isolement est relatif: Quant au lieu lui-même, son histoire et son architecture dégagent une force magnétique.

Les artistes ne peuvent venir avec un projet clef en main mais doivent se saisir des spécificités du lieu. Comment situer Delme dans le contexte de politique artistique général français? Le volet médiation est extrêmement conséquent au vu des moyens alloués et il est pratiqué avec un engagement total au quotidien. La réalité est plus délicate et nuancée. Ce sont des laboratoires, tant de la création que des modes de transmission à tous types de publics. Le message est parfois difficile à faire entendre dans le contexte actuel, qui prête davantage au repli sur soi et aux peurs de tous ordres.

Pourquoi avez-vous souhaité participer et quel programme proposez-vous? Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante. The Book Society 02 Protagonists: Marie Cozette, Rometti Costales. He curated the following main exhibitions: Kunst Meran Merano Arte. Vincent Honoré Can you tell us about the origin of Kunst Meran?

The idea was to give to the town of Merano a relevant role in the local contemporary art scene. In past times some very famous people, such as Kafka, Mahler, Ezra Pound whose daughter still lives in the castle of Brunnenburg spent their time here.

Since the venue is a house in the town center, which was restored and restructured to become a gallery and art museum.

What fundamentally makes this institution different from others in Italy and on an international level? We are neither a commercial art gallery nor a municipal venue, even if our role is similar to that of a public space. Our funds come both from the private and public spheres, but it has to be noticed that the museum management stays free from any political influence. This is an exceptional status in Italy. In Germany you can find art spaces that you can compare with Merano Arte from this point of view.

PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it? We work following a strong aim which is bringing contemporary art to the attention of common people.

We also think that sharing projects with other international contemporary art spaces represents an important occasion of growth. A network is essential to make collaborations happen. Contemporary art is an instrument that Europe can use to connect different national realities and bring them really together.

Both museums work with contemporary art and aim to value young artists. Mangion and I immediately agreed to give life to an exhibition with young selected artists. They have been invited to produce new works and to collaborate for a project. It took a lot of time to plan and coordinate every detail of the project.

Young artists are very focused on what they want to express through their art. We pushed them to think about the idea of building an exhibition together on site. The collaboration with Éric Mangion and Villa Arson has been really successful in this sense. What are the main responsibilities of a curator and of an art institution in Italy nowadays?

Vincent Honoré Puoi raccontarci come è nato Kunst Meran? Nel passato molti personaggi celebri hanno vissuto a Merano, da Kafka, a Mahler, a Ezra Pound la cui figlia vive ancora nel castello di Brunnenburg. Anche Peggy Guggenheim ha organizzato mostre a Merano nel corso degli anni Cinquanta. Kunst Meran Merano Arte è un museo molto particolare nel contesto italiano, quasi unico nel suo genere. I nostri fondi provengono sia dalla sfera privata sia da quella pubblica, ma va sottolineato che la gestione del museo è indipendente da ogni influenza politica.

Si tratta di una condizione eccezionale in Italia. In Germania esistono spazi comparabili a Merano Arte da questo punto di vista. PIANO mira a creare una rete di spazi espositivi che lavorano insieme, attraverso forme di scambio e interazione. Perché avete deciso di aderire al progetto e come si realizza la vostra partecipazione?

La presenza di un networl è fondamentale perché le collaborazioni abbiano luogo. Mangion e io abbiamo immediatamente concordato di dare vita a una mostra con giovani artisti selezionati, che sono stati invitati a produrre opere inedite e a collaborare tra loro per un progetto nuovo.

La collaborazione con Éric Mangion e Villa Arson è stata un grande successo in questo senso. Nel periodo di incertezza economica e confusione tra valori culturali e di mercato in cui viviamo, le istituzioni artistiche in Italia hanno una fondamentale responsabilità con cui fare i conti: Metal, mixed media, sound installation, X x 87 cm 3.

He creates in this way a protocol which introduces rules limiting its expression and establishing a purely speculative mechanical of work. We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects. I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this?

Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit. Both projects are based on the appropriation of pre-existing narrative structures: The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work. At the same time it must have produced some information that created a connection between us on a sign level: The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one.

How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets? The story is divided into three phases, which are represented by transparent and black resin casts of hands.

The hands are open in the act of picking up, and relate to round-shaped objects. The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway. Do you think that the location of the CAB affected the narrative process? When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB.

For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling.

The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active. They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts. Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story.

Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape. What do you think about this? How do you move among the signs that a story offers you? What is the distance you put between yourself, your practice and the story object? I like the idea of landscape, and in the case of the CAB we could talk of a view.

In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation.

I wonder how in front of this vastness of relationships one could define a common gaze. The signs of history are hence countless like the facets of a view. For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience. The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to.

As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists. With their imagination, we worked starting from two strong images from the stories we had taken as a reference: Cosa ne pensi a proposito? Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro.

Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge.

La storia è divisa in tre momenti che sono raffigurati da calchi di mani in resina trasparenti e neri. Il CAB si trova dentro una roccaforte difensiva, sulla cima di una montagna per lo più accessibile grazie a una strana teleferica dalla forma sferica. Pensi che il luogo del CAB abbia influito sul processo narrativo? Come ti muovi tra i segni che una storia ti propone?

Mi chiedo come davanti a tale vastità di relazioni sia possibile definire lo sguardo comune. I segni di una storia sono quindi infiniti come le sfaccettature di un panorama. Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune.

A proposito della fruizione costante nel processo immaginativo, potremmo dire che questo è stato anche il tema centrale di due workshops , da noi condotti in modo parallelo, con alcuni giovani artisti di Grenoble.

Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: Jacopo Miliani , Alessandro di Pietro Project: From Both Sides of a Mountain Space: Carlo Scarpa is universally known for his restoration work and the drawings that accompanied his architectural and design projects.

For the Venetian architect, drawing was a meditative act, a productive exercise, and a practical way of coming to grips with things. The restoration project began in and was completed in The architect sought to isolate and bring to light the various historical strata of the museum complex, with the idea of making the building an artefact in its own right.

This visual perception is highlighted by his use of color, while he engages with the sense of touch using a series of different papers to create a collage.

Fixed to a concrete base, the statue occupies the part of the building that is most steeped in history. The statue thus becomes a symbol of how the museum, with its new contents, is restored to the community, representing the changes in perspective leading to the reconstruction of Italian museums after the war.

Carlo Scarpa è universalmente noto per i suoi restauri e per i disegni che accompagnano le sue architetture e i suoi progetti di design. Iniziato nel , il restauro si conclude nel After working on the design for a house in with Walter Pichler, a project called House for Two Friends , Raimund Abraham began to create a series of models for houses.

He saw the home as an architectural paradigm springing from the encounter between abstract forms and the landscape. The Austrian architect presented a series of houses based on archetypal shapes and solids the square, cube, circle, sphere, dot, line, and surface and devoted to his closest friends, most of whom were artists or architects. The designs were not constructed but represent original interpretations of human dwellings in the post-modern era. In Haus mit Blumenwänden House with Flower Walls , the flowers that make up the walls of the house wilt and fall to the ground, creating a connection between the lifespan of the building and the processes of disintegration that characterize the world of nature.

Abraham imagines a house in which volumes and spaces, light and shade are constantly changing, and the wind seems to blow from inside the building. In all of these projects the distinctive elements of each design merge with the building itself. Stimolato dal progetto per la realizzazione di una casa, pensato nel insieme a Walter Pichler e intitolato House for Two Friends Casa per due amici , Raimund Abraham lavora a una serie di modelli abitativi.

They have developed a creative process that progressively subverts the standard field of choreography. One of their most recent projects, Géographie- , is part of the process re action they started in , which numbers more than fifteen different works. Géographie- is a score for a group of performers conceived according to the spatial limits of the venue. The performers are recruited in the area where the show will be presented. The perimeter is defined by the movements of the dancers and determines the architecture inside which the choreography is performed created using the tools and materials available on site.

The presence of the dancers follows a schedule that is not communicated to the public and can only be perceived through the sound and vibrations emanating from the structure. Uno dei loro lavori più recenti, Géographie- Geografia- , fa parte del processo intitolato re action iniziato nel che comprende più di una quindicina di lavori differenti.

Gli interpreti vengono reclutati nel luogo di presentazione della coreografia. La performance Géographie-Bolzano , coprodotta dal Festival di Transart, Fondazione Museion e CAC Brétigny, è stata presentata a Museion di Bolzano dal 18 al 22 settembre e ha costituito una sorta di preludio alla mostra Soleil politique.

Together with Hans Hollein and Raimund Abraham, Walter Pichler was one of the leading exponents of radical architecture in the s. His projects combat the formal coldness and monotonous surfaces of modern architecture, using unusual materials to create buildings that tell a story. Pichler often associates his interest in places of worship with the creation of his sculptures and the places that host them, forging a consummate union between landscape, sculpture, and architecture.

In he was invited by the Turin City Council to present a public art project for the underground railway link. The structure is composed of a series of prefabricated elements in cement and is entitled Passage , given that its only function is to connect two different areas. Inside Passage , light plays a key role, and the work is indeed subtitled Lichtkäfig Light Cage.

Indeed for the Gutmann private collection Pichler designed a room to present this project and a version of it for the space outside. Tragbarer Schrein Portable Shrine is another example of how Pichler enjoys using different materials, and it also reveals the mystic element that accompanies his sculptures and installations.

The main section is a reliquary containing a mirror from St. This objet trouvé can be seen through a small hole: Infatti lo stesso Pichler ha progettato una stanza dedicata alla presentazione di questo progetto e una sua realizzazione per lo spazio esterno per la collezione privata Gutmann.

Lo scrigno centrale è concepito come un reliquiario. Al suo interno è contenuto uno specchio proveniente dalla basilica di San Marco, a Venezia. Simon Fravega works as artist and performer. He takes seriously the virtues of disguisement and anecdote.

The nature of these gestures staggers them: Combining this deferred dubbing activity to a flow of micro-narratives, Simon Fravega weaves a reflection on the gap between facts and representations. And under the guise of humour and the absurd, it identifies something essential in the great game of the world. Simon Fravega déploie un travail de plasticien et de performer.

En action, il se cale sur les autres sportifs, rockeurs, personnages de western ou danseurs de hula hoop , étudie les gestes qui les définissent et les rejoue en les décontextualisant. La nature de ces gestes chancelle alors: In he made his first foray into sculpture. Influenced by the spirit of performance art, Breer revisited minimalist sculpture, focusing in particular on the role of the pedestal and the mechanisms that determine the spaces and times of an exhibition.

His Floats floating sculptures , for example, are bodies with wheels and a motor attached, meaning they trundle around at random. Each element presents a small variation hence the title , which makes each single piece unique. At the New York presentation, these little motorized sculptures made almost imperceptible movements on a table.

The piece Column was also based on the same principle: Il segna la nascita del suo vocabolario scultoreo. Ciascun elemento presenta una piccola variazione, da cui il titolo della serie, che rende ogni pezzo unico. Nella presentazione a New York le piccole sculture motorizzate si muovevano impercettibilmente su un tavolo. Anche la scultura Column Colonna del si basa sul medesimo principio: Previous projects include a. Among his edited publications: Progetti precedenti includono, tra gli altri: Ha editato le seguenti pubblicazioni: Parmi ses projets récents: Il a coordonné plusieurs publications, parmi lesquelles: They are the product of relationships between many agents — artist s , curator s , artwork s , audience s , display, etc.

An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience. Nikolaus Hirsch asked this question: Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm up to twelve exhibitions a year.

And I am doing this by inviting artists, designers, choreographers, theorists, etc. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates. I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience.

And I guess this is possible just by administering resources first of all, time, as the most precious one in a savvy way. It is a process that takes time, but some good steps have been made in this direction. We also discussed this topic at a conference at Bétonsalon on 30 May with the Italian collective Invernomuto and the French curator Rémi Parcollet. Esse sono il risultato di relazioni tra diversi attori — artisti, curatori, opere, pubblico, display ecc.

Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Una mostra è una situazione progettata, che rimane tuttavia aperta a diversi fattori incontrollabili, il primo dei quali è il tempo.

Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc. Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo.

Ovviamente è molto importante evitare il rischio di una mentalità troppo ristretta, cosa che tentiamo di fare presentando pratiche e approcci che siano critici e capaci di produrre legami e connessioni tra temi locali e idee più ampie. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione?

Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale. È un processo che richiede tempo, ma abbiamo compiuto importanti passi in questa direzione. Abbiamo inoltre discusso questo tema in occasione della conferenza tenutasi presso Bétonsalon lo scorso 30 maggio, cui hanno partecipato il collettivo italiano Invernomuto e il curatore francese Rémi Parcollet.

Constellation of One and Many , She is a founding member of the non-profit curatorial platform 1: She is a contributing curator for Open Video Projects, a Rome based video archive that organizes screenings of video art, short films, experimental cinema, documentaries and video installations. È tra i soci fondatori della piattaforma curatoriale 1: Nei suoi progetti favorisce una metodologia di lavoro partecipativa e collaborativa. Elle est membre fondateur de 1: What is the core mission of the Foundation and how would you describe its DNA?

What makes it different from other spaces in Rome and abroad? Adrienne Drake As a private, non-profit exhibition space, the Foundation can be flexible, mutable, and our intentions and directives can change over time. I understand you are also responsible for the Giuliani collection. I envision each exhibition in terms of groupings of loose thematic cycles, which are not necessarily overtly declared, but rather curatorial reflections also on the direction of the Foundation.

We have exhibited artists whose work was already in the collection, and these exhibitions provide the opportunity to further research and study the working practice of these artists.

Since we focus on production, there are also occasions in which we acquire for the collection works that we produced for an exhibition. As a small foundation, we can act independently from any long-standing traditional structures which public institutions are more obligated to abide by. We tend to be more orientated towards experimentation and niche production, and are freer to take risks, unrestricted by constraints imposed by the rules and parameters of a museum institution.

Public institutions in Rome must navigate between cultural responsibility and different political agendas and are, unfortunately, often entangled in the dynamics of local and national politics. But all institutions share a common agenda: You invite artists, but also guest curators to engage with the Foundation, its collection and its audience. You open the Foundation to different sensibilities and curatorial methodologies. There are myriad of curatorial methodologies and each of these activate different approaches and sensibilities.

Curators are cultural practitioners, facilitators, researchers, questioners, and together with artists can create forums for discussion on contemporary socio-political and cultural issues, and new modes of production. The premise of your question underlines three essential motivations for why the Foundation is participating in the project: Specifically, Fondazione Giuliani is hosting a four-person show, The Promise of Melancholy and Ecology , the first chapter in a series of exhibitions entitled The Registry of Promise.

Adrienne Drake , Chris Sharp Project: Qual è la mission primaria della Fondazione e come descriveresti il suo DNA? So che sei anche responsabile della collezione Giuliani. Sono curioso di sapere quanto il fondatore sia coinvolto nella visione curatoriale della Fondazione e di conoscere quale sia la relazione tra la Fondazione e la sua collezione. Io e i Giuliani discutiamo sempre del programma espositivo e delle attività della Fondazione.

Vista la forte concentrazione sulla produzione, ci sono state anche occasioni in cui abbiamo acquisito per la collezione opere prodotte per una mostra. Si tratta allo stesso tempo di una testimonianza della storia espositiva della Fondazione e di una pratica collezionistica in tempo reale.

Essendo una fondazione di dimensioni ridotte, possiamo agire indipendentemente da tutte le tradizionali regole cui le istituzioni pubbliche sono obbligate a rispondere.

Siamo più orientati verso la sperimentazione e la produzione di nicchia, e siamo più liberi di assumere rischi, non essendo limitati dai vincoli imposti dalle norme e dai parametri di una realtà museale.

Le istituzioni pubbliche romane sono costrette a muoversi tra la responsabilità culturale e diversi programmi politici e sono spesso, purtroppo, imbrigliate dalle dinamiche della politica locale e nazionale. Ma tutte le realtà condividono un intento comune: Inviti artisti, ma anche curatori a lavorare con la Fondazione, la sua collezione e il suo pubblico.

In questo modo apri la Fondazione a sensibilità e metodologie curatoriali diverse. Ci sono moltissime metodologie curatoriali e ognuna di esse attiva diversi approcci e sensibilità. Essi sono professionisti della cultura, facilitatori, ricercatori, studiosi e insieme agli artisti possono creare occasioni di discussione su temi socio-politici e culturali della contemporaneità e generare nuove modalità di produzione. La prima parte della tua domanda contiene già in sé i tre motive principali per i quali la Fondazione partecipa al progetto: Nello specifico la Fondazione Giuliani ospiterà una mostra collettiva con quattro artisti, The Promise of Melancholy and Ecology , primo capitolo di una serie di mostre intitolata The Registry of Promise.

Francesco De Michelis 2. Benoît Maire, Lies on the Beach , , mixed media, dimensions variable. Giulia Piscitelli, Neopolitan Windows , , adhesive paper on satined plexiglass, ink, 45 x 33 cm each. Carl Andre, 3 rd Steel Triangle , , hot rolled steel, 1 x x cm. Prepared Piano — Model for a New Institutionalism. The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe.

These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano.

The proposed discussion aims to demonstrate that PIANO, as well as Salon Light , dedicated to independent publishing, and Vdrome , a distribution network for artist films, are today all tangible initiatives. He is also an independent curator and the vice-president of the d. This is a series of specific offerings that critically rework the principles of artwork accumulation. Conceived by the director Éric de Chassey and organised by the French Academy in Rome — Villa Medici every year since , the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence.

The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented. Since the beginning, his scientific activities have focused on the US and abstract art. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.

Her work has been the subject of numerous solo exhibitions. Since , she has also participated in important group exhibitions, as well as various international biennials and in Venice where she represented Belgium with Michel François. Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, — at the Galeries Nationales du Grand Palais.

Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema.

Each screening is presented during a limited period, as in a movie theatre. Enrico Boccioletti is an artist and musician active under multiple names — Death in Plains, 4SICSX, spcnvdr and Enrico B — in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He also works for Mousse Magazine and Vdrome. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature.

The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory. All the works presented have a relation with the city and its history: Alessandro Rabottini is an art critic and curator based in London.

He is Curator at Large at the Madre Museum in Naples where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti and served as guest curator for several international institutions. After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in , Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers.

Performances and meetings with professionals and artists are also a key part of the event. Sylvie Boulanger is founder and curator of Salon Light since its creation in She directs Cneai since

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Your humoristic style is witty, keep up the good work! Je distinguerai deux choses. Ils recherchent la même image que leur modèle, mais en bronze. Le cheval que tu exposes à la Fondazione Giuliani est-il une pièce unique? Chaque pièce est unique. Ce genre de pièce est long à faire car le charbon a brûlé très lentement. On a utilisé autant de charbon qui a brûlé dans la tête que de charbon qui a servi à faire le bronze. Accordes-tu une valeur précieuse au bronze?

La densité intérieure est visible. Ton travail est-il à comprendre du point de vue anthropologique? Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3 , , cast of copper alloy, carbon and ash, 25 x 77 x 33 cm 3.

Jean-Marie Perdrix, Chien à la Chair Perdue 2 , , cast of copper alloy, coal and ashes,14 x 39 x He has always tried to include the viewer in his works, with varying levels of participation being essential to complete each piece. Given that viewers do not approach works from one direction alone, in his architectural projects and video installations Graham challenges and deconstructs the Renaissance theory of perspective.

It includes a memorial honoring the artist, a museum, and a research center. The model features a series of houses of the same size, one of which plays host to the museum.

Homes for America reveals another area that Dan Graham has been interested in since the s: This work, in the style of a photographic reportage, explores the American suburbs and their rows of identical homes. La carriera artistica di Dan Graham attraversa diversi linguaggi: Dato che il punto di vista dello spettatore non è unico né unidirezionale, nei suoi progetti architettonici e nelle sue installazioni video Graham decostruisce la teoria della prospettiva rinascimentale.

Il modellino consiste in una serie di case della medesima dimensione, una delle quali ospita il museo. Si tratta di una serie di fotografie di taglio giornalistico, dedicate agli spazi della periferia americana e alla serialità delle sue abitazioni.

Born , Paris, France Lives and works in Metz, France Mathieu Kleyebe Abonnenc seeks to question the cultural hegemony on which the evolution of contemporary societies is based. His collection of living insects includes a mosquito that now bears his name. Narrated by two female figures whose personalities are revealed as the story unfolds, the plot takes place in several museums in France and Africa, disconnected from the dimensions of time and the outside world, and serves as a pretext for a reflection on historical collective and personal perception.

Slaven Tolj is one of the leading exponents of the art scene in Croatia. His radical minimalist practice, which includes performance, photography, actions, and ready-mades, explores social situations and historic events. In the s, Tolj focused on the situation in his country, namely the break-up of Yugoslavia and in particular the siege of Dubrovnik, his home town. In his solo show Low Season , hosted by the Dubrovnik Museum of Modern Art in , Slaven Tolj recreated a stylized version of the city inside the museum, linking the areas of the building with various neighborhoods of Dubrovnik.

The title of the exhibition refers to the tourist season and is a clear indication that the project was mainly destined for the local population. The show also featured the work Map of the City of Dubrovnik , a city plan reworked by the artist. After the conflict, a map showing where the city was bombed after the siege in was placed by the road going into the city.

Tolj used the same map, but in his version the key refers to the bars, fast food outlets, souvenir shops, etc. It is a vision of a city that is being emptied and turned into a holiday destination: Slaven Tolj è uno dei più importanti esponenti della scena artistica croata. La sua pratica radicale e minimalista, che comprende performance, fotografie, azioni e oggetti ready-made, si focalizza su fatti sociali ed eventi storici. Tolj ha usato la stessa mappa, ma nella sua versione la legenda evidenzia i bar, i fast-food, i negozi di souvenir ecc.

Si ha quindi la visione di una Dubrovnik progressivamente assediata da spazi di ricezione turistica: In mostra sono presenti due piantine: Below, between the two entrances, the Austrian double-headed eagle wearing the imperial crown sits above the coat of arms of the Magistrato Mercantile. The façade is atmospherically lit by more than 3, candles on the windowsills and band courses between floors.

At the bottom of the print is the long dedication from the Guild of Merchants to their guest, with the names of the two groups of judges in office in and the chancellor. Two of the three portraits displayed for the occasion are those belonging to the Magistrato Mercantile. Matthieu Saladin is an artist, musician, and researcher. His practice is founded on a conceptual art approach, reflecting, through an ongoing use of sound, on the production of spaces, the history of forms and processes of creation, as well as the economic and political relations of art and society.

The work Economic Score transposes a cultural economy into a musical score. For the version Economic Score: Soleil politique , the exhibition budget, including production costs and private financial support, has been transcribed as a musical score. The work refers to aspects of social and economic life that, given their immaterial nature and omnipresence, escape direct perception and yet nevertheless dictate and mold attitudes, discourses, social relations, and daily activities.

The ideological imprint of material production is appropriated as a medium in order to investigate the tensions of social space, along with the relation between aesthetic perception and the economic activities that govern it. Another way of raising similar questions is Calendar of Revolts , which takes the form of a calendar for the year that replaces the celebrations of the patron saints on all days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

Matthieu Saladin è artista, musicista e ricercatore. La creatività di Saladin si esprime sia attraverso installazioni sonore e performance, sia attraverso pubblicazioni, video e creazioni di software: Per la versione Soleil politique, il budget della mostra, si tratti delle spese legate alla realizzazione dei progetti o dei contributi finanziari, è stato tradotto in forma di componimento musicale.

Questa composizione sarà interpretata il 29 ottobre durante il Festival di Musica Contemporanea di Bolzano. Matthieu Saladin est artiste, musicien et chercheur.

Cette dernière est interprétée le 29 octobre dans le cadre du Festival de Musique Contemporaine de Bolzano. Another way of raising similar questions is Calendar of Revolts, which takes the form of a calendar for the year that replaces the celebrations of the patron saints on all days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

Emilio Prini, Stampa di un consumo. Il caffè del Kunstverein , detail. Having studied sculpture in Vienna, Josef Dabernig subsequently developed an artistic practice in a wide variety of media.

Using conceptual tools, Dabernig investigates the ways in which knowledge and rationality are categorized through conventional forms and behavioral norms. He has copied entire books by hand in response to the discipline present during his years at boarding school, made lists, and built sculptures from found materials or according to mathematical rules.

His films favor a structured storyline and an open end, introducing systems of order where confusing and implausible parameters create discrepancies. The absent subject of his photographs, which represent empty spaces on the outskirts of large cities, nevertheless offers a sense of narrative and traces of economic and social change. Dopo gli studi in scultura a Vienna, la pratica di Josef Dabernig si diffonde in diversi campi.

Il soggetto assente delle sue fotografie, che rappresentano luoghi deserti nei dintorni delle grandi città, lascia spazio a una narrazione in filigrana e alle tracce dei cambiamenti economici e sociali. Il copie des livres entiers à la main en réaction à ses années de pensionnat à la discipline prononcée, dresse des listes, réalise des sculptures à partir de matériaux trouvés et selon des règles mathématiques. Le sujet absent de ses photographies, représentant des espaces vides aux alentours des grandes villes, laisse place à une narration en filigrane et aux traces des changements économiques et sociaux.

Interested in giving art a more dynamic role in everyday life and society, Brehmer analyzes in his works the growing presence of the media and media language in Western consumerist society. His oeuvre spans painting, graphics, books, films, musical arrangements, and installations. The two crossed flags form a portrait of German society, its social changes and political tendencies.

The colors are proportioned to convey various statistics on the distribution of wealth in the country. The left-hand flag interprets data from , dividing German families into three income brackets represented by the national colors: The right-hand flag uses the same colors to represent the increase in per capita earnings between and according to occupation: The fact that the two flags are crossed over represents the inextricable link between social class and distribution of wealth.

Le sue ricerche trovano forma in lavori pittorici e grafici, in pubblicazioni, film, arrangiamenti musicali e installazioni. I colori e la superficie delle bandiere veicolano una serie di informazioni statistiche sulla distribuzione del reddito in Germania. Nella bandiera di sinistra, che fa riferimento al , le famiglie tedesche sono suddivise in base al loro reddito in tre fasce, identificate dai tre colori nazionali: La bandiera di destra, utilizzando gli stessi tre colori, indica la crescita del reddito pro capite tra ileilinbasealtipodi attività svolta: Mattin is a Basque artist whose work responds to the social and economic conditions of experimental music production, through live performance, recordings, and writings.

He investigates the parameters of improvisation, notably the notion of freedom and constant innovation dictated by its conventions and which distinguish it as a genre.

For Mattin, improvisation does not merely entail an interaction between musicians and their instruments, but also all the other elements that make a concert. He reveals the stereotypical relations between the active player and the passive audience, which he aims to disrupt by provoking experiences of alienation. The Audience is Not the Mother of Self-Invention , presented here as a video recording, is a performance that took place in at Index an independent art space in Stockholm during a week-long performance series titled The Audience is the Mother of Self-Invention.

The performance began with a video camera equipped with a light projector aimed at Mattin, who stood in the middle of a circle spontaneously formed by members of the audience. During one hour the camera slowly revolved degrees, moving away from the performer and steadily filming the audience.

During the traveling shot, Mattin uttered a series of almost inaudible phrases. The performance ended when the camera came full circle to once again frame him. Una videocamera, munita di proiettore, è puntata su Mattin, che si trova al centro del cerchio formatosi spontaneamente tra gli spettatori.

Durante questa carrellata, Mattin pronuncia delle frasi quasi incomprensibili. La performance si chiude con la videocamera che torna a inquadrare Mattin. La performance prend fin avec le retour du champ de la caméra sur Mattin.

Language is totally poetry, as if life were just a song, but there is no naivety in his work. This language seeks to join up with the affective dimension of the objects which punctuate his installations with burnt photographs.

Without focusing on any specific practice, he precisely defines his own based on installation and exhibition. Involved is a spectacular presentation of an atmosphere which steps out as much through the tongue, the furniture, the colors, and the sets of photographs and drawings. Eppure, non vi è nulla di spontaneo. Le opere sono pensate, ponderate, talvolta scritte, se non pianificate in un futuro più o meno prossimo, come 7 plans de vol , prima di essere realizzate.

Né en à Grenoble. Cependant, rien de spontané. Marie Cool and Fabio Balducci began to work together in , and their art is performance-based. Simple, clear, precise, slow gestures, performed mainly by Marie Cool, seek to place the body, time and the materials used on the same plane of meaning and importance. These materials include sheets of paper, pencils, adhesive tape, water and shadows. At the end of the action, which might just be a simple movement. They are, in fact, displayed on a table covered by a thin film of water, contained at the edges by a strip of adhesive tape.

Marie Cool e Fabio Balducci iniziano a collaborare nel La loro pratica artistica si attua principalmente nella performance. Tra i materiali figurano fogli di carta, matite, nastro adesivo, acqua e giochi di ombre: Il tavolo in mostra è coperto da un sottile strato di acqua, trattenuta ai margini da una striscia di nastro adesivo.

The work of Tony Fiorentino is characterized by a continuous search for expression and experimentation through several materials and practices. Objects, thoughts and actions turn into compositions that display a narrative and poetic impact, by which he comments visually on our human condition with all our troubles as well as our social and existential issues. In he won a scholarship that allowed him to attend the Anotati Skoli Kalon Tecknon in Athens for a year.

He then moved to Amsterdam and London. He was invited to take part in several exhibitions in Italy and abroad, among which are: He currently lives and works in Milan. Tony Fiorentino nasce a Barletta nel Successivamente si trasferisce a Amsterdam e a Londra. Vive e lavora a Milano. Né à Barletta en Vit et travaille à Milan. Hi work has been internationally exhibited in both institutional and commercial venues. He recently had solo exhibitions at the Hamburger Kunsthalle in Hamburg , Midway Contemporary in Minneapolis , and at the Museum Ludwig in Cologne , among others.

Courtesy ProjecteSD, Barcelona 2. Director since of La Synagogue de Delme , an art centre located in a rural area in Eastern France, she co-founded and co-curated the art center Bétonsalon in , with Mélanie Bouteloup.

She has been freelance curator between and Between and she has been a board member of d. De à , elle a été membre du bureau de d. First in terms of its history, and then its architecture, and especially its location in a rural area.

In your view, what are the strengths and weaknesses of this context? The weakness could be its isolation in a rural area within a village of residents, 35 km from the towns of Metz and Nancy. But this isolation is relative: Delme is three hours by car from Brussels, Basel and Frankfurt, and Paris is only one-and-a-half hours from Metz or Nancy by train.

This region of eastern France has strong connections with other art scenes in Belgium, Holland, Luxemburg, Germany, Switzerland and other countries. Making the trip to Delme and finding yourself in this landscape — with fields as far as the eye can see — is part of the experience you get from the visit. It turns this visit into a special moment. As for the place itself, its history and architecture have a magnetic power.

This historical depth is what makes it so complex and interesting. Unlike the white cube and its supposed neutrality, a place like the Synagogue de Delme conceals infinite resources and questions, and this is what makes it so fascinating. Where does Delme sit in the context of the overall French art policy? In a context of fiscal austerity, culture is jeopardised. Delme is a very small cog in a very large chain of cultural institutions that are going through major upheavals in terms of cultural policy.

In contexts like this, these ambitions should be supported all the more: The reality is more subtle and nuanced. Why did you want to participate and what programme are you proposing? Working collectively and as a network has always been an essential aspect of my way of conceiving my work as a curator and organisation director. I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking.

Moreover, the meeting with Peep-Hole in Milan was decisive. This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society. Selon vous, quelles sont les forces et les faiblesses de ce contexte?

Mais cet isolement est relatif: Quant au lieu lui-même, son histoire et son architecture dégagent une force magnétique. Les artistes ne peuvent venir avec un projet clef en main mais doivent se saisir des spécificités du lieu.

Comment situer Delme dans le contexte de politique artistique général français? Le volet médiation est extrêmement conséquent au vu des moyens alloués et il est pratiqué avec un engagement total au quotidien.

La réalité est plus délicate et nuancée. Ce sont des laboratoires, tant de la création que des modes de transmission à tous types de publics. Le message est parfois difficile à faire entendre dans le contexte actuel, qui prête davantage au repli sur soi et aux peurs de tous ordres.

Pourquoi avez-vous souhaité participer et quel programme proposez-vous? Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante. The Book Society 02 Protagonists: Marie Cozette, Rometti Costales. He curated the following main exhibitions: Kunst Meran Merano Arte. Vincent Honoré Can you tell us about the origin of Kunst Meran?

The idea was to give to the town of Merano a relevant role in the local contemporary art scene. In past times some very famous people, such as Kafka, Mahler, Ezra Pound whose daughter still lives in the castle of Brunnenburg spent their time here. Since the venue is a house in the town center, which was restored and restructured to become a gallery and art museum.

What fundamentally makes this institution different from others in Italy and on an international level? We are neither a commercial art gallery nor a municipal venue, even if our role is similar to that of a public space. Our funds come both from the private and public spheres, but it has to be noticed that the museum management stays free from any political influence.

This is an exceptional status in Italy. In Germany you can find art spaces that you can compare with Merano Arte from this point of view. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?

We work following a strong aim which is bringing contemporary art to the attention of common people. We also think that sharing projects with other international contemporary art spaces represents an important occasion of growth. A network is essential to make collaborations happen.

Contemporary art is an instrument that Europe can use to connect different national realities and bring them really together.

Both museums work with contemporary art and aim to value young artists. Mangion and I immediately agreed to give life to an exhibition with young selected artists. They have been invited to produce new works and to collaborate for a project. It took a lot of time to plan and coordinate every detail of the project. Young artists are very focused on what they want to express through their art.

We pushed them to think about the idea of building an exhibition together on site. The collaboration with Éric Mangion and Villa Arson has been really successful in this sense. What are the main responsibilities of a curator and of an art institution in Italy nowadays? Vincent Honoré Puoi raccontarci come è nato Kunst Meran? Nel passato molti personaggi celebri hanno vissuto a Merano, da Kafka, a Mahler, a Ezra Pound la cui figlia vive ancora nel castello di Brunnenburg.

Anche Peggy Guggenheim ha organizzato mostre a Merano nel corso degli anni Cinquanta. Kunst Meran Merano Arte è un museo molto particolare nel contesto italiano, quasi unico nel suo genere. I nostri fondi provengono sia dalla sfera privata sia da quella pubblica, ma va sottolineato che la gestione del museo è indipendente da ogni influenza politica.

Si tratta di una condizione eccezionale in Italia. In Germania esistono spazi comparabili a Merano Arte da questo punto di vista. PIANO mira a creare una rete di spazi espositivi che lavorano insieme, attraverso forme di scambio e interazione. Perché avete deciso di aderire al progetto e come si realizza la vostra partecipazione?

La presenza di un networl è fondamentale perché le collaborazioni abbiano luogo. Mangion e io abbiamo immediatamente concordato di dare vita a una mostra con giovani artisti selezionati, che sono stati invitati a produrre opere inedite e a collaborare tra loro per un progetto nuovo.

La collaborazione con Éric Mangion e Villa Arson è stata un grande successo in questo senso. Nel periodo di incertezza economica e confusione tra valori culturali e di mercato in cui viviamo, le istituzioni artistiche in Italia hanno una fondamentale responsabilità con cui fare i conti: Metal, mixed media, sound installation, X x 87 cm 3. He creates in this way a protocol which introduces rules limiting its expression and establishing a purely speculative mechanical of work.

We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects. I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this? Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit. Both projects are based on the appropriation of pre-existing narrative structures: The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work.

At the same time it must have produced some information that created a connection between us on a sign level: The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one.

How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets? The story is divided into three phases, which are represented by transparent and black resin casts of hands. The hands are open in the act of picking up, and relate to round-shaped objects. The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway.

Do you think that the location of the CAB affected the narrative process? When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB. For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling.

The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active.

They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts. Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story. Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape.

What do you think about this? How do you move among the signs that a story offers you? What is the distance you put between yourself, your practice and the story object? I like the idea of landscape, and in the case of the CAB we could talk of a view.

In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation.

I wonder how in front of this vastness of relationships one could define a common gaze. The signs of history are hence countless like the facets of a view. For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience. The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to.

As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists. With their imagination, we worked starting from two strong images from the stories we had taken as a reference: Cosa ne pensi a proposito?

Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro. Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge.

La storia è divisa in tre momenti che sono raffigurati da calchi di mani in resina trasparenti e neri. Il CAB si trova dentro una roccaforte difensiva, sulla cima di una montagna per lo più accessibile grazie a una strana teleferica dalla forma sferica. Pensi che il luogo del CAB abbia influito sul processo narrativo? Come ti muovi tra i segni che una storia ti propone? Mi chiedo come davanti a tale vastità di relazioni sia possibile definire lo sguardo comune.

I segni di una storia sono quindi infiniti come le sfaccettature di un panorama. Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune. A proposito della fruizione costante nel processo immaginativo, potremmo dire che questo è stato anche il tema centrale di due workshops , da noi condotti in modo parallelo, con alcuni giovani artisti di Grenoble. Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: Jacopo Miliani , Alessandro di Pietro Project: From Both Sides of a Mountain Space: Carlo Scarpa is universally known for his restoration work and the drawings that accompanied his architectural and design projects.

For the Venetian architect, drawing was a meditative act, a productive exercise, and a practical way of coming to grips with things.

The restoration project began in and was completed in The architect sought to isolate and bring to light the various historical strata of the museum complex, with the idea of making the building an artefact in its own right.

This visual perception is highlighted by his use of color, while he engages with the sense of touch using a series of different papers to create a collage. Fixed to a concrete base, the statue occupies the part of the building that is most steeped in history. The statue thus becomes a symbol of how the museum, with its new contents, is restored to the community, representing the changes in perspective leading to the reconstruction of Italian museums after the war.

Carlo Scarpa è universalmente noto per i suoi restauri e per i disegni che accompagnano le sue architetture e i suoi progetti di design. Iniziato nel , il restauro si conclude nel After working on the design for a house in with Walter Pichler, a project called House for Two Friends , Raimund Abraham began to create a series of models for houses. He saw the home as an architectural paradigm springing from the encounter between abstract forms and the landscape.

The Austrian architect presented a series of houses based on archetypal shapes and solids the square, cube, circle, sphere, dot, line, and surface and devoted to his closest friends, most of whom were artists or architects. The designs were not constructed but represent original interpretations of human dwellings in the post-modern era. In Haus mit Blumenwänden House with Flower Walls , the flowers that make up the walls of the house wilt and fall to the ground, creating a connection between the lifespan of the building and the processes of disintegration that characterize the world of nature.

Abraham imagines a house in which volumes and spaces, light and shade are constantly changing, and the wind seems to blow from inside the building. In all of these projects the distinctive elements of each design merge with the building itself.

Stimolato dal progetto per la realizzazione di una casa, pensato nel insieme a Walter Pichler e intitolato House for Two Friends Casa per due amici , Raimund Abraham lavora a una serie di modelli abitativi. They have developed a creative process that progressively subverts the standard field of choreography.

One of their most recent projects, Géographie- , is part of the process re action they started in , which numbers more than fifteen different works.

Géographie- is a score for a group of performers conceived according to the spatial limits of the venue. The performers are recruited in the area where the show will be presented. The perimeter is defined by the movements of the dancers and determines the architecture inside which the choreography is performed created using the tools and materials available on site.

The presence of the dancers follows a schedule that is not communicated to the public and can only be perceived through the sound and vibrations emanating from the structure. Uno dei loro lavori più recenti, Géographie- Geografia- , fa parte del processo intitolato re action iniziato nel che comprende più di una quindicina di lavori differenti.

Gli interpreti vengono reclutati nel luogo di presentazione della coreografia. La performance Géographie-Bolzano , coprodotta dal Festival di Transart, Fondazione Museion e CAC Brétigny, è stata presentata a Museion di Bolzano dal 18 al 22 settembre e ha costituito una sorta di preludio alla mostra Soleil politique.

Together with Hans Hollein and Raimund Abraham, Walter Pichler was one of the leading exponents of radical architecture in the s. His projects combat the formal coldness and monotonous surfaces of modern architecture, using unusual materials to create buildings that tell a story. Pichler often associates his interest in places of worship with the creation of his sculptures and the places that host them, forging a consummate union between landscape, sculpture, and architecture.

In he was invited by the Turin City Council to present a public art project for the underground railway link.

The structure is composed of a series of prefabricated elements in cement and is entitled Passage , given that its only function is to connect two different areas. Inside Passage , light plays a key role, and the work is indeed subtitled Lichtkäfig Light Cage. Indeed for the Gutmann private collection Pichler designed a room to present this project and a version of it for the space outside. Tragbarer Schrein Portable Shrine is another example of how Pichler enjoys using different materials, and it also reveals the mystic element that accompanies his sculptures and installations.

The main section is a reliquary containing a mirror from St. This objet trouvé can be seen through a small hole: Infatti lo stesso Pichler ha progettato una stanza dedicata alla presentazione di questo progetto e una sua realizzazione per lo spazio esterno per la collezione privata Gutmann.

Lo scrigno centrale è concepito come un reliquiario. Al suo interno è contenuto uno specchio proveniente dalla basilica di San Marco, a Venezia. Simon Fravega works as artist and performer.

He takes seriously the virtues of disguisement and anecdote. The nature of these gestures staggers them: Combining this deferred dubbing activity to a flow of micro-narratives, Simon Fravega weaves a reflection on the gap between facts and representations.

And under the guise of humour and the absurd, it identifies something essential in the great game of the world. Simon Fravega déploie un travail de plasticien et de performer. En action, il se cale sur les autres sportifs, rockeurs, personnages de western ou danseurs de hula hoop , étudie les gestes qui les définissent et les rejoue en les décontextualisant.

La nature de ces gestes chancelle alors: In he made his first foray into sculpture. Influenced by the spirit of performance art, Breer revisited minimalist sculpture, focusing in particular on the role of the pedestal and the mechanisms that determine the spaces and times of an exhibition.

His Floats floating sculptures , for example, are bodies with wheels and a motor attached, meaning they trundle around at random. Each element presents a small variation hence the title , which makes each single piece unique. At the New York presentation, these little motorized sculptures made almost imperceptible movements on a table. The piece Column was also based on the same principle: Il segna la nascita del suo vocabolario scultoreo.

Ciascun elemento presenta una piccola variazione, da cui il titolo della serie, che rende ogni pezzo unico. Nella presentazione a New York le piccole sculture motorizzate si muovevano impercettibilmente su un tavolo. Anche la scultura Column Colonna del si basa sul medesimo principio: Previous projects include a.

Among his edited publications: Progetti precedenti includono, tra gli altri: Ha editato le seguenti pubblicazioni: Parmi ses projets récents: Il a coordonné plusieurs publications, parmi lesquelles: They are the product of relationships between many agents — artist s , curator s , artwork s , audience s , display, etc.

An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience.

Nikolaus Hirsch asked this question: Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm up to twelve exhibitions a year. And I am doing this by inviting artists, designers, choreographers, theorists, etc. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates.

I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience. And I guess this is possible just by administering resources first of all, time, as the most precious one in a savvy way. It is a process that takes time, but some good steps have been made in this direction. We also discussed this topic at a conference at Bétonsalon on 30 May with the Italian collective Invernomuto and the French curator Rémi Parcollet.

Esse sono il risultato di relazioni tra diversi attori — artisti, curatori, opere, pubblico, display ecc. Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Una mostra è una situazione progettata, che rimane tuttavia aperta a diversi fattori incontrollabili, il primo dei quali è il tempo. Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc.

Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo. Ovviamente è molto importante evitare il rischio di una mentalità troppo ristretta, cosa che tentiamo di fare presentando pratiche e approcci che siano critici e capaci di produrre legami e connessioni tra temi locali e idee più ampie. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione?

Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale. È un processo che richiede tempo, ma abbiamo compiuto importanti passi in questa direzione. Abbiamo inoltre discusso questo tema in occasione della conferenza tenutasi presso Bétonsalon lo scorso 30 maggio, cui hanno partecipato il collettivo italiano Invernomuto e il curatore francese Rémi Parcollet.

Constellation of One and Many , She is a founding member of the non-profit curatorial platform 1: She is a contributing curator for Open Video Projects, a Rome based video archive that organizes screenings of video art, short films, experimental cinema, documentaries and video installations.

È tra i soci fondatori della piattaforma curatoriale 1: Nei suoi progetti favorisce una metodologia di lavoro partecipativa e collaborativa. Elle est membre fondateur de 1: What is the core mission of the Foundation and how would you describe its DNA? What makes it different from other spaces in Rome and abroad? Adrienne Drake As a private, non-profit exhibition space, the Foundation can be flexible, mutable, and our intentions and directives can change over time.

I understand you are also responsible for the Giuliani collection. I envision each exhibition in terms of groupings of loose thematic cycles, which are not necessarily overtly declared, but rather curatorial reflections also on the direction of the Foundation. We have exhibited artists whose work was already in the collection, and these exhibitions provide the opportunity to further research and study the working practice of these artists. Since we focus on production, there are also occasions in which we acquire for the collection works that we produced for an exhibition.

As a small foundation, we can act independently from any long-standing traditional structures which public institutions are more obligated to abide by. We tend to be more orientated towards experimentation and niche production, and are freer to take risks, unrestricted by constraints imposed by the rules and parameters of a museum institution.

Public institutions in Rome must navigate between cultural responsibility and different political agendas and are, unfortunately, often entangled in the dynamics of local and national politics. But all institutions share a common agenda: You invite artists, but also guest curators to engage with the Foundation, its collection and its audience. You open the Foundation to different sensibilities and curatorial methodologies.

There are myriad of curatorial methodologies and each of these activate different approaches and sensibilities. Curators are cultural practitioners, facilitators, researchers, questioners, and together with artists can create forums for discussion on contemporary socio-political and cultural issues, and new modes of production.

The premise of your question underlines three essential motivations for why the Foundation is participating in the project: Specifically, Fondazione Giuliani is hosting a four-person show, The Promise of Melancholy and Ecology , the first chapter in a series of exhibitions entitled The Registry of Promise.

Adrienne Drake , Chris Sharp Project: Qual è la mission primaria della Fondazione e come descriveresti il suo DNA? So che sei anche responsabile della collezione Giuliani. Sono curioso di sapere quanto il fondatore sia coinvolto nella visione curatoriale della Fondazione e di conoscere quale sia la relazione tra la Fondazione e la sua collezione. Io e i Giuliani discutiamo sempre del programma espositivo e delle attività della Fondazione. Vista la forte concentrazione sulla produzione, ci sono state anche occasioni in cui abbiamo acquisito per la collezione opere prodotte per una mostra.

Si tratta allo stesso tempo di una testimonianza della storia espositiva della Fondazione e di una pratica collezionistica in tempo reale. Essendo una fondazione di dimensioni ridotte, possiamo agire indipendentemente da tutte le tradizionali regole cui le istituzioni pubbliche sono obbligate a rispondere.

Siamo più orientati verso la sperimentazione e la produzione di nicchia, e siamo più liberi di assumere rischi, non essendo limitati dai vincoli imposti dalle norme e dai parametri di una realtà museale. Le istituzioni pubbliche romane sono costrette a muoversi tra la responsabilità culturale e diversi programmi politici e sono spesso, purtroppo, imbrigliate dalle dinamiche della politica locale e nazionale. Ma tutte le realtà condividono un intento comune: Inviti artisti, ma anche curatori a lavorare con la Fondazione, la sua collezione e il suo pubblico.

In questo modo apri la Fondazione a sensibilità e metodologie curatoriali diverse. Ci sono moltissime metodologie curatoriali e ognuna di esse attiva diversi approcci e sensibilità. Essi sono professionisti della cultura, facilitatori, ricercatori, studiosi e insieme agli artisti possono creare occasioni di discussione su temi socio-politici e culturali della contemporaneità e generare nuove modalità di produzione.

La prima parte della tua domanda contiene già in sé i tre motive principali per i quali la Fondazione partecipa al progetto: Nello specifico la Fondazione Giuliani ospiterà una mostra collettiva con quattro artisti, The Promise of Melancholy and Ecology , primo capitolo di una serie di mostre intitolata The Registry of Promise.

Francesco De Michelis 2. Benoît Maire, Lies on the Beach , , mixed media, dimensions variable. Giulia Piscitelli, Neopolitan Windows , , adhesive paper on satined plexiglass, ink, 45 x 33 cm each. Carl Andre, 3 rd Steel Triangle , , hot rolled steel, 1 x x cm. Prepared Piano — Model for a New Institutionalism. The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe.

These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano.

The proposed discussion aims to demonstrate that PIANO, as well as Salon Light , dedicated to independent publishing, and Vdrome , a distribution network for artist films, are today all tangible initiatives. He is also an independent curator and the vice-president of the d.

This is a series of specific offerings that critically rework the principles of artwork accumulation. Conceived by the director Éric de Chassey and organised by the French Academy in Rome — Villa Medici every year since , the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence.

The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented. Since the beginning, his scientific activities have focused on the US and abstract art. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.

Her work has been the subject of numerous solo exhibitions. Since , she has also participated in important group exhibitions, as well as various international biennials and in Venice where she represented Belgium with Michel François. Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, — at the Galeries Nationales du Grand Palais. Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema.

Each screening is presented during a limited period, as in a movie theatre. Enrico Boccioletti is an artist and musician active under multiple names — Death in Plains, 4SICSX, spcnvdr and Enrico B — in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real.

He also works for Mousse Magazine and Vdrome. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature. The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory.

All the works presented have a relation with the city and its history: Alessandro Rabottini is an art critic and curator based in London. He is Curator at Large at the Madre Museum in Naples where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti and served as guest curator for several international institutions.

After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in , Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers.

Performances and meetings with professionals and artists are also a key part of the event. Sylvie Boulanger is founder and curator of Salon Light since its creation in She directs Cneai since She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities.

The round table discussion will be followed by a Concert for Prepared Piano by Laurent Durupt , composer and fellow at the Villa Medici. Echoing the societal thinking of Charles Fourier, Bal-Blanc has developed the Projet phalanstère Phalanstery Project , a series of site-specific proposals that critically revise the accumulative logic of exhibiting artworks. His exhibitions The Living currency and The Death of the Audience follow a principle that takes into account their local environment and in situ resources.

Along with the visual annotations presented in this publication, Pierre Bal-Blanc proposes a series of documents and interventions that act as paratexts to the exhibition. They serve to prolong the ways in which the works interact not only with the space of Museion, but also with its historical, social, and architectural context within the city and province of Bolzano. For example, the information panels presented in certain galleries throughout the exhibition testify to the curatorial decision to modify the hierarchy of the exhibition spaces.

Comparable to marginalia notes in the margins of books and manuscripts , some documents reveal latent aspects of the exhibition that are normally overlooked or considered private.

These reveal among other things the failures that took place and the ideas that were abandoned during the selection process. Le sue mostre La Monnaie Vivante La moneta vivente e The Death of the Audience La morte del pubblico danno prova di essere radicate nel loro contesto e si articolano in funzione delle risorse in situ.

In maniera analoga alle annotazioni visive presentate in questa pubblicazione, Pierre Bal-Blanc propone per Soleil politique svariati gruppi di documenti e interventi, che funzionano come paratesti alla mostra. Per esempio, i pannelli segnaletici inseriti in alcune sale rinviano alle scelte curatoriali che riguardano il rifacimento della gerarchia degli spazi espositivi. Paragonabili ai marginalia, le note a margine di libri e manoscritti, una parte dei documenti approfondisce gli elementi che stanno alla base della mostra che di solito sono considerati impliciti, o addirittura riservati.

Pierre Bal-Blanc is director of the CAC Brétigny, an exemplary center for the arts, both for the commitment shown toward artists and for its program of atypical productions and exchanges. A space that continually re-elaborates the notions of a program, an exhibition, a collection…. Vincent Honoré The purpose of this conversation is to speak about a program and its underlying dynamics. The idea is also to explain what a space is, a center of art… and what having a place means.

These are the points I have been interested in addressing, from when I started working in another space for the Foundation, in London, and at amoment in which I re-elaborate my program and turn to my previous experiments — in London, as elsewhere. It is quite symbolic, even symptomatic, of a set of projects that, conducted separately and each having its own development, in the end crystallize, thus constituting the evidence of the program itself.

My world of work is essentially this: I follow various paths, which seem to be dictated a priori by the institution, but which are also related to recurrent research in the general program and that eventually begin to work together. I have always tried to work following very advanced processes, deep and long-lasting, and simultaneously to establish visibility in extremely short time frames. That is, I do not define a program a year in advance, I often decide at the last minute, based on common programs with other centers of art, in order to be sure that things succeed in standing out by themselves.

This is possible in a structure in which the constraints are not too rigid; it is a freedom from which I can benefit, given that Brétigny has an atmosphere sympathetic to what is developing there and also because the space, by nature, allows one to escape pre-establishedrules of press kits prepared six months in advance, of press relations built up with great anticipation, etc.

I immediately realized what was needed: The program of which I am speaking is an example. This also offers a new perspective on projects of recent years — such as La Monnaie Vivante , focused on the reification of the body, or The Death of the Audience , centered on the notion of the group, of community, as statute.

But the question of the gregariousness of the group, of the collective, is an issue that repeatedly comes up in my projects in Brétigny. From this point of view I have no obligations besides relations with the local population, an educational mission through the national education system, at all levels, from nursery school through to university. Brétigny is a public service, and I am part of the administration.

It is interesting to associate The Death of the Audience , an external project, by an independent curator, with the program of Brétigny. Calling oneself an independent curator is a slightly elegant way to think of oneself as being free when, in fact, one is not. It was founded in the s, but not as an art center. Work related to the visual arts had been going on there since the s. In Paris there were very few things, which then evolved in a progressive manner; the projects began in the outskirts, of which Brétigny was one.

Then, the mayor of Brétigny, a lover of arts, constructed a building designed to bring together various cultural activities, including the visual arts. These were headed until by the previous director, Xavier Franceschi, with choices aimed at a French environment and the new generation, but also at an international atmosphere, with projects of Maurizio Cattelan and Carsten Höller, who produced notable works which again represented points of reference. In , the space was recognized as a center of the arts in France, and was given government support which made architectural extensions possible.

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