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ART SPACES NUCLEAR DECOMMISSIONING SCIENCE AT THE SERVICE OF FUTURE GENERATIONS

Event promoted and organised by Directorate G - Nuclear Safety and Security and the Cultural Committee of the Joint Research Centre, Ispra

With thanks to: The organisers of the event “Art Spacesâ€? would like to thank all of those who have collaborated in its creations: – the 52 artists who have participated in the initiative; – Clara Ambrosetti, for setting up design and studies; – Daniele Garzonio, for graphic support; – Marco Valenti, for works photography Š; – &23$6 IRU SURMHFW Ă€QDQFLDO FRQWULEXWLRQ – Unit A.3 Strategy and Work Programme Coordination - Inter-institutional, International Relations and Outreach; – Unit H.2 Knowledge Management - Thematic Coordination; – Unit R.3 Resources - Logistics; – Department R.1 Safety, Security and Site Management Ispra.

European Commission Joint Research Centre Legal notice Neither the European Commission nor any person acting on behalf of the Commission is responsible for the use which might be made of this publication. A great deal of additional information on the European Union is available on the Internet. It can be accessed through the Europa server (http://europa.eu). Š European Union, 2019 ISBN 9788894216080

First edition printed September 2017 Second edition printed February 2019 by “LA TIPOGRAFICA VARESE s.r.l.� Via Cherso, 2 - 21100 Varese

PREFACE Maria Betti Joint Research Centre Nuclear Safety and Security Director

Paolo Peerani Joint Research Centre Ispra site nuclear installation decommissioning programme Manager

INTRODUCTION Yves Robert Crutzen JRC Ispra Cultural Committee

ARTISTIC INTRODUCTION Sandro Parmiggiani Artistic Director

CREATORS OF THE EVENT Antonio Bandirali, Paolo Peerani, Lorenzo Di Cesare, Lidia Montagna and Gabriele Tamborini PHOTOGRAPHY Marco Valenti COVER DESIGN Daniele Garzonio (Bagar) EXHIBITION LAYOUT Antonio Bandirali, Clara Ambrosetti INFRASTRUCTURE DESIGN Marcello Morandini COMMUNICATION Lidia Montagna Organising Committee C. Ambrosetti, H. Aulamo, A. Bandirali, F. Basile, J.J. Blasco, P. Cake, R. Casale, F. Chenneaux, A. Chindamo, F. Cioce, L. Di Cesare, L. Fiore, V. Forcina, R. Franzetti, S. Frison, I. Fumagalli, S. Fumagalli, M. Futas, D. Garzonio, S. Gatti, T. Genovese, S. Gerli, P. Hubert, I. Huhtiniemi, N. Kajander, S. La Terza, F. Maniaci, L. Mastrobuono, A. Migneco, L. Montagna, R. Mori, G. Munda, A. Nirni, A. Parisotto, R. Passos Moreira De Sousa, P. Peerani, S. Pelizzari, M. Pombo, A. Ravazzani, F. Rizzotto, F. Rossi, E. Rovidone, P. Salvatore, C. Sollima, L. Spirito, F. Tallini, G. Tamborini, S. Tandurella, P. Tenuta, S. Tirendi, E. Vaccarezza, D. Van Regenmortel, F. Wastin, D. Wilkinson, F. Zanovello

Table of contents Preface Maria Betti JRC Nuclear Safety and Security Director Paolo Peerani JRC Ispra Nuclear Decommissioning Manager

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Introduction Yves Robert Crutzen JRC Cultural Committee Chairman

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The challenge of the “drum� Sandro Parmiggiani Artistic director

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ARTISTS Antonio Bandirali Roberto Barni Piergiorgio Baroldi Davide Benati Gabriella Benedini Dietrich Bickler Lorenzo Bocca Mauro Afro Borella Giovanni Campus Urbansolid (Castellani and Cavalleri) Fabio Castelli Arcangelo Ciaurro Raphael de Vittori Reizel Anny Ferrario Antonio Franzetti Vittore Frattini Daniele Garzonio Domenico Grenci Tomaso Grillini Pica Nes Lerpa Luca Lischetti

22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60 62

Table of contents

Gianni Macalli Ruggero Maggi Niccolò Mandelli Contegni Elio Marchegiani Ruggero Marrani Sandro Martini Lorenzo Martinoli Luca Missoni Silvio Monti Marcello Morandini Giulia Napoleone Cesare Ottaviano Peter Hide 311065 Gianriccardo Piccoli Pietro Pirelli Antonio Pizzolante Fabrizio Plessi Jorge Pombo Graziano Pompili Giorgio Presta Bruno Raspanti Paola Ravasio Giorgio Robustelli 0HGKDW 6KDĂ€N Aldo Spoldi Marco Ermentini Fausta Squatriti Giordano and Mirco Tamborini Giorgio Vicentini Wal (Walter Guidobaldi) William Xerra

64 66 68 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 100 102 104 106 108 112 114 116 118 120 122 124

Afterword A. Bandirali - L. Di Cesare - L. Montagna - P. Peerani - G. Tamborini

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Preface Maria Betti JRC Nuclear Safety and Security Director

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Paolo Peerani JRC Ispra Nuclear Decommissioning Manager

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From 29th September to 15th October 2017, the Joint Research Centre (JRC) presented its nuclear decommissioning activities and the new interim storage facility for radioactive waste at its Ispra site (Italy). According to Italian legislation and the European Commission’s transparency policy, the event took the opportunity to inform the local community and stakeholders about the JRC Ispra site nuclear decommissioning programme. This event is an indication of the JRC’s strong commitment to environmental protection, its sustainable development, and the health and safety protection of its workers and the public. These principles are fundamental in any nuclear decommissioning programme. This is in order to ensure present and future public and environment protection, appropriate radioactive waste management and a transparent interaction with stakeholders. Through the combination of art and science, the event seeks to improve science and technology connection with society and to illustrate how an ‘holistic’ creative approach to knowledge and dissemination, is capable of successfully meeting societal challenges. This exhibition is also a unique opportunity to involve younger generations, local communities and stakeholders in the work of the JRC and of the European Commission. This helps to reinforce the effectiveness of its outreach activities while stimulating a closer relation between researchers and the general public. This booklet not only presents the JRC activities, but it also seeks to establish D GLDORJXH EHWZHHQ FLWL]HQV WKH VFLHQWLĂ€F FRPPXQLW\ DQG WKH DXWKRULWLHV by looking through the eyes of the artistic community at a complex and delicate topic like the decommissioning of nuclear installations and the management of the resulting waste, using an innovative approach. Intending to bridge the distance between research, technology, public and policy makers through the vision of contemporary art, these events are a concrete opportunity for all citizens to actively participate in a unique experience. I hope you enjoy reading about science and technology across art.

Introduction Yves Robert Crutzen JRC Cultural Committee Chairman

The activity of the Cultural Committee takes place through the following initiatives: ‡ 'HVLJQLQJ H[KLELWLRQV RI ÀJXUDWLYH DUW LQ WKH VSDFHV RI WKH &HQWUH RU LQ YDOXDEOH architectural contexts of Varese Province, devoted to young European painters and to famous artists. ‡ 2UJDQLVLQJ FRQFHUWV RI FODVVLFDO O\ULFDO MD]] SRS DQG URFN PXVLF ZLWK \RXQJ virtuosos, vocal soloists and established instrumentalists. ‡ 2UJDQLVDWLRQ RI FXOWXUDO DQG VFLHQWLÀF FRQIHUHQFHV RQ WRSLFV RI YDU\LQJ relevance with the involvement, in the role of lecturers, of illustrious members LQ WKH GLIIHUHQW ÀHOGV RI VFLHQFH DUW KLVWRU\ OLWHUDWXUH DQG MRXUQDOLVWLF LQIRUPDWLRQ ‡ 2UJDQLVDWLRQ RI DQG SDUWLFLSDWLRQ LQ VKRZV RIIHUHG E\ ,WDOLDQ PXVLFDO DQG theatrical institutions (e.g. La Scala of Milan, Auditoria of Milan and Lugano, Arena of Verona) and those of other European countries, in collaboration with the Presidency of the European Union. Visits to exhibitions and shows of particular interest are in collaboration with other JRC Clubs. The Cultural Committee has set up structures that are able to offer, through loans, tools of knowledge and leisure: ‡ /LEUDU\ ZLWK PRUH WKDQ ERRN WLWOHV LQ (XURSHDQ 8QLRQ ODQJXDJHV and several specialized Italian and foreign magazines. ‡ 0HGLD ZLWK DURXQG /3 UHFRUGV &'V GRFXPHQWDULHV DQG PXVLFDO WKHDWULFDO ZRUNV LQ '9' DQG '9' ÀOPV Supported by the competence and enthusiasm of sector managers, the Cultural Committee welcomes the requests it receives to expand and sharpen its activities. Among the events conceived within the JRC Ispra, where the Cultural Committee has been a promoter of initiatives which are still in existence after more than 27 years, are: the festival devoted to the father of Europe Robert Schuman and the celebrations of the Semester of the various Presidencies which alternate every six months to lead the European Union. Over the years, the Cultural Committee has devised a series of initiatives DQG KRVWHG PDQ\ FKDUDFWHUV LQ WKH ZRUOG RI PXVLF OLWHUDWXUH DQG WKH ÀJXUDWLYH DUWV

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The Cultural Committee, created by the will of management and staff UHSUHVHQWDWLRQ RYHU ÀIW\ \HDUV DJR RSHUDWHV DW WKH -RLQW 5HVHDUFK &HQWUH -5&

of the European Commission in Ispra, Province of Varese. Consisting RI YROXQWHHUV HOHFWHG DV UHVSRQVLEOH IRU WKH YDULRXV ÀHOGV RI DFWLYLW\ LW KDV developed a growing number of initiatives directed at European Commission agents and anyone else interested, which encourages internationally renowned experts and great artists to take part in the Committee.

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Yves Robert Crutzen JRC Cultural Committee Chairman

and conferences and exhibitions on the relationship between Art and Science and the Environment. We recall some of the most important visual arts exhibitions: Giò Pomodoro, author of the monument in Taino park; Enrico Baj, developer of the “Antimodaâ€? WKHPH ZLWK SXUH SODVWLF FORWKLQJ /XLJL 9HURQHVL ZLWK KLV Ă€UVW \HDUV RI DFWLYLW\ Miguel Berrocal, who developed an artwork with the aid of our researchers; photographers Giorgio Lotti and Igor Kostin, Ukrainian, who immortalized the Chernobyl disaster. In the context of specialized conferences, we quote the poet Alda Merini and many university professors including the group of teachers from the University of Dortmund, who with our researchers organized a very interesting conference and exhibition on Fractals. We also mention the last conference “Art and Science in the Third Millenniumâ€?, where an interesting exhibition was followed by works by M. Morandini, L. Missoni, L. Fontana, A. Pomodoro, Hsiao Chin, E. Baj and E. Castellani. Regarding the organization of concerts, we cite some artists at international level. For classical music, Elizabeth Wilson and Caroline Woichter, a British-German piano and cello duo; Katalin Falvai, Hungarian pianist; Irene Veneziano, IRXUWK Ă€QDOLVW LQ WKH &KRSLQ SLDQR FRQWHVW LQ :DUVDZ 7DNDLUR <RVKLNDZD -DSDQHVH pianist; Tatiana Parmiakova Shapovalova, Russian pianist and The Metamorphosi Trio, who have performed in the most prestigious concert halls of the world. For Jazz Music: Final Step and Blues Matters, Swiss bands; More Duke Quartet, Italian band; Calvi Bicker Duo, jazz improvisations; Franco Cerri, European guitarist and Juan Carlos Caceres and Carlos Buschini, from Argentina, Latin American Jazz. For Folk Music: Les Sonadours, Medieval Music and Birkin Tree, Irish music and dance. $PRQJ WKH FRQIHUHQFHV LQ WKH Ă€HOGV RI DUW KLVWRU\ OLWHUDWXUH SV\FKRORJ\ VFLHQFH and journalism, quoted as lecturers are some illustrious exponents such as Prof. E. Zin, rapporteur of R. Schuman “The Man, the Politician and the Europeanâ€? on the occasion of the 50th anniversary of his death; Prof. P. Joliot, researcher and QHSKHZ RI 0DULH 6NâRGRZVND &XULH 3URI 6 6LQLJRL GLVFRYHUHU RI WKH 9DOVHVLD supervolcano (new Unesco Park); Dr. Paul Ley, a Doctor Without Borders; Dr. A. Brunello, author and actor of two theatrical works “Uncertainty Principleâ€? and “Pale Blue Dotâ€? (environmental disaster on planet Earth); A. Pace from CERN in Geneva on Particle Physics and Prof. A. Fasoli of Lausanna EPFL on fusion energy. This event, conceived with the JRC “Nuclear Safety and Securityâ€? department and entitled “Art Spaces - Nuclear Decommissioning: Science at the service of future generationsâ€?, has been organised with the aim of making the new structure designed to accommodate waste arising from the nuclear decommissioning of the Essor plant known outside the JRC. This special artistic event groups 52 artists who present artwork that they have made using a metal drum as a base.

The challenge of the “drum� Sandro Parmiggiani Artistic director

5HWXUQLQJ GHVHUYHGO\ WR GZHOO RQ WKH Ă€UVW RI WKH DERYH FRQVLGHUDWLRQV ² WKDW of the novelty of the object, the drum, on which the artists were called to work, 1. Novanta artisti per una bandiera, a catalogue of the traveling exhibition (Reggio Emilia, Modena, Rome, Turin), edited by Sandro Parmiggiani, Corsiero editore, Reggio Emilia 2013. 2. L’Orlando Furioso. Incantamenti, passioni e follie. L’arte contemporanea legge l’Ariosto, exhibition catalogue, edited by Sandro Parmiggiani, Palazzo Magnani of Reggio Emilia, Silvana Editoriale, Cinisello Balsamo (Milan) 2014.

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When I was asked to take part in the creation of this exhibition project, conceived and promoted by the Joint Research Centre of Ispra, I was immediately faced with WZR FRQVLGHUDWLRQV LQ VRPH ZD\ RSSRVLQJ DQG FRQĂ LFWLQJ FDXVLQJ PH WR WDNH WLPH WR UHĂ HFW EHIRUH DJUHHLQJ +RZHYHU , ZDV DZDUH WKDW LW ZRXOG QRW EH VLPSOH WR involve artists in contending with an object – a cylindrical black drum. This object is quite unusual compared to traditional media and customary expressive methods and techniques deployed in historical art of the second half of the last century, so full of upheavals, such as the breaking up of ideas, of concepts, as fundamental and special elements with respect to the same substance of the work. At the same time, having worked with artists for many years, I know that, apart from what may be considered common sense it may be generally accepted that they are primarily RU PHUHO\ PRWLYDWHG E\ Ă€QDQFLDO JDLQ DQG VHFRQGDULO\ E\ D W\SH RI LOOXVRU\ HOXVLYH FKLPHUD FDOOHG ´JORU\Âľ ,Q WKH ZRUN ZH DUH WDONLQJ DERXW WKH Ă€UVW PRWLYH ZRXOG not be achieved due to the artistic works being clearly “free of chargeâ€?. Indeed, some artists in creating particularly complex work (e.g. with the assistance of artisans capable of cutting the drum) had to bear non-routine expenses. Many artists are still particularly sensitive to certain themes, certain works of solidarity or dissemination of cultural values. Even though the era of illusion of power has waned, this tension persists when they, as artists and of course citizens, wish contribute to change the society in which we live and the culture in which we are immersed. In particular, after years of interaction with the art world I have been able to observe that artists love certain challenges. They are stimulated by them and are not afraid to engage, even though from the beginning these challenges appear to be demanding and call on their precious time, vital for performing their work in the studio. I can verify this behaviour from personal experience which, established over time with some artists, goes far beyond personal friendship. For instance on two recent occasions: the “Novanta artisti per una bandieraâ€? (Ninety artists for a Ă DJ H[KLELWLRQ LQ WR VXSSRUW WKH SURMHFW RI D QHZ KRVSLWDO IRU ZRPHQ DQG FKLOGUHQ LQ 5HJJLR (PLOLD ² DUWLVWV ZHUH DVNHG WR FUHDWH QLQHW\ GLIIHUHQW Ă DJV HDFK of which marked the unity of Italy, from 1797 to today, donating their work to a Foundation created for the National Health Service1 – and, in 2014, the exhibition devoted to the revision of Ludovico Ariosto’s Orlando Furioso2.

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it is worth noting that nearly a hundred years ago, through the two emblematic symbols embodied by Pablo Picasso and Marcel Duchamp, the history of art took different roads. These sometimes crossed and partially superimposed, but the artists still left new ways of understanding their work. They included “works of artâ€? determined by the artist’s behaviour, such as performance and body art, direct intervention in nature and places, such as land art and installations, video art and the use of electronic instruments. In addition, unusual materials and processes have been adopted, such as those used by the protagonists of “Arte Poveraâ€? and visual poetry – experiences whose echoes are also replicated in works by certain artists for this exhibition. Therefore, asking artists to work on a black metal drum, a reliable receptacle originally designed to contain radioactive waste which decays over many years, did not particularly upset them. Even though it was a novel idea for almost everyone, this object had never entered in their workshops to be considered as a subject for the body of a work. These workshops for the last seventy years have welcomed the most disparate objects including waste and pieces of every human creation. However, one example of note is that Jannis Kounellis presented cotton and coal in metal containers. Each drum was a spectre at the feast waiting for the entrance of the artist in the studio and questioning them every day about the possibilities of a solution to come to the fore. I can say this based on direct comments from a number of artists, having received calls and messages of somewhat discomfort and anxiety. :KLOVW ZDLWLQJ VRPH GUDIWHG VNHWFKHV WR Ă€[ WKHLU LGHDV DQG WR VLPXODWH ZKDW ZDV fermenting and shaping in their mind. Others knocked at the door of artisans in RUGHU WR FKHFN WKH SRVVLELOLWLHV RI ZRUNLQJ ZLWK VWHHO DV Ă€UVW VWHS EHIRUH VWDUWLQJ WKHLU ZRUN &HUWDLQO\ WKH WKRXJKWV TXHVWLRQV DQG Ă€UVW LQNOLQJV RI D SRVVLEOH solution did not disappear when they left the studio. They accompanied the artist in the time before the adoption of a choice, felt as a happy release, before proceeding to their creation. Sometimes they threw themselves enthusiastically into the work in D ZD\ WKDW LQGLFDWHG WKHLU GHVLUH WR Ă€QDOO\ VHH FUHDWHG ZKDW KDG MXVW EHHQ D VSDUN RI intuition, an idea they were seeking to make feasible. Moreover the artists did not only display technical aspects and creative methods, but also thoughts, messages LQWHQGHG WR EH FRQYH\HG ZLWK WKHLU DUWZRUNV 7KHVH ZHUH RQ D VSHFLĂ€F WKHPH WKH nuclear decommissioning and the feasible and practical solutions. The theme was QRW RQO\ D VLPSOH VFLHQWLĂ€F WHFKQLFDO LVVXH EXW DOVR LW LQYROYHG WKH DUWLVWV¡ LGHD RI society and the principles on which its functioning should be based including the role and mission of science. Perhaps, this latest theme is no longer debated as it has been in the past, but which many artists still feel is relevant today. Everything changes and evolves but not always, as Giacomo Leopardi sensed, LQ WKH GLUHFWLRQ RI ´PDJQLĂ€FHQW DQG SURJUHVVLYH GHVWLQ\Âľ +LVWRULFDOO\ WXUQLQJ WR

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artists for some noble cause was a widespread and emblematic practice for the visionary perspective (frankly nowadays largely obscured) of the artist. He was considered to have an aura: he had not only been gifted and developed talents others did not possess, but he also represented, in an increasingly complex society, D Ă€JXUH ZLWK KLV RZQ SHFXOLDU KHULWDJH RI FXOWXUDO UHĂ HFWLRQ ZKHWKHU FHQWUHG RQ collective events, the meaning of life or just to explore new paths of art, which sometimes led him to venture into the unknown. Calling on an artist, and being received, also meant communicating to society at large that he was on your side and shared your cause. Today, that habit seems less and less practicable. Many artists have had to bitterly agree that so many hopes have fallen by the wayside, ideals have become obscure, the daily procession of public and private events is often desolate and that economic and physical violence is exerted even more brutally and more widely in the world. The result is that the artist lives in the solitude of his own studio, a place of existential and often unanswered questions, WU\LQJ WR UHVLVW RIWHQ LQ GRXEW WR KDYH VRPH VHQVH RI FRQĂ€GHQFH LQ KLV GDLO\ ZRUN LQ WKH Ă€HOG RI DUW DQG LQ KLV YHU\ H[LVWHQFH However, this is not a mere blurring of the motivations that have led artists to witness their sharing or solidarity for certain causes, but a deep “geneticâ€? mutation, a growing loss of the role of artists themselves in the system of art, of which they should be the “cornerstoneâ€?. In truth, they are increasingly marginalised both socially and culturally. Moreover, the connection with artworks tends to become merely incidental when they become an investment asset, a PHUH Ă€QDQFLDO LQVWUXPHQW DQG D VLJQLĂ€FDQW QXPEHU RI FROOHFWRUV VHHP WR KDYH dispensed with – as in nature when “skin sheddingâ€? occurs – the passion and taste of an authentic relationship with artwork, which is based on commitment, study, desire for knowledge and personal effort. Reduced to a simple commodity, the notion of its monetary value is likely to obscure, like a darkening screen, its aesthetic content and its ability to communicate, disturb and upset. Would it then be surprising if, in the social structure, the artist becomes a mere, exclusive producer of goods that can, more or less rapidly, be turned into money and allow IRU SURĂ€WDEOH VSHFXODWLRQ VXFK DV IRU PHUFKDQGLVH RU ´VDIH KDYHQ PDWHULDOVÂľ like gold? Quite often it is calling on an artist asking generically for an artwork for funding some good causes, ultimately using him as if he were a cash point to withdraw money from with ease. This in some way suggests that artworks are considered a means for the concentration of wealth, just like a payment using the modern means of a mobile phone. This practice is not only obscured by some squalor, but also an oxymoron steeped in ambiguity: the artist is asked to create artworks that could be transformed into money, and as a result reduced to a mere commodity maker. It should also be noted that the gesture of an artist donating an artwork reveals WKH SUHFLRXV JLIW RI FKDULW\ EXW KDV QRW RIWHQ EHHQ YDOXHG LQ LWV DUWLVWLF VSHFLĂ€FDOO\

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cultural, dimension by the recipient of that gift. Losing a certain aura surrounding the artist, also limited exclusively to request an artist’s artwork ends in tacit FRQĂ€UPDWLRQ RI WKH ZLGHVSUHDG RSLQLRQ RI WKH DUWLVW¡V VRFLDO ´XVHOHVVQHVVÂľ Consequently he should be respected for his more or less bizarre creativity, but he should be quite often questioned about the vision or radicalism of some of his ideas. One may applaud the donation of an artwork and the generosity of an artist, but fail to fully appreciate the thought behind it and to act so that it could become well known and be a culture and education multiplier. However, in most cases, if this virtuous pathway had been pursued, secrets could have been discovered to foster germination of artworks and perceptions. These observations often anticipate current trends and future society limitations. In the moat of the empty images that surround us, they simply express the need IRU D ´NQRZ KRZ WR VHHÂľ WKH QXDQFHV WKH ´LQĂ€QLWH VKDGHVÂľ RI FRORXU OLJKW and ark, and the truths that nestle in reality and are agitated, often faceless, in the imagination. In this exhibition, conceived and supported by JRC Ispra, artworks created by the artists are not intended to be turned into monetary resources, but to contribute to understanding a relevant aim for the present and future of our society and generations. They will also help to communicate the nuclear decommissioning programme. This message can also be reinforced through the language and ideas RI DUWLVWV ZKR SHUKDSV IRU WKH Ă€UVW WLPH KDYH EHHQ FKDOOHQJHG ZLWK VXFK D GLIĂ€FXOW question. It does not have the same dramatic intensity as it would have had in the SRVW ZDU SHULRG ZKHQ WKH IHDU RI FRQĂ LFW DQG SRVVLEOH QXFOHDU DQQLKLODWLRQ VKRRN consciences. This fear was a source of some of the same artist group experiences, VXFK DV WKRVH ZKR H[SHULPHQWHG ZLWK WKH LQIRUPDO Ă€HOG 0RUHRYHU WKHUH LV evidence that the questions and the concerns are recurring even nowadays, in the face of dangers unfolding on the horizon of a possible war with its devastating and unpredictable effects. The artists have been involved in the project in innovative ways. This was not only in relation to the eccentricity of the subject (the black drum), but also they had been asked not to produce a generic artwork, perhaps hastily pulled out of their store and more or less sharply aligned with the theme of the exhibition. They were asked to commit themselves to “take the necessary timeâ€? to create an artwork which, faithful to their own language and expressive modes, would challenge the physical nature of the drum and the JRC objective. These works are neither considered nor should be seen as a simulation of monetary value. But they should be percieved as a privileged means of communicating a project and the LVVXHV LW UDLVHV :LWKLQ LW WKRXJKWV UHĂ HFWLRQV DQG WKH VDPH DHVWKHWLF YDOXHV advanced by artists are fundamental. These artworks have become, as was hoped, ambassadors of sensitivity, questions, and aspirations.

The challenge of the “drum� Sandro Parmiggiani Artistic director

If we look into our imagination searching for what has been displayed on the “drumâ€? or “binâ€? theme, we can recall images of visual experience (e.g. drums of lubricating oil for engines in mechanical workshops or petrol station forecourts when oil collection and disposal services were not available), history (or legends) learned at school (the torture and death of Marcus Atilius Regulus in Carthage in a barrel of nails rolling down a slope), some of the stories we’ve come across in literary texts PDĂ€D NLOOHUV LQ WKH 8QLWHG 6WDWHV GLVSRVHG RI WKH ERGLHV RI PXUGHUHG SHRSOH LQ metal drums, abandoned along the highway), present terrible news articles and the PDJLFLDQ +RXGLQL¡V H[SORLW ZKHUH KH ZDV ORFNHG LQ D ZDWHU Ă€OOHG FRQWDLQHU EXW was able to escape. There are also more reassuring images from our daily lives: tins, miniature drums, containing preserved food (which Andy Warhol depicted – and two of the artists involved have re-displayed the image of his “Campbell’s Soupâ€? –), bins of various sizes, used as vacuum cleaner containers, which one of WKH DUWLVW UHFUHDWHG LQ KLV DUWZRUN %\ JRLQJ LQWR WKH PHWDSKRULF Ă€HOGV RQH RI WKH Italian meanings of “binâ€? (“bidoneâ€? in Italian) is associated with a deception. The term has been found to be widespread in current language when it is found

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The artists have warmly welcomed their commission, whilst being intrigued by WZR HOHPHQWV )LUVWO\ WKH LPPHGLDWH SHUFHLYHG GLIĂ€FXOW\ LQ KDQGOLQJ D ´GUXPÂľ perhaps wondering if they would be able to rise to the challenge. Secondly, the appreciation, even though there were some misgivings, about the cause for which they were asked to work, which however led them to tackle a topic that many knew little about, because it often resulted in being read with tunnel vision due to scant information or prejudice. However, the artists took this commission as a call for something they could not refuse. They felt engaged as they were not generically DVNHG IRU DQ DUWZRUN EXW IRU D UHVXOW RI D SHUVRQDO VSHFLĂ€F FUHDWLYH SDWK RQ ZKLFK they would have to deal with matters considered vital to the fate of humanity. 7KH DUWLVWV¡ UHVSRQVH FRQĂ€UPV WKDW RXU FRXQWU\ DQG PRUH JHQHUDOO\ (XURSH LQ the future, is not necessarily perpetually condemned to repeat what Francesco Guicciardini considered to be the secret code of Italian life: the individual interest, i.e. the “particulareâ€?. It is clear from the comments the artists have put forward to illustrate their inspiration and reasons for the artworks, that the nuclear decommissioning theme is not a settled subject where common sense has been acknowledged with fears and anxieties. In the perception of many, it is a “cold caseâ€? that has not yet been Ă€OHG LW FRQWLQXHV WR TXHVWLRQ DQG DVN IRU FOHDU FRQYLQFLQJ UHOLDEOH DQVZHUV This is what we hope will appear in exhibitions the JRC will organize in the future. This exhibition, too, can help to develop a fruitful discussion, to provide elements of knowledge and assessment so that everyone can come to a well-informed FRQFOXVLRQ 7KH ´JUHHQ Ă€HOGÂľ IRU RXU JHQHUDWLRQ DQG IXWXUH RQHV LV D ´FRPPRQ aspirationâ€? to be defended and consolidated.

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that a commodity is of poor quality. Notwithstanding the spread of the word among football enthusiasts when they refer to a footballer who is revealed to be completely unworthy of the raised expectations and the money paid for him. However, playing with words, we can say that the artists involved in “Art Spaceâ€? did not only experience the black drum delivered to them as a “binâ€?, but also as a stumbling block put in their way by some malevolent person who wanted to test them. The artists were given complete freedom of action, they just had to consider the drum delivered to them as a starting point from which to create a work that would take account of their style, and also what they felt they wanted to say about the ambitious project of the Joint Research Centre. $OO Ă€IW\ WZR DUWLVWV LQYROYHG ZRUNHG RQ D [ FP VWHHO F\OLQGULFDO GUXPV designed to contain radioactive waste. Using very different techniques, materials and modes of expression, strictly connected to their own language and personal experience, they created artworks which were looking to confront the decommissioning programme and the related objectives set out by the promoters of the initiative. The catalogue and exhibition present the profoundly different modes of creation and outcome of the artworks. Some artists have worked on drums, again considered to be unusual supports, no longer two-dimensional DV WUDGLWLRQDOO\ FDQYDV SDSHU RU ZRRGHQ VXUIDFHV DUH SDLQWLQJ WKHP Ă€JXUDWLYHO\ or with abstract images. Others have opened the drum’s top lid, creating escape forms and elements in various materials. Some artists, especially sculptors, KDYH XVHG WKH GUXP DV D EDVH IRU WKHLU FUHDWLRQV ZKLFK Ă RZ LQWR VSDFH Others have sliced or cut the drum and used script in neon lights or painted glass. Others conceive the drum as a treasure chest in which to play a video or from which one can make a sound. All of the artists have described and explained their technical choices, and the message they intended for the observers. These texts are reported in the exhibition catalogue. The scripts, together with some slogans and phrases on the drums, give evidence of the widespread perception of the involved artists on the themes at the start of the exhibition project. These topics examined their conscience and vision of the future. The outcome of the artists’ artwork once again WHVWLĂ€HV WKDW D FRPPLVVLRQ RU FRQVWUDLQWV DUH QRW HOHPHQWV WKDW HQFORVH or distort creativity, as erroneously one still believes in the “romanticâ€? conception of freedom. However they stimulate and force the artist to follow unexplored paths, experiences that once in the memory will grow in their imagination and will be forerunners of innovations in their artwork.

The challenge of the “drum� Sandro Parmiggiani Artistic director

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The exhibition presents a partial cross-section of contemporary Italian art, alongside some international exhibits, and this aspect alone merits consideration and arouses curiosity and interest. But besides this, one must never forget that the underlying driving force was the efforts of men and women, those working DW WKH -5& ZRUNLQJ VSHFLĂ€FDOO\ RQ WKLV SURMHFW DQG WKH DUWLVWV LQYROYHG 7KH exhibition bringing together artists’ artworks and the accompanying catalogue now begin their journey not only in Ispra but in other parts of Europe, ambassadors of a project that invests in the future of us all. It is the hope of those who have conceived the exhibition that it will live on beyond the exhibition itinerary. Once the exhibition is over, each artwork will return to its artist, the catalogue will remain, as will the memory of those who have had the opportunity to visit the exhibition and, above all, the artwork in the artist’s studio. No longer a silent “spectre at the feast,â€? but a spokesman to reconsider a moment in their creative MRXUQH\ DQG WR UHWXUQ WR UHĂ HFW DQG TXHVWLRQ LQ D FLUFXODU SURFHVV WKDW ZKLFK encapsulates the essence and perennial value of the human being.

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ART SPACES ALL WORKS WERE CREATED IN 2017

NUCLEAR DECOMMISSIONING SCIENCE AT THE SERVICE OF FUTURE GENERATIONS

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ANTONIO BANDIRALI Born in Crema in 1946, Antonio Bandirali graduated in architecture from the University of Milan. Over the years, he has published a number of photographic art books including Cielo, Sole e Terra – with an introduction by Sting, 3JŇŠFTTJPOJ TV -FPOBSEP EBM WFSTP BMMČ…JNNBHJOF – the three canticles of 5IF %JWJOF $PNFEZ – and (FOFTJ. In 2009, he organised a celebratory exhibition on Futurism in Varese and Lovere. In 2011, he was invited to exhibit his photography in LeĂłn Cathedral, Spain. Two years later, his work was on display in an exhibition entitled “Dalla Genesi al Paradiso di Danteâ€? at the National Library in Budapest as part of a cultural exchange between Hungary and Italy. His latest exhibitions in various cities celebrate 750 years since the birth of Dante Alighieri. On behalf of the Cultural Committee of the JRC Ispra, the European Commission and other associations, he is also the creator, organiser and coordinator of various international cultural initiatives.

PERIODIC TABLE IN TRANSIT 5FDIOJRVF BOE EJNFOTJPOT The work consists of 15 90x60 cm steel drums within a metal frame. The forklift simulates the idea of transport. %FTDSJQUJPO My aim was to transform Mendeleev’s periodic table, which encapsulates the knowledge of ?RMKGAČŠ QRPSARSPCQČŠ GBCLRGČ?CBČŠ GLČŠ RFCČŠ J?QRČŠ ACLRSPW ČŠ GLRMČŠ a mobile art installation (“Arte in Transitoâ€?) to make GRČŠ |RP?TCJ}ČŠ DMPČŠ RFCČŠ QAGCLRGČ?AČŠ LCCBQČŠ MDČŠ PCQC?PAFCPQ ČŠ ?QČŠ though it was a package in the post. The stamps on the sides of the pyramid of barrels metaphorically reinforce the idea of dispatch and circulation to every part of the world. All known elements have been placed GLQGBCČŠRCLČŠAMLR?GLCPQČŠ?LBČŠQS@BGTGBCBČŠGLRMČŠRFCČŠQAGCLRGČ?AČŠ A?RCEMPGCQČŠ GLBGA?RCBČŠ MLČŠ RFCČŠ Č?TCČŠ @MRRMKČŠ BPSKQ ČŠ $PMKČŠ the four elements theorised by Empedocles (air, earth, Č?PC ČŠ ?LBČŠ U?RCP ČŠ ČŠ CJCKCLRQČŠ F?TCČŠ @CCLČŠ BGQAMTCPCBČŠ to date, of which 92 can be found in nature and the PCQRČŠUCPCČŠ?PRGČ?AG?JJWČŠAPC?RCBČŠGLČŠJ?@MP?RMPGCQČŠ@WČŠLSAJC?PČŠ reaction. The images that act as a background to the groups of elements listed on each container lid are PCNPMBSARGMLQČŠMDČŠKWČŠNFMRMEP?NFQČŠ?LBČŠPCČ?CARČŠRFCČŠKMRGDČŠ of ceaseless movement that this artistically revised table represents: the constituent elements of our planet and its life, and therefore of our own existence. This work was accomplished with the collaboration of JosĂŠ Joaquin Beeme from FundaciĂłn del Garabato for creative graphics and Federica Rizzotto for structural planning.

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ROBERTO BARNI Roberto Barni was born in Pistoia in 1939 and lives and works in Florence. He began drawing at an early age and painted FGQČŠČ?PQRČŠ?@QRP?ARQČŠGLČŠ ČŠ&CČŠSQCQČŠK?LWČŠK?RCPG?JQČŠ UMMB ČŠ N?NCP ČŠNFMRMEP?NFQ ČŠ&GQČŠČ?PQRČŠCVFG@GRGMLČŠU?QČŠ?RČŠRFCČŠ%?JJCPG?ČŠ Numero in Florence in 1962, exhibiting his own obituary. This led to an intense series of exhibitions in Italian and foreign galleries that demonstrate the results of constantly evolving research, both as reasons and as techniques for painting. In the early 1980s, he created some of his most famous work, such as -F BWWFOUVSF EFM QFOTJFSP EPNFTUJDP – the protagonist is a blindfolded man – and 6PNJOJ DIF GBOOP VO ҨVNF ČŠČ?ESPCQČŠPMJJGLEČŠ@?PPCJQČŠDSJJČŠMDČŠU?RCPČŠGLČŠ?ČŠBPWČŠ forest. Fascinated by the idea of transferring his existential metaphors into space, he started to make bronze sculptures, from 4FSWJ NVUJ to -B DPMPOOB CJTCFUJDB. The link between painting and sculpture develops fully, with transitions in both directions. Over the last twenty years, Barni has achieved a fruitful co-existence of painting and sculpture, representing a universe that exudes the OPOTFOTF and madness that permeate much of modern-day life. Of his many exhibitions, in private galleries and public spaces, some of his personal exhibitions in museums and exhibition centres are listed below. In addition to participating in the Venice Biennale in 1980 and 1988, other exhibitions include: 1982, the Two Worlds Festival, Spoleto, with text by Giovanni Carandente; 1987, The Queens Museum, New York, with text by John Yau; 1992, Tour Fromage, Aosta, with texts by GĂŠrardGeorges Lemaire and Janus; 1994, Museo Marino Marini, Florence, with texts by Alberto Boatto, Giovanni Carandente and GĂŠrard-Georges Lemaire; 1997, Palazzo Fabroni, Pistoia, UGRFČŠ RCVRQČŠ @WČŠ !FG?P?ČŠ B Č’GRRM ČŠ J@CPRMČŠ M?RRM ČŠ PSLMČŠ !MPÄ° ČŠ Howard Fox, GĂŠrard-Georges Lemaire and Adriano Sofri; 2007, Boboli Garden, Archaeological Museum, Le Pagliere and piazze, Florence, with texts by Alberto Boatto, LĂłrĂĄnd Hegyi, Gianni Pozzi and Maurizio Vanni; 2008, Palazzo Forti, Verona, with texts by Giorgio Cortenova, Alberto Boatto, Alberto Fiz, and the Fondazione Mudima, Milan, with texts by Achille Bonito Oliva and LĂłrĂĄnd Hegyi; 2010, the Centre d’Art de la Ville de Cannes, with text by FrĂŠdĂŠric Ballester; 2011, “Karel Appel - Roberto Barniâ€?, COBRA Museum, Amsterdam.

SAFE STEPS %JNFOTJPOT 320x60 cm 5FDIOJRVF Bronze. %FTDSJQUJPO The drum contains hazardous waste and I get people to walk on it in the hope that everything goes well.

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PIERGIORGIO BAROLDI Born in 1954 in Salò on Lake Garda, Piergiorgio Baroldi lives and works on the Venice estuary where he is actively involved in the tourist industry, culture and art. He is a rather eclectic person and is passionate about art, which he produces with BGČŽCPCLRČŠRCAFLGOSCQČŠ?LBČŠGLČŠK?LWČŠDMPKQ ČŠ&CČŠAPC?RCQČŠ?ČŠAMLRP?QRČŠ @CRUCCLČŠFGQČŠČ?ESP?RGTCČŠN?GLRGLEQ ČŠUFGAFČŠ?PCČŠJ?PECJWČŠGLQNGPCBČŠ@WČŠ %SQR?TČŠ)JGKR ČŠ?LBČŠRFCČŠKMLMAFPMK?RGAČŠAMJMSPQČŠMDČŠRFCČŠČ?ESPCQČŠ on a golden background, with a palette of joyful colours that distinguish his work to a very great extent. He has also built “monumentalâ€? installations using the same technique. He has taken part in major events both in Italy and abroad. He is President of Art&fortE and a member of the board of AIAPI - Associazione Internazionale Arti Plastiche Italia, Comitato 'R?JG?LMČŠBGČŠ' ' . ČŠ3,#1!-ČŠ-Č‘AG?JČŠ.?PRLCP

NUCLEAR RECOVERED DRUMS %JNFOTJPOT various 5FDIOJRVF The work consists of 6 steel drums of various sizes (3 Large Drums, 2 Half-sized small Drums, 1 Half-sized Large Drum Stonehenge). The technique is acrylic on metal. %FTDSJQUJPO All my works are linked to the path I followed as an artist and I have always used barrels of various sizes, which I cut, painted and arranged into various forms, usually in open spaces or on walls, and which I called RECUPERI (RECOVERIES). It is my way of ennobling and giving new life to objects intended for everyday use.

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DAVIDE BENATI Born in Reggio Emilia on 23rd February 1949, Davide Benati attended art school in Modena and then the Accademia di Brera in Milan, where he was appointed to the Professorship of Anatomy and Painting; subsequently he became a lecturer at the Accademia di Belle Arti in Bologna. The artist had his debut in 1972 with a one-man exhibition at the Galleria Il Giorno, Milan. His record of exhibitions was impressive in the Seventies, a decade of intense research and experimentation, and was further enhanced in the Eighties by one-man shows and major and prestigious group exhibitions both in Italy and abroad. These include: the Venice Biennale in 1982, and again in 1990 with a room exclusively devoted to his works; the Rome Quadriennale in 1986; anthological and public exhibitions of his work in 1989 at the Galleria Civica in Modena (the catalogue included a short story by Antonio Tabucchi), and the Musei Civici in Reggio Emilia (the catalogue included an essay by Luciano Carmel) in 1992. Also worthy of note is the list of important group exhibitions in which he participated (“Anni Ottanta� in Bologna and the III International Triennale held at the Kunsthalle in Nuremberg, both in 1985; “Dopo il concettuale� in Trento and “Itinerari di arte contemporanea� in Lisbon, in 1986; the International Biennale in Cairo in 1995) and solo exhibitions at private galleries both in Italy and abroad (Antwerp, Stockholm, Hamburg, Paris, Zurich, New York). Some of the most eminent authors have written about his work, as may be seen in the list of references here. From 2005 to 2015, he worked with the Galleria Marlborough, Monaco.

OASIS OF BITTER WATER %JNFOTJPOT 90x60 cm 5FDIOJRVF Watercolour on canvas glued to the drum. %FTDSJQUJPO A form that has a dual nature: one dark and pointed, sharp and threatening; the other, ethereal and transparent. These two components multiply and battle to prevail over each other, to darkness.

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GABRIELLA BENEDINI Gabriella Benedini (Cremona, 1932) graduated from the Art Institute of Parma and attended the Accademia di Brera. From ČŠ RMČŠ ČŠ QFCČŠ JGTCBČŠ GLČŠ .?PGQČŠ UFCPCČŠ FCPČŠ Č?PQRČŠ CVFG@GRGMLČŠ RMMIČŠ NJ?ACČŠ GLČŠ ČŠ -LČŠ PCRSPLGLEČŠ RMČŠ 'R?JWČŠ GLČŠ ČŠ FCPČŠ Č?PQRČŠ exhibition in Milan was held at the Bergamini Gallery, where she continued to exhibit until 1980. She is widely travelled and fascinated by the places and cultures of Asia and Africa. RRCLRGTCČŠRMČŠRFCČŠSQCČŠMDČŠK?RCPG?JQ ČŠQFCČŠNPMBSACBČŠRUMČŠČ?JKQČŠGLČŠ 1973 and 1975, %JVUPQ and %PQSFOPJ (lost); overcoming the constraints of two-dimensionality, she gradually included sculpture in her research. Her numerous public exhibitions include those in Ferrara, Palazzo Diamanti (1972), Como, Pinacoteca (1993), Aosta, Torre del Lebbroso (1994), Spoleto, Palazzo Racani Arroni (1997), Siena, Palazzo Patrizi (1999), Sarzana, Fortezza Firmafede (2004), Reggio Emilia, Palazzo Magnani (2006), Cremona, the Ala Ponzone Museum (2007) and the Violin Museum (2016), Milan, Spazio Oberdan and Saluzzo, Castile (2012); Milan, the Diocesan Museum (2014). Of particular note were the exhibitions at the Biennale di S. Paolo (1982) and at the Venice Biennale (1986 and 2009).

THEY WILL FLOURISH TOMORROW %JNFOTJPOT 155x60 cm 5FDIOJRVF Multiple materials. %FTDSJQUJPO The circular shape of the drum suggests the circularity of time expressed through the movement of the constellations. I placed on the lid an GLBGQRGLARČŠQCRČŠMDČŠM@HCARQČŠRF?RČŠ?PCČŠA?JAGČ?CBČŠU?QRCČŠDPMKČŠ our civilisation. Rising from this tangle of rubbish is a branch, which, though emerging from a state of abandonment, changes colour as it rises towards the sky. The colour EPCCLČŠ CVNPCQQCQČŠ RFCČŠ ACPR?GLRWČŠ RF?RČŠ GRČŠ UGJJČŠ Č?MSPGQFČŠ tomorrow.

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DIETRICH BICKLER Dietrich Bickler was born in 1940 in Remiremont in the Vosges in Lorraine (France). He has been living in Italy since 1948. He attended the German School in Milan and evening classes at the Accademia di Brera under Professor %GLMČŠ +MPM ČŠ 'LČŠ ČŠ FCČŠ FCJBČŠ FGQČŠ Č?PQRČŠ QMJMČŠ CVFG@GRGMLČŠ GLČŠ Milan, presented by Adele Faccio. Since then, more than 150 personal exhibitions have been organised in Italy and abroad. In 1997, Bickler published a book entitled (FOUF DIF TJ SBDDPOUB, containing 45 short stories and drawings. In 1999, the European Commission Joint Research Centre of Ispra invited him to put on an exhibition to represent Germany during the German semester. In 2011, his novel -Č…VMUJNP CBMMP EJ 3FMLJC was published by the Albatros publishing house in Rome. He lives and works in Cardana near Besozzo (Varese). Bickler’s paintings are in private collections in Italy, Germany, Austria, France, England, Switzerland and the USA.

THE ENVIRONMENT IS IN DANGER %JNFOTJPOT 130x60 cm 5FDIOJRVF Stainless steel, plastic and iron (multimaterial). %FTDSJQUJPO On the container I wrote a warning by Alanis Obomsawin, a director, singer, artist and sage from the Abenaki First Nation Canadian people, which seems to me to be highly relevant to our times.

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LORENZO BOCCA Lorenzo Bocca was born in 1959 in Soresina (Cremona). He is an architect, teacher, painter, friend and collaborator of Alberto Sartori. An expert on Modern Architecture, he meticulously researched the geometry of the works of Francesco Borromini and the studies conducted in the 18th Century by the French monk, Father Sebastien Truchet, on the square divided by a diagonal. He became interested in Giorgio Scarpa’s work, in rotating geometric models and observations on bionics, and adheres to Astractura’s artistic movement, which considers line as the fundamental aspect of works of art. Among his most recent exhibitions are those in Nocera Inferiore, Latina, Naples, Savona, and his one-man shows in the cloisters of San Domenico in Crema (Cremona), at the Galleria delle Arti and in the City Hall of Cremona. A triptych is on permanent display at the Museum of Geometric and MADI Art in Dallas (Texas). In collaboration with the Gallery of Milan’s Scoglio di Quarto, he has published the book -PSFO[P #PDDB - SQFSJNFOUBSF HFPNFUSJF, edited by Francesco Pagliari.

IT CHANGED THE WORLD %JNFOTJPOT 90x60 cm with an extension of 120 cm 5FDIOJRVF Black and white water-based paint on steel drum. %FTDSJQUJPO By imagining I could visualise on a severe black background the hypothetical transformation over time of the nuclear waste contained in the drum, I created a discursive sequence of white geometric shapes that alternate, dovetail, overlap, interweave, unite and rotate with each other to create experimental features, to form new geometries and expressive densities. On the lid, the same geometric modules, this time black and distinct, play chase with each other and revolve around the white circle. The geometric force and energy that changed the World.

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MAURO AFRO BORELLA Mauro Afro Borella was born in Milan in 1956; he is an architect and designer, is interested in cities, landscapes and design, and crosses boundaries into art and photography. He is a lecturer at the School of Product Design and Sculpture at the Accademia di Brera in Milan, and at the School of Interior Design at the Milan Polytechnic. He has participated in group exhibitions of art and design, has organised several art and design exhibitions and is the author of articles and essays including -Č…PSUP #PUBOJDP EJ #SFSB 1JDDPMB TUPSJB EBMMB CSBJEB BE PHHJ.

THE FATE OF EUROPE %JNFOTJPOT 110x60 cm 5FDIOJRVF Resin and LED lights. %FTDSJQUJPO For centuries, Mare Nostrum has meant life and well-being for the countries that border it, but suddenly the Mediterranean has taken on the opposite meaning, of death for thousands of human beings; despite these deaths, there is no solution to ensure the safety and the right of migrants to live. The work PCNPCQCLRQČŠ RFCČŠ +CBGRCPP?LC?LČŠ 1C? ČŠ UFCPCČŠ |Č?M?RGLEČŠ AMČ‘LQ}ČŠ?PCČŠQFGNUPCAICBČŠ?LBČŠ#SPMNCČŠ?LBČŠGRQČŠKCK@CPČŠ QR?RCQČŠ?PCČŠČ?MSLBCPGLE

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GIOVANNI CAMPUS Giovanni Campus was born in Olbia in 1929. He completed his classical studies in Genoa and then at the Free Academy of Fine Arts in Livorno. In 1968, he devoted himself entirely to painting and moved to Milan, where he still lives and works. He worked and exhibited in Paris in the 60s and 70s and in New York in the 80s and 90s. From the 70s to the 80s, he exhibited and created urban and extra-urban environments and projects in museums ?LBČŠ T?PGMSQČŠ BGČŽCPCLRČŠ QCRRGLEQ ČŠ .G?XXCRR?ČŠ .?J?XXMČŠ 0C?JC ČŠ Milan; Galleria Comunale d’Arte, Bologna; Museo Civico in Progress, Livorno; “3rd New Multiple Artâ€?, Whitechapel Art Gallery, London; “II Triennale Internazionale dell’Indiaâ€?, Italian pavilion curated by Palma Bucarelli, New Delhi; “Sixth British International Print Biennaleâ€?, Italy Section, Bradford; “Luce e Materiaâ€?, Centro Industria, Milan and “Experimental Artâ€?, Yamanasi Museum, KofĂš. Added to these are: “3° Salon International d’Architectureâ€? Palazzo Triennale, Milan 1991; “Arte in Italia. Anni Settantaâ€?, Erice 2004; “Viaggio in Italiaâ€?, Neue Galerie am Landesmuseum, Graz 2008; “Percorsi riscoperti dell’Arte Italianaâ€?, VAF-Stiftung, MART, Rovereto 2011; “Il Museo raccontaâ€?, Palazzo della Permanente, Milan 2013; “Sotto il Segno del Contemporaneoâ€? Galleria Comunale CČŠ+SQCGČŠBCJJ?ČŠ!GRRÄ° ČŠ!?EJG?PGČŠ ČŠ JQMČŠLMRC-worthy are the UMPIQČŠ ?LBČŠ EPMSNQČŠ MDČŠ UMPIQČŠ K?BCČŠ UGRFČŠ BGČŽCPCLRČŠ K?RCPG?JQČŠ in the “intervention pathsâ€?, Palazzo dei Diamanti, Sale Benvenuto Tisi, Ferrara 1987-1988; “Coste della Galluraâ€?, ČŠ?LBČŠ|.?PAMČŠ MR?LGAM} ČŠ3LGTCPQGRÄ°ČŠ!?EJG?PG ČŠ

TIME IN PROCESS. INTERVENTION %JNFOTJPOT 90x60 cm 5FDIOJRVF Metal sheet, adhesive canvas stickers on metal. %FTDSJQUJPO Black and white diagonal sign projections, circularly intersecting in three levels on the cylindrical drum with coordinated and diverging linear scrolling. 2FCČŠ UFMJCČŠ QRPSARSPC ČŠ UGRFČŠ BGČŽCPCLRČŠ TGQS?JČŠ ?LEJCQ ČŠ tends perceptively to highlight a “temporal processâ€? in progress.

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URBANSOLID (Castellani e Cavalleri) Urbansolid is an artistic duo formed by Gabriele Castellani and Riccardo Cavalleri, 1978. Both attended the Busto Arsizio Fine Arts Academy and the Accademia di Belle Arti di Brera in Milan, graduating in 2003. After gaining experience in restoration, painting and in various art foundries, they decided to join forces and artistic skills by creating the Urbansolid group in 2009. In 2011, they organised a personal exhibition at Galleria Gli Eroici Furori in Milan; appreciation of their work encouraged them to continue with greater determination and to organise new shows and live performances on streets and in galleries in Italy. Since 2013, they have been invited to participate at fairs and art events QSAFČŠ?QČŠ.?P?RGQQGK? ČŠRFCČŠ ČŽMPB?@JCČŠ PRČŠ$?GPČŠ?LBČŠRFCČŠ$JMPCLACČŠ Biennale. They have broadened their horizons from Milan to the whole of Europe: London, Berlin, Paris and Brussels are the cities where they have exhibited their art, not only on the streets but also with personal exhibitions, such as the latest in May 2017 at the Brick Lane Gallery in London.

JUNK %JNFOTJPOT 105x60 cm 5FDIOJRVF Mixed technique. %FTDSJQUJPO We are the generation that saw the emergence of video games and grew up watching cartoons with backgrounds showing post-atomic villages and plenty of warnings about the risks of wars and atomic radiation‌ What can we say? We believe this kind of energy is obsolete and that the costs and issues of keeping “decayingâ€? waste are the proof!

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FABIO CASTELLI Fabio Castelli was born in Varese in 1953. As a teenager he worked with the sculptor, Vittorio Tavernari (Milan 1919-Varese 1987) and developed a passion for sculpture that will never wane. It is more than a hobby, rather it is a vocation that has always kept him occupied along with his career in the publishing world as a bookseller collaborating with publishers such as Einaudi, Sellerio, Laterza and Allemandi. For many years he has managed the book shop of the Triennale in Milan, at the Lingotto in Turin and at the Piccolo Teatro in Via Rovello, Milan. He has exhibited in galleries in Milan, Turin, Sassari, Venice and Berlin, and several of his works have been on display in New York and London. Landscapes are the focal point around which his artistic projects revolve, which he creates using various materials, with a particular preference for wood.

INSPIRED LANDSCAPE %JNFOTJPOT various 5FDIOJRVF Earth, moss, bricola wood, box-wood, grasses, water. %FTDSJQUJPO ČŠ 2FCČŠ UMPIČŠ GQČŠ ?ČŠ PCČ?CARGMLČŠ MLČŠ RFCČŠ LCCBČŠ RMČŠ respect and keep clean the land and the environment in which we live, since it is essential to human survival.

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ARCANGELO CIAURRO Arcangelo Ciaurro was born in Castellaneta (Taranto) in 1953. He began to paint when very young and over the years his pictorial research has continued with constancy and individuality of language, technical tools and subjects. He lives and works in Varese where he has been a professional painter since 1977. His works are housed in public and private collections in Italy and abroad, and since 2017, have been on permanent display in the Museum of Modern Art in Verona.

HELIOS %JNFOTJPOT height 225 cm - base 80x80 cm 5FDIOJRVF Support made of welded scrap iron and ceramics, steel drum painted with acrylic colours and drum lid (steel disc) coated with gold and silver foil. %FTDSJQUJPO “Look deep into Nature and you will understand everything better,â€? said Albert Einstein. The work questions the relationship we have with trees and, in a broader sense, with the Life of Nature. Is it true that this relationship is in jeopardy today? That, despite being aware of the historical origins and the dramatic consequences of the crisis, the ecological and sustainable remedies we have adopted on a planetary scale seem inconclusive? That instead of continually seeking to AF?LECČŠRFCČŠCVRCPL?JČŠQR?RCČŠMDČŠ?ČŽ?GPQ ČŠUCČŠQFMSJBČŠP?BGA?JJWČŠ modify the pattern of mechanistic and dualistic thinking we have inherited - us here and nature out there, us thinking we have the right to exploit it and that nature must learn to submit, instead of trying to imagine and feel a sense of unity with the whole of -JWJOH Nature? To recognise its sacredness? To adopt towards it the kind of contemplative attitude that ensures understanding and gives rise to wise, humane, responsible, intelligent behaviour? Men of faith, art, and science recommend this path. Artists have always followed it; what is new is that several scientists in recent years are now coming round to this way of thinking. Rupert Sheldrake, a biochemist and philosopher, states that the antidote to the poisons of our time is to abandon mechanistic assumptions and restore the concept of the sacred. David Bohm, theoretical physicist, speaks of the birth of a new pattern of thought which, in accordance with RFCČŠRFCMPGCQČŠMDČŠKMBCPLČŠNFWQGAQ ČŠPCČ?CARQČŠRFCČŠGLBGTGQG@JCČŠ character of the world. The work portrays the search for a relationship between the human spirit and the spirit of trees and urges us to explore the mystery of their and our presence in the world, of their and our striving, albeit not always consciously, towards Heaven – because it is true, as Rabindranath Tagore wrote, “trees embody the endless struggle of the earth to speak to the listening sky.â€?

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RAPHAEL DE VITTORI REIZEL Raphael de Vittori Reizel graduated in sculpture from the Accademia di Brera in Milan, where she was born. She works in bronze, terracotta, metals and plastics in her studio in Comabbio on Lake Comabbio. She also makes glass sculptures in Murano, and has exhibited in Venice, USA and Germany. Some of her sculptures have been installed in the Parco Giò Pomodoro on Lake Maggiore, and since 2004, her works on the Shoah have been housed in the Yad Vashem Archive in Jerusalem. She was appointed to make sculptures for the Varese Award and the bronze %JTBUUFO[JPOF is in the Castle of Masnago Museum in Varese. -BNQBEB EJ )BOOVLBI is in the ancient Synagogue of Casale Monferrato, where the work *MT TBWFOUČŽ is also displayed, in memory of the Shoah. A DJBTDVOP JM TVP NJOPUBVSP and -F EPOOF EFMMB #JCCJB were the themes of exhibitions in the Chiostri dell’Umanitaria, and at Santa Maria di Brera in Milan, as well as in Varese and Como. -F %POOF EFMMB #JCCJB is in the monograph #JCCJF JM (SBOEF $PEJDF EFMMČ…0DDJEFOUF (Mondadori).

THE RETURN OF THE PHOENIX %JNFOTJPOT 175x70 cm 5FDIOJRVF Multiple materials. %FTDSJQUJPO The Phoenix, also known as “the Firebirdâ€?, a mythological symbol in Egypt and later in Greece, is famous for rising from its ashes after death and thus embodies the Myth of Rebirth, a form of renewed life that appears after the Chaos of destruction. The evocative power of the animal as a symbol of renewal represents a dream, the eternal dream of revival. From poisonous nuclear waste to the complete recovery of polluted land, RFCČŠN?RFČŠRMU?PBQČŠRFCČŠ|%PCCLČŠ$GCJB}ČŠGQČŠMNCLCB ČŠ.SPGČ?CBČŠ EPCCLČŠ?PC?QČŠGLČŠUFGAFČŠ*GDCČŠA?LČŠČ?MSPGQFČŠ?E?GL ČŠ*GDCČŠRF?RČŠ recreates itself after each destruction, eternal Life with its own “Canto Altoâ€?, enduring and indestructible, like that of the Phoenix. This work in terracotta rises from a drum-vase. The archetype of the vase is connected to the ground, the underworld into which death descends in order to be born again. I wanted to freeze the moment when the animal appearance of the phoenix transforms into a female being. The original model is that of both “GOOD MOTHER AND BAD MOTHERâ€?, and as a container it also creates and re-creates Life. Divine Creator of life-death-life, facing the abyss of total destruction. The self-destructive side of the GREAT MOTHER that annihilates physical life yet always renews and revives it through the uncontrollable impulse to regenerate Life.

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ANNY FERRARIO Anny Ferrario was born in Como and currently lives and works in Ispra. Throughout her artistic career she has favoured various engraving techniques (etching, aquatint, etc.), focusing in particular on Henri Goetz’s innovative proposals. In the 1980s, she attended the Centre for Culture and Creativity at the Cascina Stal Vitale in Osmate, participating in various events. In 1986, she turned to pottery and started to create refractory sculptures and SBLV terracotta at the Ibis Furnaces in Cunardo, often adding oxidised iron inserts and burnt wood chips. Over time, new interests have enriched her artistic production: she has made bronze sculptures and silver jewels using the lost-wax casting technique. In 1992, she opened her new studio, Atelier Capricorno, in Cocquio Trevisago, where she runs creative courses in terracotta and calcic engraving and organises collective and personal exhibitions for well-known artists; she also launched Alchimia, a permanent exhibition space in the historic centre of Luino. Essential as a source of poetic inspiration are the primary elements of nature -ČŠC?PRF ČŠ?GP ČŠČ?PCČŠ?LBČŠU?RCP ČŠUGRFČŠ frequent references to alchemical matter and mythological narrative. She has had numerous personal exhibitions in Italy and abroad and recently exhibited at the Rotterdam International Art Fair, at the Salon International d’Art Contemporain ART3F at Montpellier and at the Fuego event in Paris with the Helen Arts-Gallery.

SOURCE OF LIFE? %JNFOTJPOT 90x60 cm 5FDIOJRVF Steel drum and enamel, stone, ceramic and bronze painting. %FTDSJQUJPO The work consists of a steel drum painted with blue and green enamels. The lid is encrusted with black stones and on it is a large enamelled ceramic bowl with colours that recall the shades of water. Inside it is a molten bronze twig made with the lost-wax technique. The work is intended to represent the ambivalence of nuclear energy with its positive and negative aspects. While the bowl contains water, the primary source of life for man, the wizened branch is a reference to the damage caused by exposure to uncontrolled radiation. The two faces of nuclear power: Doctor Jekyll or Mr. Hyde? Which of the two will prevail in the future?

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ANTONIO FRANZETTI Born in Gemonio (Varese) in 1942, he attended the Art School in Brera where he studied under Giovanni Paganin and Enzo Vicentini. In 1961, he enrolled at the Accademia di Belle Arti di Brera and was a pupil of Marino Marini. When he left in 1965, he began his career by alternating sculpture with teaching and a commitment to politics, which forced him to reduce his artistic output and stop exhibiting in public. It was at the end of the Eighties that he met the sculptor Floriano Bodini, with whom he established a close friendship. At the beginning of the Nineties, as Mayor of Gemonio, he was one of the founders of the Floriano Bodini Civic Museum and also for several years its President. At the beginning of this century, after honouring his various commitments, he again began exhibiting in personal and group exhibitions. He lives in Varese and works in Gemonio.

MAN IN BLUE %JNFOTJPOT 83x70x67 cm, total vm. 157 5FDIOJRVF Coated plaster. %FTDSJQUJPO ČŠ+WČŠČ?ESPCQČŠ?PCČŠKMBCJJCBČŠGLČŠEP?LBČŠECQRSPCQ ČŠ @WČŠ ?BBGRGMLQČŠ RF?RČŠ BMČŠ LMRČŠ Č?JJČŠ RFCČŠ QN?ACQ ČŠ 0?RFCPČŠ RFCWČŠ are emphasised, creating jagged surfaces, to evoke the complexity of living and feeling faced by mankind. RČŠRFCČŠFC?PRČŠMDČŠKWČŠUMPIČŠGQČŠ?ČŠFSK?LČŠČ?ESPC ČŠKMSJBCBČŠ almost in direct contrast to the heroic-monumental representation, so much so that the depiction begs the question: “loser or winner?â€?

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VITTORE FRATTINI Born in Varese in 1937, Frattini began to exhibit when very young: in 1956 at the Milan Biennale and in the San Fedele Prize – he also took part in the editions of 1959, 1961 and ČŠ&GQČŠČ?PQRČŠNCPQML?JČŠCVFG@GRGMLČŠU?QČŠGLČŠ ČŠGLČŠ1?LPCKM ČŠ he exhibited at the VIII Quadriennale in Rome and at the Salon du Grand Palais in Paris. He graduated from the Accademia di Brera in 1961, earning the Titta Award. From 1962, he held personal exhibitions in Milan, Turin, Zurich, the Ramazzotti Awards and the Bignami Awards (Royal Palace, Milan); in 1966, again in Milan, the Permanent Society dedicated an anthological exhibition presented by Renato Guttuso. Together with Father Angelo and other friends, he founded the State Art School of Varese and was appointed director. Luigi Carluccio dedicated a monograph to him, followed by others by Vanni Scheiwiller, Gian Alberto Dell’Acqua, Flaminio Gualdoni and Giuseppe Panza di Biumo. He presented the Č?PQRČŠ-VNFO in 1975 in Zurich and at the “Ten Italian Artistsâ€? exhibition at the Palace Pier in Toronto, Canada, coordinated by Roberto Sanesi; he has written numerous books with graphics, including -B QBSBCPMB EFM CJBODP, with a poem @WČŠ 1?LCQGČŠ ?LBČŠ Č?TCČŠ CRAFGLEQ-aquatints by Frattini. In 1984, he exhibited at the Civic Museums of Villa Mirabello in Varese and in 1993 at the Castle of Masnago; in 1986, he was at Georgetown University in Washington, presented by Giuseppe Panza di Biumo and Rolando Bellini; in 1988, he held an anthological exhibition at the Civic Gallery of Modern Art in Gallarate, curated by Silvio Zanella; in 2005, he was at the Museum of Spoleto and in 2009 at Villa Recalcati in Varese, presented by Martina Corgnati and Philippe Daverio respectively. He has been involved in numerous group exhibitions in Italy and abroad, and his works can be found in public areas, including mosaic-sculptures made with Luigi Veronesi in the centre of Varese and (SBOEF 7 in Terminal 1 at Malpensa Airport.

LUMEN %JNFOTJPOT 90x60 cm 5FDIOJRVF Metal. %FTDSJQUJPO The term -VNFO refers to a group of paintings, often left rough and crisscrossed by horizontal or vertical stripes of luminescent acrylic colours so as to give an impression of double vision: day and night. Partly because of their technical innovations, the -VNFO, which are sometimes interconnecting modules for decorating entire rooms, seem to allude to certain aspects of contemporary visual communication or even, as suggested by the artist himself, to electronic recordings of vital phenomena.

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DANIELE GARZONIO Daniele Garzonio was born in Varese in 1957. After studying at the Liceo Artistico Frattini in Varese, he attended the Polytechnic School of Design, where he was a pupil of Bruno Munari, Bob Noorda and other designers/artists who greatly GLČ?SCLACBČŠRFMQCČŠWC?PQ

He has always worked in communication and was the creative director of various organisations in Varese and Milan. As an artist, he allows his training and profession as BSU EJSFDUPS RMČŠ Č?MUČŠ DPCCJWČŠ GLČŠ FGQČŠ UMPIQ ČŠ @WČŠ NJ?WGLEČŠ MLČŠ RFCČŠ SLCVNCARCBČŠ encounter between word and image, between meaning and QGELGČ?A?LAC ČŠ @CRUCCLČŠ Č?ESP?RGTCČŠ NJTVOEFSTUBOEJOH and the observer’s reaction.

FOR YOU YOUNG PEOPLE %JNFOTJPOT 90x72 cm 5FDIOJRVF Metal. %FTDSJQUJPO ČŠ |2FCPC QČŠ ?ČŠ @GEČŠ EPCCLČŠ Č?CJBxČŠ UFCPCČŠ FMNCQČŠ ?PCČŠ @MPLČŠ x}ČŠ UCLRČŠ ?ČŠ QMLEČŠ Č?DRWČŠ WC?PQČŠ ?EM ČŠ ?NNC?JGLEČŠ to young people all over the world. And the hope is RF?RČŠRFCPCČŠUGJJČŠ@CČŠ?ČŠ@GEČŠEPCCLČŠČ?CJBČŠGLČŠRFCČŠLC?PČŠDSRSPCČŠ covering all the waste and mistakes of a long-term catastrophe. In the work, the “openâ€? drum represents the demolition of the plant, whereas the green, a symbol of regeneration, regains its space.

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DOMENICO GRENCI Domenico Grenci was born in Ardore (Reggio Calabria) in 1981. He lives and works in Bologna, where he graduated from the Academy of Fine Arts in 2005. He immediately started collaborating with various galleries in Italy and abroad and held personal and group exhibitions, including participation in the 54th edition of the Venice Biennale in 2011. Interest in and consensus for his work are related to the subjects represented (the female face, whose every possible appearance and expression is explored) and all the unusual materials used, like bitumen, whose dark shades leave mysterious markings and emanations within the body and around the edges of the form that prolong the echo. In 2007, he won the Goldener Kentaur European Academic Award in Munich.

LORELEI %JNFOTJPOT 83x70x67 cm, total cm 157 5FDIOJRVF China, inkjet and pastel white schmincke on paper, 53.4â€? stop-motion video 307 frames + 6 black. %FTDSJQUJPO ČŠ RČŠČ?PQRČŠ'ČŠDMASQCBČŠMLČŠ?ČŠFWNMRFCRGA?JČŠJGOSGBČŠ that the drum might contain, identifying this liquid with the idea of purity that water itself has. I thought of an action in which it could take place and distract the observer from the idea of waste for a moment. The mythological story of Lorelei, the Germanic water nymph, seemed to me a good start to enforce the metallic coldness of the drum without, however, intervening directly, thus creating an “otherâ€? vision that went beyond the static quality of the object itself. It becomes, through the projection, a possible backdrop, or rather a porthole projected into another environment, liquid, that exceeds the initial role for which the drum was created. I wanted, metaphorically, to emphasise the risky duality concealed behind the spells: the dangers inherent in actions that the Greeks loved so much could be equated to the tragic myth; RFCČŠQSNCPČ?AG?JČŠGBC?ČŠMDČŠCRFCPC?JČŠ?LBČŠF?PKJCQQČŠ@C?SRWČŠ that emerges in the underwater vision of Lorelei. Much like a Homeric siren, she had a disarming beauty that, however, enticed the sailors to lose their way, RMČŠ @CAMKCČŠ QFGNUPCAICB ČŠ 2FCČŠ AMLRP?QRGLEČŠ Č?SARS?RGMLČŠ created by the TUPQ-NPUJPO technique, seemed to me well suited to a cold material such as steel. There is also the notion of overcoming a physical limit in this work: I like the idea that the drum, in all its QGKNJGAGRW ČŠ ?KNJGČ?CQ ČŠ ?AOSGPGLEČŠ SLCVNCARCBČŠ JWPGAGQK ČŠ ?LBČŠRP?LQDMPKQČŠGRQCJDČŠGLRMČŠ?ČŠK?QI Č?JRCPČŠRFPMSEFČŠUFGAFČŠ we can enter the vision.

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TOMASO GRILLINI PICA Tomaso Grillini was born in Milan in 1991 to a family who live and breathe art and creativity. He has always been passionate about drawing and photography and graduated in 2014 from the Milan Polytechnic in Communication "CQGEL ČŠAMLRGLSGLEČŠRMČŠGKNPMTCČŠMLČŠFGQČŠRP?GLGLEČŠGLČŠRFCČŠČ?CJBČŠMDČŠ “creative communicationâ€?. After graduating, he decided the KMKCLRČŠF?BČŠAMKCČŠRMČŠQCCIČŠLCUČŠQRGKSJGČŠGLČŠRFCČŠČ?CJBČŠFCČŠNPCDCPQ ČŠ photography, and moved to Rome, without interrupting his long-standing collaboration with the publishing houses, Colophonarte, Belluno, and Tsport s.r.l.

BP NATURE %JNFOTJPOT various 5FDIOJRVF Metal drum, synthetic grass and waste. %FTDSJQUJPO The work, entitled “BP Nature�, developed from a very simple concept: the sublimation of the waste object and its every possible application, or even its very existence, in favour of a placid but inexorable nature which, just like chemical waste abandoned without appropriate storage, corrupts all that it encounters on its journey and establishes itself as an art form of superior and absolute beauty.

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NES LERPA Nes Lerpa was born in 1942 in Copenhagen. He debuted as an artist in 1960 and since then his work has been exhibited in personal and group exhibitions in Austria, China, Korea, Denmark, England, Italy, Mexico, Norway, Holland, Russia, Sweden, Switzerland, Taiwan, UAE, Hungary and the USA, where it can be found in various public and private collections. &CČŠU?QČŠGLČ?SCLACBČŠ@WČŠRFCČŠUMPIČŠMDČŠ?LBČŠFGQČŠ?QQMAG?RGMLČŠUGRFČŠ leading artists such as Hans Ă˜llgaard, AndrĂŠ Masson, Phillip Martin and Emilio Vedova. Fundamental to Lerpa’s artistic journey were stays in France, England, Italy, India, Lapland, Morocco, Spain and the USA, where he spent long periods of time immersing himself in the nature and cultures of these places. He lives between Borgo Lanfranco, in the hills near Piacenza, and Asserbo, in Denmark.

BIRKESPILLET (The Birch Game) %JNFOTJPOT 300x100 cm (various) 5FDIOJRVF Mixed technique, pipes made of platinum and birch. %FTDSJQUJPO The work consists of a 90x60 cm steel drum. Plastic tubes and a couple of birch trunks, taken from my studio in Denmark, Atelier Asserbo, mingle in a somewhat odd way. They grow skywards in harmony, in contrast, with the rest. There are suggestions of shadows and birches painted on the drum. It is a work that leaves interpretation to the imagination of the M@QCPTCP ČŠQSEECQRGLEČŠFMUČŠ?ČŠUMPJBČŠMDČŠBGČŽCPCLRČŠK?RCPG?JQČŠ might co-exist.

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LUCA LISCHETTI Luca Lischetti was born in Laveno Mombello and lives and works in Montonate di Mornago (Varese). His debut dates back to the beginning of the Seventies and his paintings were AF?P?ARCPGQCBČŠ@WČŠ?ČŠBGQRMPRCBČŠTGQGMLČŠMDČŠPC?JGRWČŠ?LBČŠČ?ESPCQČŠUGRFČŠ hard somatic features. From the Eighties he experimented UGRFČŠ T?PGMSQČŠ K?RCPG?JQ ČŠ DPMKČŠ Č?@PCEJ?QQČŠ RMČŠ UMMB ČŠ ?LBČŠ FGQČŠ works became a mixture of painting and sculpture where the colour red predominates and the surfaces are walls where the viewer’s eye falls. At present, a past that has regained relevance leads him to revisit an irreverent, protesting, social ?@CJ ČŠ NMNSJ?RCBČŠ @WČŠ BGQRMPRCBČŠ Č?ESPCQ ČŠ AMLRPMJJCBČŠ @WČŠ UGPCQČŠ like puppets. He has held numerous personal and group exhibitions both in Italy and abroad.

SWIMMER %JNFOTJPOT 110x60 cm 5FDIOJRVF Wood and resin. %FTDSJQUJPO I see the drum as a tank into which the swimmer can lower himself and swim.

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GIANNI MACALLI Gianni Macalli was born in 1957 in Crema, where he teaches at the “B. Munari� State Art School. From 1998, he held the chair of Painting Techniques at the Academy of Fine Arts in Carrara. From 2002 to 2011, he taught Artistic Techniques as part of the curricular course in Comparative Literary Criticism and Literature at the University of Bergamo and from 2008 was a lecturer on the “Technology of New Materials� Design Project, Department of Design and Applied Arts, Accademia di Belle Arti di Brera in Milan. In 2016, he was appointed Artistic Director of the Arti Design Impresa project of the Municipality of Soncino. In 2009, he participated in the 53rd Venice Biennale.

THE REFUSE LIGHT %JNFOTJPOT 95x60 cm 5FDIOJRVF Bin, synthetic material, neon light and digital printing. %FTDSJQUJPO The nature of “refuseâ€?, through a mental process of art, can create visual interrogative images. The emblematic condition of contemporary man, overwhelmed by human-technological contradictions, RMB?WČŠ JC?BQČŠ RFCČŠ ?PRGQRČŠ RMČŠ PCČ?CARČŠ MLČŠ RFCČŠ AMLQSKNRGMLČŠ of everyday objects. My work is intended to suggest possible visual images, where the spiral of light regenerates life from a magma and contemporary waste (see cell phone). This work also aims to convey a borderline traced between art and everyday life, as suggested by a new life traced by a synthetic snail.

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RUGGERO MAGGI Born in 1950 in Turin, Ruggero Maggi is an artist and curator. In 1973, he became interested in visual poetry and in 1975 in copy art, art books and postal art; in 1976 he became a laser artist, in 1979 he added holography and in 1985 chaotic art, both as an artist – with works and installations focused on the study of chaos, entropy and fractal systems – and an events coordinator. His works have been exhibited at the Chinese History Museum in Beijing and at GAM in Gallarate. He also participated in three editions (49th, 52th, 54th) of the Venice Biennale and at the 16th Biennale of Contemporary Art in SĂŁo Paulo (Brazil) in 1980. In 2006, he made 6OEFSXPPE B TJUF-TQFDJҨD installation for the Gallery of Modern Art in Gallarate. In 2007, he organised the project dedicated to Pierre Restany “Camera 312 QSPNFNPSJB per Pierreâ€? at the 52nd Venice Biennale. Every two years from 2011 (2013, 2015, 2017), he has presented the 1BEJHMJPOF 5JCFU - JM QBEJHMJPOF QFS VO QBFTF DIF OPO DČ…§ in Venice.

C1791 - THE RADIOACTIVE ANGEL %JNFOTJPOT 95x60 cm 5FDIOJRVF Multi-material with marble powder, enamels and Plexiglas. %FTDSJQUJPO A circle that encloses a small piece of the world, a segment of life: a boy lying on the snow KMTCQČŠFGQČŠ?PKQČŠ?LBČŠJCEQČŠGLČŠ?ČŠČ?CCRGLEČŠNJ?WDSJČŠKMKCLR ČŠ as impermanent as a Tibetan mandala. The game leaves an imprint of the radioactive symbol on white snow (white marble powder).

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NICCOLĂ’ MANDELLI CONTEGNI Niccolò Contegni was born in 1967 in Varese, where he ASPPCLRJWČŠ JGTCQČŠ ?LBČŠ UMPIQ ČŠ 'LČŠ RFCČŠ Q ČŠ FCČŠ QCRRJCBČŠ Č?PQRČŠ GLČŠ Brazil and then in Colombia, where he focused on studying pre-Columbian cultures and began to carve large-scale works using tropical wood. In 1995, he went to Costa Rica, where he met a local sculptor, with whom he formed an artistic association that led him to exhibit in various galleries. From 1996 to 2000, he broadened his research to PerĂš and Bolivia, where he continued to sculpt. On returning to Italy, he started using stone and marble and, in recent years, iron. Alongside sculpture, he has created works on paper and on canvas. He has exhibited in numerous galleries in Italy and abroad and his works can be found in public and private collections.

OPPOSING FORCES %JNFOTJPOT 180x60x60 cm 5FDIOJRVF Steel drum, welded iron features, acids for Č?L?JČŠN?RGL?

%FTDSJQUJPO A simple form that also has a strong impact and symbolic value. The meaning is enclosed within the great central “knotâ€?. Two distinct forms, yet linked in a perpetual tension. The two features, converging in the knot, become the symbol of the contrasting polarities and contradictions present in today’s world. They are the dilemma of today’s society, which is required to PCAMLAGJCČŠLCCBQČŠRF?RČŠ?PCČŠMDRCLČŠQMČŠBGČŽCPCLR ČŠGRČŠGQČŠBGČ‘ASJRČŠ to unify them. The knot thus becomes the point where the opposing tensions meet. A symbol, a union far beyond any contrast and diversity and which becomes a common destiny.

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ELIO MARCHEGIANI Elio Marchegiani was born in Syracuse in 1929; he lives and works in Pianoro (Bologna). He began as a self-taught painter, associated with Mario Nigro and Gianni Bertini, and stayed in Paris, Milan and Rome. In 1959, he participated in the Quadriennale of Rome; in Florence he was part of the “Gruppo 70â€?, with Giuseppe Chiari. He featured in many avantgarde seasons in the 1960s, exhibiting both in Rome, in the L’Obelisco Gallery owned by Gaspero del Corso, and in Milan at Guido Le Noci’s Apollinaire Gallery. From 1969, he taught at the Academy of Fine Arts in Urbino, becoming director from 1983 to 1988. In the 1960s and 1970s, Marchegiani created works closely linked to the most innovative artistic languages, from kinetic programming to visionary pop, from “rubberâ€? that lives like real human skin to (from 1973) “grams of colourâ€? that catapulted him into “analytical paintingâ€? (to which recent exhibitions have been dedicated in Lugano, London, Turin and Milan), from works with dichroic glass to the most recent, full of naturalistic references, from three-dimensional and environmental works to installations: a long career that demonstrates an inexhaustible imagination channelled into an ever-changing artistic language and at the same time characterised by metaphorical and moral intentions. In 1968, Marchegiani was at the Venice Biennale, where he returned in 1972 and 1986. In 1997, he took part in the exhibition “Dadaism Dadaisms, from Duchamp to Warhol, 300 masterpiecesâ€? at the Palazzo Forti in Verona, curated by Giorgio Cortenova. In 1998, the City of Livorno dedicated a large anthology to him at the Fattori Museum; the catalogue is entitled 'BSF QFS GBS QFOTBSF, the motto of his work. Among his most recent anthological exhibitions are: 2007, Pinacoteca di Marsala, presented by Sergio Troisi, with the publication of the volume Linee di produzione 1958-2007, edited by Carola Pandolfo Marchegiani (Secrets, Rome); 2010, Tower of Guevara, Ischia, coordinated by Massimo Bignardi; 2013, Galleria Comunale of Arezzo, curated by Fabio Migliorati, and simultaneously at the Fabbriche Chiaramontane of Agrigento, coordinated by Marco Meneguzzo; 2014, 6O ȇQF[[PČˆ EJ NJB WFDDIJB TUPSJBČŽ F QPDB BUUVBMJUÂ&#x; (autobiographical), Rocca Roveresca di Senigallia; 2017, 4PŇŞP EFM NJP WFOUP, Casa ,?R?JCČŠBGČŠ0?ČŽ?CJJM ČŠ3P@GLM ČŠ@WČŠ3K@CPRMČŠ.?JCQRGLG

GOLD IS NOT IN HERE %JNFOTJPOT 90x60 cm 5FDIOJRVF Gold plating. %FTDSJQUJPO I considered the BIN an aristocratic skip: very special waste needing very special handling for WHOEVER is interested in nuclear power and its consequent radioactivity. There is always a HSQRGČ?A?RGMLČŠDMPČŠRFCČŠLCCBČŠCTCLČŠUFCLČŠRFCČŠPGQIQČŠ?PCČŠEPC?RČŠ given that, by comparison, only a few, in the whole of Mankind, can exploit this need and its advantages (see GOLD), which yet again will favour, in many ways, the aforementioned few. The writing on the lid is in three languages of the European Union (French, German and English), to which I have added Italian.

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RUGGERO MARRANI He was born in Corridonia (Macerata) in 1941 and completed his studies in 1965 at the Accademia di Belle Arti in Perugia, which, in 1963, awarded him the “Aldo Pasciucciâ€? prize for engraving. He was a student of Gerardo Dottori, Master of Futurism and exponent of Aeropainting, and worked in his QRSBGMČŠSLRGJČŠ ČŠ&GQČŠČ?PQRČŠNCPQML?JČŠCVFG@GRGMLČŠU?QČŠFCJBČŠ?RČŠ the International Gallery of Varese in 1969. In 1999, after years of teaching, he left the Chair of Painting at the State Art School in Varese to devote himself exclusively to his artistic career. In 1976, he became interested in studies for design solutions in the furniture industry. In the late 1980s, he abandoned oil painting once and for all to focus entirely on sculpture, mainly using the technique of ceramics. All his current research, starting with a careful analysis of planimetry, is called “Aerosculturaâ€?, “Interactive Sculptureâ€? and “Sculturarumoreâ€?.

A MEADOW FULL OF FLOWERS TWO COMMUNICATING VESSELS %JNFOTJPOT 143x80 cm (various) 5FDIOJRVF Polychrome ceramic with enamels and recycled material. %FTDSJQUJPO I use various recycled and ceramic materials to make my sculptures. The project combines two main elements: the metal container (provided by you) and a second wooden container, generally used as a barrel to hold balsamic vinegar. I wanted to highlight two containers, one new and the other used. The new one made from sheet metal with a perfect hermetical seal and the old used one that “losesâ€? its contents drawn from the underlying bin, and leaks into the environment, polluting it. Everything stands on a green KC?BMUČŠDSJJČŠMDČŠČ?MUCPQČŠ?LBČŠQRGJJČŠSLAMLR?KGL?RCB ČŠ+WČŠ message aims to convey safety when pollutants are handled with the “correctâ€? products, in compliance with today’s laws.

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SANDRO MARTINI 1?LBPMČŠ +?PRGLGČŠ U?QČŠ @MPLČŠ GLČŠ ČŠ GLČŠ *GTMPLMČŠ ?LBČŠ U?QČŠ Č?PQRČŠ recognised with awards and publications in 1957. The following year, he created the reliefs in the new Synagogue of Livorno, at the request of architect Andrea Di Castro. From 1960, when he moved to Milan, he made sculptures in AMLAPCRC ČŠGPMLČŠ?LBČŠUMMB ČŠ2FCČŠČ?PQRČŠE?JJCPWČŠRMČŠMČŽCPČŠ?ČŠNCPQML?JČŠ exhibition was Le Ore, followed over the next few years by Il Milione Gallery and the Galleria Blu. In 1977, he exhibited internationally at the NRA Gallery in Paris in a show organised by Marcelin Pleynet. The following year he moved to the United States: the Fine Art University of Massachusetts had invited him to put on a personal exhibition. Since then, he has divided his work schedule between his studios in Milan, New York and San Francisco. In 2012 he created the permanent installation of Memory Glass, commissioned by the city of Toronto, at the Burano Building.

THE AMRTA QUANTITY %JNFOTJPOT 150x100x85 cm 5FDIOJRVF Mixed technique: engraved and inked laminated glass. %FTDSJQUJPO The imposing black mass of the waste @GLČŠ ?NNC?PQČŠ ?RČŠ Č?PQRČŠ EJ?LACČŠ GKNCLCRP?@JCČŠ ?LBČŠ unmanageable. Its unassailability is broken by the cut that runs diagonally across the circumference. Apparently violent, the gesture that divides the bin is actually assertive, made with a blade of water. The cut, made on an 80° slant with respect to the vertical axis of the cylinder, allows a laminated and tempered glass plate to be inserted. The underlying intention is clear and the work is both visual and symbolic: the lightness of the glass in fact sharply breaks the material weight of the metal, like a shaft of light, a pencil mark, while RFCČŠGLČ?LGRCČŠNMQQG@GJGRWČŠMDČŠPC-using the glass harmonises with the end use of the bin. Both objects are meant to J?QRČŠ MTCPČŠ RGKC ČŠ @SRČŠ UGRFČŠ P?BGA?JJWČŠ BGČŽCPCLRČŠ KC?LGLEQ ČŠ The glass plate has had grooves cut by diamond tips of BGČŽCPCLRČŠQGXCQČŠ?LBČŠRFCLČŠGLICBČŠGLČŠRFCČŠK?LLCPČŠMDČŠAMNNCPČŠ engraving for printing. Like the page of a book, the plate also conveys a positive message for the future, albeit apparently indecipherable.

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LORENZO MARTINOLI Lorenzo Martinoli was born in 1960 in Barasso (Varese). After completing his studies in 1978, he joined the family business where, under the expert guidance of his father, Arnaldo, he learnt forging techniques. At the beginning of the 1990s, he collaborated with Tarcisio Guadagnini (Predazzo, Trento), one of the most successful engravers and forgers in Italy, focusing mainly on making wrought-iron artefacts that decorate several important villas in Varese and surrounding areas. His work is eclectic in style and ranges from Art Nouveau to modern. His career as a sculptor began in 2000 and he has held exhibitions in Gallarate (Spazio Zero), Paris (Galerie Canessa) and Varese (Ville Ponti).

SYMPHONY %JNFOTJPOT 194x90 cm 5FDIOJRVF Wrought-iron. %FTDSJQUJPO This work represents a stylised violinist playing a very detailed violin, sitting on a drum intended for radioactive waste. The work is in iron embellished with details in tombac (a golden alloy of copper and zinc). The image of the violinist is reminiscent of the Č?ESPCQČŠ GKKMPR?JGQCB ČŠ ?J@CGRČŠ GLČŠ ?ČŠ TCPWČŠ BGČŽCPCLRČŠ QRWJC ČŠ by Marc Chagall. For the artist from Vitebsk, the violin, UFGAFČŠ GQČŠ ?LČŠ GLRCEP?JČŠ N?PRČŠ MDČŠ FGQČŠ Č?ESP?RGTC ČŠ TGQGML?PWČŠ and highly symbolic language, represents the means of meeting his God and the unfathomable mysteries of life and death. My work, on the other hand, suggests that music and art in general are the only antidotes to the violence and inhumanity that surround us. The violinist is playing on a drum that should contain nuclear waste, namely something highly toxic and harmful to man, but which is transformed into a sort of musical score: the ecstasy of music against the evils of the world.

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LUCA MISSONI Luca Missoni was born in 1956 in Milan and runs the Missoni SpA business with his sister Angela and their nephews. He is Artistic Director of the Missoni Archive, a communication aid to promote the Company’s artistic and fashion heritage and he organises exhibitions and art installations connected with the brand. Photography has always been an intrinsic part of his visual research and the Moon is the main feature of his artistic TUBUFNFOU ČŠ 'LČŠ SESQRČŠ ČŠ FCČŠ FCJBČŠ FGQČŠ Č?PQRČŠ one-man show at the Arthur Roger Gallery in New Orleans, and today, his photographs are on display at the Michael Hoppen Gallery in London. He has created installations with contemporary Italian artists such as Vittore Frattini and Omar Ronda.

OTHERWORLDS %JNFOTJPOT 180x180x100 cm 5FDIOJRVF Duraclear color photographic print, LED, steel barrels. %FTDSJQUJPO As we marvel at other distant worlds within the cosmos, we should not think of remote, inhospitable and desolate places on our planet as potential waste dumps to be forgotten, but instead as enchanting, uncontaminated, glorious environments that make our global biosphere the extraordinary place that it is. The future well-being of our ecosystem depends on how we manage the waste we produce, as in time it will become a greater concern than the management of energy and food resources. Let us learn not to “unload� our barrels of waste onto future generations by hiding them in faraway isolated places. Their management must not be a component of a dystopian future but must become an integral part of the active and responsible culture of the present day.

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SILVIO MONTI Silvio Monti was born in Borgomanero in 1938 and attended the Spolecznos Akademia Uniwersytetu Batorego. He was a pupil of Marian Bohuz Szysko and attended Oscar Kokoschka’s studio. In 1963, he moved from London to Paris and later to Brussels, Wiesbaden, Dublin, Bayreuth and Rome, before settling in Varese where he currently lives and works. He designed and illustrated several CDs for the singer-songwriter Angelo Branduardi and accompanied him on the European “Paint Sessionâ€? Tour in 2003, performing and painting in theatres in Germany, Austria, Switzerland, Belgium and Italy. His works are exhibited in museums and public institutions: Palazzo dei Diamanti, Ferrara; Gallery of Modern Art, Gallarate; Castle of Masnago - Museum of Modern and Contemporary Art, Varese; Hall of the Academic Senate and Department of Biotechnology and Life Sciences -ČŠ3LGTCPQGRÄ°ČŠ dell’Insubria, Varese; Confartigianato Varese, Provincial -Č‘AC ČŠ 4GRMČŠ +CJCČŠ +SQCSK ČŠ 1?LR?ČŠ +?PG?ČŠ BGČŠ *CSA?ČŠ *CAAC ČŠ Epicentro Museum, Barcellona Pozzo di Gotto, Messina; +GLGQRPWČŠ MDČŠ !SJRSPC ČŠ -Č‘ACČŠ MDČŠ RFCČŠ +GLGQRCPČŠ DMPČŠ !SJRSPCČŠ %ĸX?ČŠ SzĂłcs, Budapest; Magyar Nemzeti MĂşzeum (Labyrinthos), Hungarian National Museum, Budapest; University of Western Hungary, Szombathely, Hungary; National Institute for Creativity, Szombathely, Hungary; Museum of Plastic Arts, Castiglione Olona, Varese; Castle of the Dukes of Pomerania, Szczin (Szczecin), Poland and the Annette and Peter Nobel Collection, Zurich, Switzerland.

NO TITLE %JNFOTJPOT 90x60 cm 5FDIOJRVF Acrylic enamels. %FTDSJQUJPO Nuclear technology harbours many problems, the most important being the issue of radioactive waste disposal, which is still unsolved. My vision aims towards a critical consideration of danger and at the same time of hope linked to the rational and intuitive abilities of human beings who are capable of integrating into a global panorama of sustainable research and development by using renewable energies. At present, the mysteries and lacunae of science are still innumerable. In my opinion we still know too little about the world and its workings, about the Earth, the Cosmos and the Atom; we are helpless and vulnerable because we are aware of all this, yet at the same time we are spurred by a strong thirst for knowledge. Our only glimmer of hope is for a present that takes heed and puts a stop to the bad behaviour of the past and for a future where progress moves forward in harmony with the environment around us.

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MARCELLO MORANDINI Marcello Morandini was born in Mantova in 1940 and has been living in Varese since 1947. He is considered one of the leading exponents of Concrete Art in Europe. His personal debut, in 1964, was coordinated by Germano Celant. In 1967, he was invited to the IX Biennale in SĂŁo Paulo in Brazil; in 1968 he had a personal room at the XXXIV Venice Biennale; in 1977, he was invited to Documenta 6 in Kassel. In 1984, he designed the 220-metre façade of the Thomas porcelain factory in Speichersdorf, Germany, and in 1988 a 40-metre sculpture as the exterior symbol of the Ingolstadt museum. From 1972 to 1986, he staged personal exhibitions at various museums: Hanover, Tokyo, Bochum, Verona, Darmstadt, Mannheim and Helsinki. In 1993, he held an anthological exhibition at the Die Neue Sammlung Museum in Munich and in 1994 at the Palacio Galveias in Lisbon. He created a 10-metre sculpture for the square of the WilhelmHack-Museum in Ludwigshafen, which organised three personal exhibitions of his work. In 2007, he designed the architecture of the “Das Kleine Museumâ€? cultural centre in Weissenstadt, Germany. In 2008, the Ca’ Pesaro Museum of Venice organised an important exhibition for him, which was moved the following year to the Neues Museum in Nuremberg; in 2010, he held a retrospective at the Casa del Mantegna in Mantua; in 2014, a personal exhibition at the Kunstmuseum in Bayreuth and a retrospective at the National Gallery of Modern Art in Rome; in 2017, he had a complete retrospective at the MA*GA in Gallarate. He is currently involved in his foundation, which was founded in 2016, and is renovating premises in Varese, which will open as a museum in 2019.

WHAT WE HIDE FROM OUR EYES IS BAD FOR OUR HEARTS %JNFOTJPOT 90x60 cm 5FDIOJRVF Mirror. %FTDSJQUJPO Lately I have been wondering what I have done wrong these long years, in thoughts, actions and works, that deserves to be consigned to the black drum I received. We are saints and sinners, our fragile human alternation between progress and tragedy continually produces human residue and dangerous and lethal mental waste. Being unable to get rid of it, we muddle heedlessly along for years, searching for an impossible Utopian waste bin that can purify us. When this cylinder arrived in my studio, it undermined certainties and many of my everyday thoughts, and I fervently hope that ignorance, hatred and violence may be buried in this “black hole� full of waste for ever! God willing!

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GIULIA NAPOLEONE Born in Pescara in 1936, Giulia Napoleone studied art in Rome, where she lived for a long time, except for the seven years she spent teaching at PUSA University in Aleppo, Syria. She now lives and works in Carbognano (Viterbo) and frequently visits the Canton Ticino. She specialises in engraving (since 1962) and painting and attended the National Chalcography Institute in Rome from 1965. In 1967, she took an undergraduate course at the Rijksmuseum in Amsterdam, specialising in Rembrandt and Hercules Seghers. In 1977, QFCČŠAPC?RCBČŠFCPČŠČ?PQRČŠ@J?AI-engraved plates, a technique that became her favourite means of expression. She works with various publishers and commissions Il Bulino in Rome to print her engravings. DRCPČŠFCPČŠČ?PQRČŠNCPQML?JČŠCVFG@GRGMLČŠ?RČŠRFCČŠ%?JJCPG?ČŠ,SKCPMČŠGLČŠ Florence in 1963, presented by Dario DurbĂŠ, she went on to exhibit in Italy and abroad. Her public shows include: 1983, Libreria Sormani, Milan, with text by Carlo Bertelli; 1992, University La Sapienza, Rome, with text by Jolanda Nigro Covre; 1997, National Institute for Graphics, Rome, with texts by Carlo Bertelli, Federica Di Castro, Luigi Lambertini, Marina Miraglia and Lorenza Trucchi; 2001, Villa dei Cedri Museum, Bellinzona, with texts by Antonella Anedda, Matteo Bianchi, Rosa Pierno, Maria Will and Claudio Zambianchi (her monographic fund was set up at that event); 2010, RFCČŠ !?@GLCRČŠ MDČŠ "P?UGLEQČŠ ?LBČŠ .PGLRQČŠ ?RČŠ RFCČŠ 3Č‘XG ČŠ $JMPCLAC ČŠ coordinated by Marzia Faietti, Giorgio Marini and Ilaria Rossi, with the acquisition and donation of a large part of her graphic work. In 2010, at the behest of Giuseppe Appella, she built the “dazzling nativity sceneâ€?, a sculpture measuring three metres in diameter.

SIDEREAL %JNFOTJPOT 90x60 cm 5FDIOJRVF Acrylic enamel with application of cut-outs MDČŠ?BFCQGTCČŠČ?JK

%FTDSJQUJPO I wanted to indicate a way to the mystery and light, symbolised by the Pole Star. I represented part of the Northern Hemisphere through constellations and points of light, using two shades of blue, a lighter one for the background and a darker one for the constellations and the outlines of the points of light, and enhancing them with an even lighter blue of varying intensity. I then applied cutMSRČŠ QRPGNQČŠ MDČŠ ?BFCQGTCČŠ Č?JKČŠ RF?RČŠ CLJGTCLČŠ ?LBČŠ ?LGK?RCČŠ the entire surface, and emphasised the points of light with delicate touches of colour. For me, this work is the synthesis of an uninterrupted dialogue with the mystery that surrounds me, when the absolute solitude and vastness of the sky lead me to interchange “the KMKCLRČŠDMPČŠCRCPLGRW ČŠ?LBČŠGLRGK?AWČŠDMPČŠGLČ?LGRW}

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CESARE OTTAVIANO Born in Lecce in 1964, he graduated in 1988 from the sculpture course run by Giancarlo Marchese at the Academy of Fine Arts in Brera, Milan. A restorer of monuments and buildings, some of his work can be seen at: the Villa Panza (Varese), the Villa della Porta Bozzolo (Casalzuigno, Varese), the Borromeo Amphitheatre (Isola Bella, Verbania), The 3FUVSO PG UIF 1SPEJHBM 4PO by Arturo Martini (Acqui Terme, Alessandria), the Basilica di San Fedele (Como), the Butti +SQCSKČŠ 4GEEGĹ… ČŠ 4?PCQC ČŠ ?LBČŠ RFCČŠ GQRMJČ?ČŠ +SQCSKČŠ !?Q?JCČŠ Monferrato, Alessandria). He has exhibited in galleries and public spaces in Gallarate (Varese), Genoa, Arezzo, Rome, Siena, Milan, Padua, Nice, Legnano, Brussels and Busto Arsizio (Varese). He has recently made a series of drawings for the Pulcinoelefante publishing house, presented in the Sala Veratti in Varese.

REBIRTH %JNFOTJPOT 170x60 cm 5FDIOJRVF Resin and steel. %FTDSJQUJPO ČŠ 2FCČŠ PCČ?CARGMLČŠ MDČŠ RFCČŠ Č?ESPCČŠ QGRRGLEČŠ MLČŠ the drum embodies the necessity and the hope of giving a logical meaning to the research into waste management. The drum, destined for disposal and a threatening, heavy item, thus becomes a development site for a theme, and from it “soarâ€? the silhouettes MDČŠ @GPBQČŠ RMČŠ QWK@MJGQCČŠ RFCČŠ BCRCPKGLCBČŠ CČŽMPRQČŠ @CGLEČŠ made to develop alternative clean research projects that respect the environment. Partially covered by the silhouettes of birds, the face conceals thoughts and PCČ?CARGMLQČŠ RF?RČŠ T?LGQFČŠ GLČŠ RFGQČŠ QUGPJGLEČŠ Č?MAI ČŠ #?AFČŠ MDČŠ SQČŠF?QČŠ?ČŠN?GPČŠMDČŠUGLEQ ČŠ@SRČŠMLJWČŠBPC?KCPQČŠJC?PLČŠRMČŠČ?W

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PETER HIDE 311065 Peter Hide 311065 (Franco Crugnola) was born in Varese in 1965. Creative by profession, he and his wife devised and BCQGELCBČŠRFCČŠČ?PQRČŠCTCPČŠe-CPPL SFBEFS in 1992. He works in the design industry with important companies such as SWATCH and ALESSI and others in the furniture sector. His artistic career began in the 1980s during a long stay in New York, UFCPCČŠFCČŠKCRČŠ?LBČŠU?QČŠGLČ?SCLACBČŠ@WČŠRFCČŠK?QRCPQČŠMDČŠNMNČŠ?PRČŠ and international street art. On returning to Italy, he started UMPIGLEČŠ GLČŠ RFCČŠ ?PRČŠ UMPJB ČŠ &CČŠ CVFG@GRCBČŠ ?RČŠ RFCČŠ Č?PQRČŠ GCLL?JCČŠ held in Malta in 1995, in London in 2003, in Varese in 2010, in Berlin and Venice in 2011, in Milan, Brescia and Gallarate in 2012, at the Milan Triennale in 2014, in Lugano and Porto Cervo in 2015, at the MA*GA museum in Gallarate and the Floriano Bodini Museum in Gemonio (Varese) in 2016, in group exhibitions and personal exhibitions, featuring works that are ironically and irreverently based on the theme of money and the malaise of our society. In 2017, he exhibited in the Tibetan Pavilion at the 57th Venice International Art Biennale. He has produced several art books and in 2017 participated in the IV Biennale of the Artist’s Book of Naples. “Several years ago I chose Peter Hide 311065 as my professional name to create a kind of oxymoron using Peter Pan (well-known eternal good boy) and Mr. Hyde (the @PSR?JČŠ?LBČŠ|@?B}ČŠN?PRČŠMDČŠ"P ČŠ(CIWJJ ČŠ2FCČŠČ?PQRČŠPCNPCQCLRQČŠEMMB ČŠ innocence, purity and beauty, the second, evil, ferocity, and brute force. As in Stevenson’s novel, the struggle between good and evil, embodied by Jekyll and Hyde, brings into play highly suggestive themes – metamorphosis and doppelgängers, mirror and doubles, to the point of touching the most intimate and unconfessed chords of the human soul – so in my work I try, by using joyful, happy-go-lucky GK?ECQ ČŠRMČŠPCČ?CARČŠMLČŠAMLRCKNMP?PWČŠQMAGCRW ČŠUFCPCČŠCTCPWRFGLEČŠ GQČŠBCČ?LCBČŠ@WČŠKMLCW ČŠQMKCRFGLEČŠUCČŠ?JJČŠQRPGTCČŠDMP ČŠJGTCČŠDMP ČŠ?LBČŠ sometimes die for.â€?

SKULLS AND FLOWERS TANK %JNFOTJPOT 90x60 cm 5FDIOJRVF Polymateric. %FTDSJQUJPO ČŠ1ISJJQČŠ?LBČŠČ?MUCPQ ČŠBC?RFČŠ?LBČŠPC@GPRF ČŠ&MNCČŠ for the death of corrupt thought and the birth, from its ashes, of a new ideology, a new way of behaving, a new way of thinking‌ not merely based on economic supremacy.

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GIANRICCARDO PICCOLI Piccoli was born in Milan in 1941 and lives and works in Bergamo. He studied at the Accademia di Brera under Pompeo Borra. His debut exhibition in 1963 presented BP?UGLEQČŠGLČ?SCLACBČŠ@WČŠRFCČŠAJGK?RCČŠMDČŠCVGQRCLRG?JČŠČ?ESP?RGML ČŠ In the 1970s, he developed an interest in interiors and landscapes, themes and subjects that recur in all his works. In the following decade, his work was increasingly recognised: the Feltrinelli Prize in 1984; the exhibition at the Teatro Sociale in Bergamo and his own room at the Venice Biennale in 1986. The two anthological exhibitions in 1990 – Tenero, Switzerland (Galleria Matasci) and Monza (Serrone della Villa Reale) – were an opportunity to take stock of a thirty-year career. In 1992, he exhibited at Wiesbaden and DĂźsseldorf and in 1995, in the Church of Sant’Agostino in Bergamo, he presented 14 canvases and gauzes dedicated to the Stations of the Cross. In Bologna in 1997, he held two exhibitions simultaneously: the 1PSUF at the Otto Gallery and prints and engravings at Stamparte. Since 2003, he has spent long periods in Basle, in a studio-cum-house on Klybeckstrasse. In 2004, the Galerie Carzaniga presented his personal exhibition (others followed in successive years, the most recent in 2016). Piccoli adopted new materials (virgin wax, wire, copper) that he always incorporated into compositions that summarise the themes of a life. In 2007, the Galleria dello Scudo in Verona organised a monographic exhibition of his recent work (2001-2007) and the Museo Adriano Bernareggi of Bergamo invited him to inaugurate a new space (the former Oratorio di San Lupo) devoted to contemporary art. In 2009, the Villa Panza in Varese presented a personal exhibition, “Rooms for Villa Panzaâ€?; he made “homagesâ€? to Caravaggio and Lorenzo Lotto that were on display in various exhibitions. In 2011, a church was inaugurated in Portovejo (Ecuador) with his work, 1FOUFDPTUFT. In 2011 Electa published an extensive monograph covering his entire artistic career.

GIFT %JNFOTJPOT 90x60 cm 5FDIOJRVF Gauze. %FTDSJQUJPO I covered the drum in transparent gauze, a material I often use in my paintings, to make the TGQGMLČŠKMPCČŠGLRGK?RC ČŠ+WČŠBCQGEL ČŠRFCČŠČ?MUCPČŠMLČŠRFCČŠJGB ČŠ the bow on one side symbolise the idea of a “giftâ€?.

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PIETRO PIRELLI Born in Rome in 1954, Pietro Pirelli says he “plays light and sound.� He is a composer, performer and visual artist. He has worked in concert halls, theatres, contemporary art spaces, museums, squares, streets, the countryside, churches and temples. His artistic research combines advanced technologies and natural elements such as stone, water, wood and ice. He has organised musical productions, shows and installations in large and small public spaces. He plays stones, sings into his IZESPQIPOF and plucks the strings of his IBSQ PG MJHIU. Hydrophones or Sensitive Lamps suspend a veil of water that is moved by sound and crossed by light. "SQB EJ -VDF, made with engineer Gianpietro Grossi, is a 30-metre long laser sculpture as well as a sophisticated musical instrument, which can also be played by a long pendulum descending from the sky. His exhibition venues include: the Venice Biennale; the MACRO in Rome; the Piccolo Teatro and the Milan Triennale; Madrid; Paris; London; India and South Korea. Recently, he took the "SQB EJ -VDF with the +BQBO 0SGFVT project to the Temple of Kamakura and the Tokyo Metropolitan.

3"%*0 %36., BY MAN’S HAND %JNFOTJPOT various 5FDIOJRVF Interactive work for metal drum, water, mirror, punctiform light, microphone rod and drop of light. %FTDSJQUJPO This work is similar to other works of mine, such as "SUJҨDJBMF-/BUVSBMF QFS NBOP EFMMČ…VPNP or the song ;BQQB 'SBODB ČŠ GKNJGAGRČŠ PCČ?CARGMLQČŠ MLČŠ RFCČŠ possibility of a harmonious relationship between Technology and Nature. From waste container, the metal bin becomes a drum of light, the metamorphosis of a IZESPQIPOF, suspended over the base so that its vibratory capacity is undiminished. An electric blue beam of light comes out of the uncovered top of the drum, projecting onto a screen in the form of a large drop. Contact with the viewer’s hand makes the drum vibrate and the light is sculpted in a sequence of concentric forms. While creating this work, I became aware of the need to enhance the astonishment, enthusiasm and beauty RF?RČŠA?LČŠ@CČŠDMSLBČŠGLČŠQAGCLRGČ?AČŠPCQC?PAF ČŠBCQNGRCČŠILMUGLEČŠ that long-term errors can also be made by the hand of man. To cite Bertold Brecht in 5IF -JGF PG (BMJMFP: “The purpose of science is not so much to open the doors RMČŠ GLČ?LGRCČŠ ILMUJCBECČŠ ?QČŠ RMČŠ CPCARČŠ ?ČŠ @?PPGCPČŠ RMČŠ GLČ?LGRCČŠ ignorance.â€?

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ANTONIO PIZZOLANTE Antonio Pizzolante was born in Lecce in 1958. Following his initial experiences with scenography in the 1970s and the use of sculpture involving a devised and vital space, the artist favoured archetypal, primary and essential solutions intended to rekindle the role of art in the memory and the centrality of man. Pizzolante exhibited widely, participating in national and international exhibitions in Paris, Lugano, Milan, Lamezia Terme, Bad Voslau, Girona, Caen, Zaragoza and Ankara. His most noteworthy exhibitions since 2005 include: “Progetto Esserci�, Italian Stand in Venice; “Italian Contemporary “, Italian Cultural Institute of Brussels, and “Timeless�, a tribute to Leon Battista Alberti at the Central State Archives in Rome. In 2010, he exhibited at the Biennale of Sacred Art at the Stauros Museum, Isola del Gran Sasso (Teramo); in 2011, he participated in “Southern Territories� at the Proyecto Martender Cochabamba Museum of Contemporary Art in Bolivia; in 2012 at the Italian stand of the 54th Venice Biennale and at the Palazzo delle Esposizioni in Turin, organised by Vittorio Sgarbi, and in 2014 he participated in “Reconnaissance on Sculpture through the Writings of Alberto Veca� at the Palazzo della Permanente in Milan, curated by Claudio Cerritelli and Elisabetta Longari.

LIGHT REFLECTOR %JNFOTJPOT 120x65 cm 5FDIOJRVF Stone and pigment on iron. %FTDSJQUJPO Expressing a form with a pre-BCČ?LCBČŠ function means distorting its use and creating a BGČŽCPCLRČŠTGQGML ČŠ-@QCPTGLEČŠRFCČŠ@J?AIČŠBPSK ČŠ'ČŠBCAGBCBČŠRMČŠ PCNPCQCLRČŠ?ČŠ|RMMJ}ČŠRF?RČŠAMSJBČŠBGČŽSQCČŠL?RSP?JČŠJGEFR ČŠ2FCČŠ idea was sparked by thinking about the history of the ancient Egyptians who, by using a kind of rudimentary projector made from copper sheets, focused light to illuminate and paint the pharaohs’ burial chambers in the dark interiors of pyramids, adding anecdotes about their lives to dispel the mystery of death and make the afterlife possible. In -JHIU 3FŇŠFDUPS, I thought of pursuing this idea symbolically: to develop the use of the drum, designed to seal and dispose of radioactive U?QRC ČŠ GLRMČŠ ?ČŠ NJ?QRGAČŠ Č?VRSPCČŠ A?N?@JCČŠ MDČŠ CVNPCQQGLEČŠ GRQČŠ MNNMQGRC ČŠPCČ?CARGLEČŠ?LBČŠ?KNJGDWGLEČŠCLCPEWČŠRFPMSEFČŠJGEFRČŠ – a light intended to illuminate ideas within possible and practicable synergies, whilst also considering the diversity of roles and tasks in this highly controversial period of history.

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FABRIZIO PLESSI Born in Reggio Emilia in 1940, Fabrizio Plessi attended the Art School and the Academy of Fine Arts in Venice, where he was appointed to the Chair of Painting. In 1968, he began to concentrate his artistic research on the theme of U?RCP ČŠAPC?RGLEČŠGLQR?JJ?RGMLQ ČŠQFMPRČŠČ?JKQČŠ?LBČŠNCPDMPK?LACQ ČŠ documented by photographs and videos. He exhibited at the Venice Biennale in 1970, 1972, 1978, 1984, 1986, 1995, 2001 (exhibition at the Correr Museum), 2005, 2009, 2011 and 2015; in 1987 he was at “Documenta 8â€? in Kassel. He N?PRGAGN?RCBČŠ GLČŠ RFCČŠ 4CLGACČŠ $GJKČŠ $CQRGT?JČŠ UGRFČŠ FGQČŠ MULČŠ Č?JKQČŠ in 1980 and 1981. Since 1975, he has exhibited widely (including performances) in various European countries and in important public areas. Owing to lack of space, only the CVFG@GRGMLQČŠMDČŠRFCČŠČ?PQRČŠČ?DRCCLČŠWC?PQČŠ?PCČŠKCLRGMLCBČŠFCPC ČŠ?QČŠ evidence of his immediate, broad and enduring international success: 1975, Palazzo dei Diamanti in Ferrara; 1979, Städtische Galerie im Lenbachhaus in Munich; 1975, 1978 and 1980, Internationaal Cultureel Centrum, Antwerp; 1975 and 1983, Palais des Beaux Arts in Brussels; 1982, the Pompidou Centre in Paris; 1984, MusĂŠe d’Art Contemporain in Villeneuve d’Ascq (Lille); 1985, La Rotonda della Besana in Milan; 1988, Museo de Arte ContemporĂĄneo in Madrid, Palacio SĂĄstago, Zaragoza, Neue Galerie, Linz, the Luigi Pecci Centre for Contemporary Art in Prato (Tuscany); 1989, Kunstverein, Cologne, Palau Solleric, Palma de Mallorca, Louisiana Museum, Humlebaek (Denmark), Nagoya Biennale (Japan), and Palazzo dei Diamanti in Ferrara; 1990, various KSQCSKČŠ QN?ACQČŠ GLČŠ 0CEEGMČŠ #KGJG?ČŠ RMČŠ K?PIČŠ FGQČŠ Č?DRGCRFČŠ birthday). His work continues to evolve; it is enriched with new subjects and incorporates 3D structures in a continuous BCJTGLEČŠ GLRM ČŠ ?LBČŠ PCČ?LCKCLRČŠ MD ČŠ RFCČŠ PCJ?RGMLQFGNČŠ @CRUCCLČŠ representation and reality. He has a busy work schedule as a scenographer (making use of electronics too) for theatres, festivals and televisions.

LIQUID WATER %JNFOTJPOT 90x60 cm 5FDIOJRVF Steel drum with distilled water. %FTDSJQUJPO Water for our memory. Water for our consciousness. Water for our passions. Water for our roots. Water for our emotions. Water for our origins. Water for our thoughts. Water for our regrets. Water for our bonds. Water for our history.

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JORGE POMBO Jorge R. Pombo was born in Barcelona in 1973 and lived for several years in Paris and New York. He currently resides in Reggio Emilia. Some of his exhibitions are listed below in reverse order: in 2016: “Variations on Tintorettoâ€? at the Stefano Forni Gallery in Bologna; “Religareâ€? at the Grande Museo in Milan Cathedral; “Religare Beyond the Seaâ€? at the Église Saint Nicolas de Fontvieille in the Principality of Monaco, and “Religareâ€? at the Instituto Cervantes in New York. In 2014: “Mapesâ€? at the Galeria El Quadern Robat in Barcelona; “Lucca - The Passionâ€? at the Church of San Cristoforo in Lucca. In 2013: “Variations on Tintorettoâ€? at the School of Merchants in Madonna dell’Orto, Venice. In 2012: “Ciudadesâ€? at the Galeria Manuel Ojeda in Las Palmas de Gran Canaria, and “Jorge R. Pomboâ€? at the Espace Courant d’Art in Chevenez (Switzerland). In 2008: “Pinturas 20002007â€?, Tinglado 1 in Tarragona; “Ciudadesâ€? at the Galeria Joan Prats- PRČŠ%PÄ°Č?AČŠGLČŠ ?PACJML? ČŠ'LČŠ ČŠ|'QR?L@SJ}ČŠ?RČŠRFCČŠ Spanish Embassy in Andorra, organized by UNICEF. In 2006: “Variaciones de pintura. TrilogĂ­aâ€? at Tinglado 1 in Tarragona. In 2005, “Variacions de pinturaâ€? at the Tecla Sala in Barcelona. In 2004, “Blancoâ€? at the Galeria Joan Prats- PRČŠ %PÄ°Č?AČŠ GLČŠ ?PACJML? ČŠRFCČŠ5?JJP?ČŽČŠ+SQCSKČŠGLČŠ!MJMELC ČŠRFCČŠ "%ČŠ%?JJCPWČŠ GLČŠ ,CUČŠ 7MPI ČŠ RFCČŠ '4 +ČŠ 'LQRGRSRČŠ 4?JCLAGÄ°ČŠ PRČŠ +MBCPL ČŠ RFCČŠ Marlborough Gallery in Barcelona, Christie’s in London, and the Casa Encendida in Madrid.

ENERGY, RENAISSANCE %JNFOTJPOT 90x60 cm 5FDIOJRVF Oil and paint on metal. %FTDSJQUJPO ČŠ 2FCČŠ AMLČ?GARČŠ MDČŠ MNNMQGRCQČŠ GQČŠ RFCČŠ ICWČŠ RMČŠ interpreting my painting: ancient versus modern, Č?ESP?RGMLČŠTCPQSQČŠ?@QRP?ARGML ČŠKC?LGLEČŠTCPQSQČŠRFCČŠTMGB ČŠ In this work I propose a dialogue between Caravaggio’s .FEVTB and Botticelli’s 4QSJOH. Medusa as a metaphor for what was initially beautiful, but eventually became a monster, to the point that the mere sight of her meant death: a metaphor of what human beings felt about the discovery of nuclear energy, thinking it was a technological revolution and that the future would be much better, although they later understood the dangers to our health and to the survival of the human race. Medusa communicates with her opposite: spring, hope, the birth of beauty. From the black background, KSAFČŠRMČŠMSPČŠQSPNPGQC ČŠJMTCJWČŠAMJMSPDSJČŠČ?MUCPQČŠCKCPECČŠ?QČŠ a sign of new life, hope, a good omen. The two pieces create a tension, a brusque dialogue. They share the same surface and while they are both part of the same object, they represent two opposites.

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GRAZIANO POMPILI Born in Rijeka (Croatia) in 1943, Graziano Pompili spent his childhood and adolescence in Romagna in Italy and since 1963, has lived and worked in Reggio Emilia. He trained at the International Art Institute for Ceramics in Faenza under masters Angelo Biancini and Carlo Zauli, and then at the Academy of Fine Arts in Bologna, where he took courses in sculpture run by Umberto Mastroianni and Quinto Ghermandi, and where he later became Professor of marble sculpture. Pompili experimented with many materials (terracotta, marble, bronze, iron, wood, stone) and built large-scale works and installations. In the 1980s, he produced the “Riarcheologieâ€? cycle: terracotta sculptures that he broke into fragments once out of the kiln, and then re-assembled using iron hooks to give a fresh approach to the splendours of the past. In the 1990s, he began to use marble and terracotta and painted metals to make sculptures centred on the image of the ancestral home and entitled “Poeticamente abita l’uomoâ€?, as homage to a HĂślderlin verse made famous by Heidegger. The house symbolises solitude and escape from the world, a shelter and a safe haven to which you can ?JU?WQČŠPCRSPL ČŠ&CGBCEECP QČŠGLČ?SCLACČŠPC-emerges in some of the artist’s latest cycles: “Under the Sky and Over the Earthâ€?, “Ortâ€? and “The Path between Fieldsâ€?, in which Pompili’s old passion for archaeology reappears. Among his many solo exhibitions in public museums and private galleries in Italy and abroad, of particular note are: exhibitions at the Civic Museums in Reggio Emilia in 1986, 1990 and 1996, with texts by Giorgio Celli, Rossana Bossaglia and Silvia Moretti; “Imagoâ€? at Palazzo dei Diamanti in Ferrara in 1987, text by Janus; “1988-1997 Worksâ€? at Tour Fromage in Aosta in 1997, with texts by Luciano Caramel; Alte Kelter in MĂźhlacker (near Stuttgart in Germany) in 2002, with texts by Klaus Wolbert and Sandro Parmiggiani; “The Sacred Memoryâ€? (based on a 7JB $SVDJT in terracotta) at Palazzo Magnani in Reggio Emilia in 2006, with texts by Sandro Parmiggiani, Marco Vallora and Luciano Manicardi; “ORTâ€? in the Castle of Pergine Valsugana (near Trento) in 2011, texts by Franco Batacchi and Sandro Parmiggiani, and in 20152016, “Profeti in Patriaâ€? in Montecchio Emilia, coordinated by Sandro Parmiggiani. Group exhibitions include: the Rome Quadriennale in 1975 and 2005; the Venice Biennale, “Art and Biologyâ€? sector in 1986; “The Salt Roadâ€? in Cuneo in 2003; the International Sculpture Biennale in Carrara in 2006; the International Sculpture Triennale in Bad Ragaz (Switzerland) and Vaduz (Liechtenstein) in 2012 and 2015.

DE RERUM NATURAE %JNFOTJPOT 165x60 cm 5FDIOJRVF Terracotta and enamel paint on metal drum. %FTDSJQUJPO It is obviously a snowy landscape where, in harmony with “creationâ€?, a house is hidden. A place that would like to be safe and far away from the pollution of modern-day life. But that is impossible‌ and the stand, masked by the shadows of nature, is not enough to hide its origin.

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GIORGIO PRESTA Giorgio Presta was born in Taranto in 1957. After graduating from the A. Frattini School of Art, he worked at ceramics studios in Gualdo Tadino, Deruta and Faenza. In 1978, he opened his own artistic ceramics studio in Varese. Since 2000, he has mainly sculpted in stone, focusing on his personal research into the relationship between man, nature and matter. From 1999 to 2001, he taught Ceramics for the vocational training courses organised by the European Community. Since 2002, he has run sculpture courses for the City Hall of Varese and as of the academic year 2016-17 has been in charge of the art workshops at the European School in Varese. Throughout his career, he has appeared in over one hundred group exhibitions and numerous one-man shows as well as several art books. His works are in public and private collections.

MAYBE THERE IS HOPE %JNFOTJPOT 175x60 cm 5FDIOJRVF Wood sculpture. %FTDSJQUJPO For some time now, my work as an artist has focused on man and nature. This work of art, created by a drum that will contain nuclear waste, is GLRCLBCBČŠRMČŠF?TCČŠ?ČŠBMS@JCČŠKC?LGLE ČŠRFCČŠČ?PQRČŠAMLACPLQČŠ the negative impact of nuclear waste on nature, reduced to a skeleton and the man in the Holy Shroud. The other shows vindication, branches that pierce the metal drum to re-capture space and thrive again. Perhaps hope still exists in the primal energy of man and nature, in the indivisible symbiosis between these two elements, perhaps‌ man, thanks to his culture, sensitivity and intelligence, can still re-stabilise this relationship and rectify his own mistakes.

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BRUNO RASPANTI Born in 1938 in Settefonti di Ozzano Emilia near Bologna, Bruno Raspanti lives and works in Bologna. He studied under Professor Quinto Ghermandi at the Art Institute and under Professor Umberto Mastroianni at the Academy of Fine Arts in Bologna. Above and beyond his academic training, various distant memories are important to Raspanti, as he mentioned in an interview in 1999: “For me art has always been something that enables me to reclaim what I have lost, RMČŠ@CČŠ?LČŠ?LGK?JČŠ?E?GL ČŠRMČŠEMČŠ@?AIČŠFMKC ČŠRMČŠČ?LBČŠKWČŠMULČŠQMSPACČŠ of thought, amazement, wonder, I never make an aesthetic feature of something, yes, I sometimes fall into that trap [‌] but I strive to retrieve everything I have dreamt of from when I was a child. Since 1956, he has exhibited in group and oneman shows – his debut exhibition was held at the Galvani Gallery in Bologna in 1968, replicated the following year at the Galleria del Teatro in Parma, coordinated by Arturo Carlo Quintavalle. He has also had personal exhibitions in private galleries, but only those held in public areas are included here: 1990, Ravenna, Santa Maria delle Croci, organised @WČŠ BPG?LMČŠ ?AAGJGCPG ČŠ ČŠ MJMEL? ČŠ +SQCMČŠ BCJJ?ČŠ 1?LGRÄ°ČŠ e dell’Assistenza, catalogue texts by Graziano Campanini and Adriano Baccilieri and a comprehensive biography by Grazia Poli; 2014, Pieve di Cento (Bologna), Magi ’900 Museum, with catalogue texts by Graziano Campanini and Sandro Parmiggiani, who in 2017 introduced the volume accompanying the exhibition at the Mediaeval Civic Museum in Bologna. In 2004, Raspanti received the Marconi Sculpture Award, presented by Claudio Cerritelli, and in 2017, he received the “Targa Ricordo Paolo Volponiâ€?, a plaque awarded by the Casa dei Pensieri in Bologna.

LANDSCAPE %JNFOTJPOT 137x60 cm 5FDIOJRVF Terracotta. %FTDSJQUJPO Wishing to be free from the burdens of the avant-garde and not have to chase after the “Contemporaryâ€?, I created an Anti-Sculpture, or rather an ancient sculpture, as an expression of man, of his history, his imperfections, of the primordial images that are an integral part of the collective unconscious, but aimed at capturing a modern language. Maybe that explains the use of terracotta, the primary material of Q?APCBČŠQGELGČ?A?LAC ČŠKSBČŠ?QČŠ?ČŠQGRCČŠMDČŠMNCP?RGMLQČŠUFCPCČŠ everything is possible; mud resists, defends itself, sticks RMČŠ RFCČŠ Č?LECPQ ČŠ FGLBCPQČŠ RFCČŠ ?AOSGPCBČŠ QIGJJČŠ RF?RČŠ MDRCLČŠ leads to “constructionsâ€? of a controlled, planned, logical image, and gives free rein to the pleasure of gestures, tactile sensations, a return to what is primitive and direct.

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PAOLA RAVASIO Paola Ravasio was born in 1978 in Varese where she attended the “A. Frattini� Art School; she temporarily moved to Carrara, where she learnt marble processing techniques. Back in Varese, she continued and expanded her activity in the workshop run by Master Pietro Scampini in Castronno. As part of her research, she experimented with many materials, such as plaster, bronze and eventually acrylic resin, which enabled her to make even large-scale works of art. Her work explores the concept of Limit as an unavoidable human condition. The tension and strength that are generated by her sculptures are portrayed by organic and geometrical shapes enhanced by a powerful vital energy. She has had numerous personal exhibitions in Italy, Switzerland and Belgium; in 2004, one of her bronze sculptures was installed in the public gardens in Sondrio.

GERMINAL %JNFOTJPOT 155x65x60 cm 5FDIOJRVF Fibreglass and metal drum. %FTDSJQUJPO The idea behind my project stems from the Life Cycle in its two apical phases, i.e. end and @CEGLLGLE ČŠUFGAFČŠČ?LBČŠ?ČŠAMLLCARGLEČŠNMGLRČŠGLČŠRFCČŠUMPI ČŠ The metal drum, designed for storing radioactive U?QRC ČŠ@CAMKCQČŠ@MRFČŠRFCČŠČ?L?JČŠPCQRGLEČŠNJ?ACČŠDMPČŠQSAFČŠ powerful energies and the vital substance ready for a LCUČŠ @CEGLLGLE ČŠ $PMKČŠ RF?RČŠ B?PIČŠ ?PRGČ?AG?JČŠ QCCBČŠ PGQCQČŠ ?ČŠ bright white organic form that forcefully erupts from the black surface of the lid and extends like a sudden jet of living matter that pulsates and breathes.

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GIORGIO ROBUSTELLI Giorgio Robustelli was born in 1943 in Cunardo (Varese), where he lives and works. He trained in the family workshop, where his father, Paolo, taught him the main rudiments and the decorative techniques of ceramics. His family owns the IBIS factory in Cunardo, a town well known for its ancient ceramic-making tradition since the 1700s – and probably even a few centuries earlier. Robustelli developed his own artistic expression and had the chance to meet several artists from all over the world who worked in Cunardo and utilised the kiln, thanks not least to the Cultural Association that was founded as “Friends of the Furnaceâ€? and later renamed RFCČŠ |!SLČŠ PR}ČŠ QQMAG?RGML ČŠ &GQČŠ Č?PQRČŠ NCPQML?JČŠ CVFG@GRGMLČŠ was in 1972; since then Giorgio Robustelli has taken part in numerous important exhibitions and competitions of national and international renown. In 2012, the Association of Hungarian Artists of Budapest dedicated an anthological exhibition to him. In 2016, an important anthological exhibition was organised in the Giuseppe Gianetti Ceramics Museum in Saronno (Varese). His works are housed in numerous public and private collections. In 2014, Robustelli created the “Friends of the Ibis Furnacesâ€? Association, to relaunch the cultural traditions of this evocative town, and to transform it into an open-air museum that displays ceramic works by numerous artists and where there is space for many activities involving not only ceramic art, but also other artistic forms of expression.

NATURE RESUMES ITS JOURNEY %JNFOTJPOT various 5FDIOJRVF ČŠ ČŠQRCCJČŠBPSKČŠ?LBČŠACP?KGAČŠQRMLCQČŠMDČŠBGČŽCPCLRČŠ shapes and sizes. %FTDSJQUJPO Nature follows its own path and reclaims the spaces we once occupied. Erratic stones migrate from the drum and return to nature.

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MEDHAT SHAFIK +CBF?RČŠ1F?Č?IČŠU?QČŠ@MPLČŠGLČŠ#EWNRČŠGLČŠ ČŠ?LBČŠF?QČŠJGTCBČŠ?LBČŠ worked in Italy since 1976. He graduated in painting and scenery from the Accademia di Belle Arti di Brera, and has taken part in many national and international art shows since RFCČŠ Q ČŠ &GQČŠ Č?PQRČŠ ?AAMJ?BCČŠ A?KCČŠ GLČŠ ČŠ UFCL ČŠ ?RČŠ RFCČŠ Venice Biennale, the Egyptian Pavilion, which he represented with two other artists, was awarded the “Leone d’Oro delle Nazioniâ€?. His exhibitions, in private galleries and public spaces, include: 1998, L’Espal Cultural Centre, Le Mans, with text by Pierre Restany; 2001, the Gallery of Contemporary Art, Bad Homburg (Germany), and Palazzo Racani Arroni, Spoleto, coordinated by Martina Corgnati; 2003, the Academy of Fine Arts, Brescia, curated by Franco Migliaccio, and the International Biennale, Cairo (where he won “The Nile Grand Prizeâ€?); 2007, Palazzo Forti, Verona, coordinated by Giorgio Cortenova and Patrizia Nuzzo; 2008, the $BNNJOP and "TDFTJ installations for the Piazza del Duomo and the Church of S. Agostino, Pietrasanta, 3BDDPHMJFSF JO NF[[P BMMČ…VSBHBOP, Palazzo Ducale, Genoa, and -B $JUUÂ&#x; EFJ QSPGVNJ, Church of San Francesco, Como, curated by Luciano Caramel; 2011, Fondazione Stelline, Milan, curated by Arturo Carlo Quintavalle, and in 2012, the Salone delle Scuderie in Pilotta, Parma, curated by Gloria Bianchino. 1F?Č?I QČŠ N?GLRGLEQČŠ ?LBČŠ AMJJ?ECQ ČŠ UFCRFCPČŠ MLČŠ A?LT?QČŠ MPČŠ RFGAIČŠ F?LBK?BCČŠ N?NCP ČŠ AMK@GLCČŠ ?JJČŠ RFCČŠ GLČ?LGRCČŠ NMQQG@GJGRGCQČŠ MDČŠ artistic techniques: brush-painted stripes of colour; elegant silhouettes of people or animals, symbols and lines; prints made from a wooden matrix; gold foil spread out or bunched like tenuous clots inside transparent sacks; collages of tissue paper, leaves, fragments of corrugated cartons, gauzes that veil the image. Some works incorporate objects that make them three-dimensional paintings full of mystery: small cylinders of rolled gauze; paintings folded on themselves; packets of incense sticks; fragments of clothes that act as decorations, and pieces of wood, sometimes engraved. And so, the great lesson of painting and art history is staged: memories handed down of primitive and oriental cultures and the results of research into Western art merge naturally in 1F?Č?I ČŠGLČŠ?ČŠIGLBČŠMDČŠFW@PGBGQ?RGML ČŠ?LČŠ?PRGQRGAČŠKGV

SPACES OF DIZZINESS %JNFOTJPOT 97x60 cm 5FDIOJRVF Acrylic, collage, bronze. %FTDSJQUJPO A black drum appears in the immensity of cosmic darkness. Like a spaceship full of men and animals performing impossible stunts on the brink of abysses, they move up and down laden with weights like Sisyphus, crossing the dizzying spaces. At the top, a Pyramid, symbol of mystery, ingenuity and civilisation in an archaeological site. We are the authors of our future. Ethics and a sense of responsibility are the right deterrent to contain and correct the fallacy inherent in the nature and the works of man.

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ALDO SPOLDI Aldo Spoldi was born in Crema in 1950, where he lives and works. He studied at the Beato Angelico Art School and at the Accademia di Belle Arti di Brera in Milan, where he teaches “Paintingâ€?. He is an ironic and playful artist, a painter, sculptor, musician and writer. In the Seventies, he became interested in conceptual art, the theatre and performances. He is fascinated by popular iconography (posters, calendars, Č?ESPGLCČŠ?J@SKQ ČŠRFCČŠRCVRČŠMDČŠ?BTCPRGQGLEČŠQGELQČŠ?LBČŠRFCČŠMFUUFSJOH GLČŠAMKGAQ ČŠ1NMJBGČŠEGTCQČŠJGDCČŠRMČŠNMNČŠČ?ESP?RGML ČŠUFGAFČŠSLJC?QFCQČŠ ?ČŠ QCLQCČŠ MDČŠ GLČ?LGRCČŠ DPCCBMK ČŠ MTCPČ?MUGLEČŠ GK?EGL?RGMLČŠ ?LBČŠ QS@RJCČŠGPMLW ČŠ&GQČŠČ?PQRČŠCVFG@GRGMLČŠU?QČŠGLČŠ+GJ?LČŠGLČŠ ČŠ?RČŠRFCČŠ Galleria Diagramma Inga Pin, followed by other exhibitions in Italy (repeatedly at the Studio Marconi in Milan) and abroad; in 1981, he took part in the Paris Biennale and in 1982, he was invited to the Venice Biennale. 1NMJBG QČŠUMPIČŠPCČ?CARQČŠRFCČŠRP?LQDMPK?RGMLQČŠMDČŠ?PRČŠ?LBČŠQMAGCRW ČŠ In 1968, he formed a group with school friends, whose aim was to mock by putting on burlesque performances in the streets of several cities. In 1977, he formed the Arts Theatre of Oklahoma, which he later transformed into a Bank, then ?ČŠ*GKGRCBČŠ.?PRLCPQFGNČŠ?LBČŠČ?L?JJWČŠGLRMČŠ " - ČŠ1N? ČŠRMČŠA?PPWČŠMSRČŠ aesthetic projects and denounce the similarities between the APGRCPG?ČŠMDČŠ?U?PBGLEČŠT?JSCČŠGLČŠRFCČŠ?PRČŠQWQRCKČŠ?LBČŠGLČŠČ?L?LAC ČŠ In 1996, he and his students produced an educational project focused on virtual characters (Cristina Show, artist, Met Levi, photographer, Andrea Bortolon, philosopher and Angelo Spettacoli, critic); he published -FTTPOT JO "FTUIFUJD &EVDBUJPO, $SJTUJOB 4IPX, 'SBHNFOUT PG -JGF, -FTTPOT PO .PSBM 1IJMPTPQIZ. In 2007, he designed the Chute Academy, and in 2012, he published " (PE $BOOPU (FU )VSU by the philosopher Andrea Bortolon.

THE CHUTE ACADEMY SHY ARCHITECTURE ASSOCIATION %JNFOTJPOT 90x60 cm 5FDIOJRVF Graphics on a drum. %FTDSJQUJPO Warhol proved that modern art can be NPMČ?R?@JC ČŠ ?QČŠ AMLČ?PKCBČŠ @WČŠ .GA?QQMČŠ ?LBČŠ MRFCPQ ČŠ ?LBČŠ can even be a CVTJOFTT. Andy merely applied the marketing strategies of the consumer society. The boxes and drums of Shy Architecture and the Chute Academy intend to show Warhol’s $BNQCFMM that art, concepts and architecture advance worlds. Our boxes do not advertise pre-existing myths, they are not closed boxes, but are open to create a new narrative and new myths, towards the future of a new economy.

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114

MARCO ERMENTINI Born in Crema in 1956, Marco Ermentini is an architect and the co-founder, with Aldo Spoldi and Andrea Bortolon, of the 1FWČŠ PAFGRCARSPCČŠ QQMAG?RGML ČŠUFGAFČŠSLGČ?CQČŠRFCČŠKMTCKCLRČŠDMPČŠ Shy Architecture. He is known for exploits that are provocative (the invention of the miraculous Timidina drug), ironic (the points licence for restoration) and wonderfully erratic. He won the Assisi Award in 1995 for the best restoration carried out in Italy, and in 2013, a special mention at the Domus Restauro International Awards. He works in “Ermentini Architettiâ€?, the architectural company founded by his father sixty years ago, where he experiments with the kind of architecture that cares for people and things. In the 9th appendix of the Treccani Encyclopedia (2015), he was cited as the creator of Shy Restoration and was granted the title of “Grand Master of Shy Architectureâ€? by the Chute Academy. Renzo Piano, senator of the Republic, has nominated him as a “tutorâ€? of the G124 group involved in the re-development of suburbs and cities.

SHY ARCHITECTURE ASSOCIATION THE CHUTE ACADEMY %JNFOTJPOT 90x60 cm 5FDIOJRVF Graphics on a drum. %FTDSJQUJPO Shy Architecture gives a voice to what is silent, paying attention to the little things, to forgotten and peripheral places, to poor materials, to marginalised inhabitants, to shadows. This attention frees us from the arrogance of our ego, from its excesses, and suggests humility and shyness, necessary companions on every path to knowledge. Shyness is not a disease but a precious virtue that teaches us to handle the world gently, raising many doubts and asking permission before acting. The shy architect’s greatest asset is knowing how to intervene as little as possible, a little that is never in short supply, by using knowledge, preserving what already exists and incorporating new architecture with care, ?RRCLRGML ČŠ?ČŽCARGML ČŠFSKGJGRWČŠ?LBČŠGLRCJJGECLAC ČŠ2FCČŠQFWČŠ AMLACNRČŠGQČŠ?ČŠAMLQR?LRČŠAF?JJCLECČŠRMČŠRFCČŠFC?TW ČŠQCJČ?QF ČŠ spectacular and coarse architecture that tends to ride roughshod over the life it encounters, and proposes a new plan: repairing. Architecture has to regain its curative function, that of a balm that heals the wounds of our landscapes. It is a kind of chart, a land map allowing us to navigate through a maze of rocks. Shy Architecture and the Chute Academy propose to rediscover the lost friendship with the things of the world.

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116

FAUSTA SQUATRITI Elisabetta Longari organised an exhibition in Milan in 2017 on the research of Fausta Squatriti, who was born in Milan in 1941. It was sub-divided between the Triennale, the Gallerie d’Italia and the Nuova Galleria Morone and focused on the highly personal research that the artist had been conducting since she was young and featured a selection of 20th Century poems. She began exhibiting in Stockholm in 1968 and continued in New York, Houston, Mexico City, Israel, Geneva, Caracas, DĂźsseldorf, Paris, Moscow and Milan, in galleries such as the Galleria del Naviglio, Studio Marconi, Milan; Alexander Iolas, Geneva and New York; Denise RenĂŠ, Paris and Karin Fesel, DĂźsseldorf. In 2009, she exhibited at the Museum of Modern Art in Moscow, organised by Evelina Schatz. She has taught at the Academy of Fine Arts in Carrara, Venice and Brera, at the University at Manoa in Honolulu, USA, and at the Mons AcadĂŠmie des Beaux-Arts. A poet and author, from 1986 she has also written essays on art – that year she was one of the three coordinators of “Art and Science: Colourâ€? at the Venice Biennale. She also exhibited at the “Ellesâ€? exhibition in the Pompidou Centre. Her works are in public collections such as: the Gallerie d’Italia, Piazza della Scala, Milan; Modern Paris Opera Museum and the Pompidou Centre, Paris.

FOR EVER AND EVER %JNFOTJPOT 210x110x29 cm 5FDIOJRVF Multi-material work in wood, steel, plaster, watercolours, photography. %FTDSJQUJPO The installation I created ties in with my research in recent years on the evident contradictions of today’s material and spiritual culture. The work is QS@BGTGBCBČŠGLRMČŠRFPCCČŠBGČŽCPCLRČŠN?PRQČŠ@WČŠDMPKČŠ?LBČŠGK?EC ČŠ united by the logical process that rejects and attracts opposites. The bin for toxic waste is protected, but also exhibited, inside a framework of partially burnt wooden planks salvaged from a demolition site: an obvious contradiction. I have contrasted this feature with a photograph, also enclosed in a box of crude, broken UMMB ČŠ?QČŠGDČŠGRČŠF?BČŠ@CCLČŠR?ICLČŠDPMKČŠ?ČŠL?RSP?JČŠMPČŠ?PRGČ?AG?JČŠ catastrophe, to isolate the emblematic image of a row of trees in an abandoned garden, as testimony to the concept of care, beauty, and then neglect. The third element is an abstract symbol, a spiral that expresses energy: life in the expansion of matter. The three parts of the narrative enrich one another, take on a more complex value, and support each other by virtue of the enforced co-existence that holds the meaning of evocation I intended to express.

118 ART SPACES

GIORDANO AND MIRCO TAMBORINI Giordano Tamborini was born in 1940 in Mercallo. A regular visitor to the South Tyrol over the last 40 years, he has always been fascinated by the wooden sculptures on display at exhibitions or in shops. In 2005, he became acquainted with a local sculptor who taught him the wood-carving techniques that he developed and for which he received the acclaim and recognition of artists who had long worked in the sector. He teaches wood-carving and plasticine modelling courses at the UNITRE of Sesto Calende. Mirco Tamborini was born in 1997 in Gallarate and graduated in 2016 from the Paolo Candiani Art School of Busto Arsizio. He is currently enrolled at NABA, Nuova Accademia Belle Arti of Milan studying Graphic Design and Art Direction. He is an art lover and creates advertising graphics and logos for businesses and companies. He has collaborated on this project as graphic designer.

I STOPPED AND LOOKED BEYOND %JNFOTJPOT 90x60 cm eagle sculpture, 40x38x15 cm 5FDIOJRVF Spray-painted metal drum, wooden sculpture, remote-controlled electronic rotating mechanism and ?PRGČ?AG?JČŠQKMIC

%FTDSJQUJPO The inspiration for the graphic design on the drum came while I was wondering how Edvard Munch conceived 5IF 4DSFBN: “One evening I was walking along a path, the city on one side and the fjord below. I stopped and looked out over the fjord, the sun was setting, and the clouds were tinged blood red. I sensed a scream passing through nature; it seemed as if I could almost hear it. I painted this picture, painted the clouds as actual blood. The colours shrieked. This became 5IF 4DSFBNâ€?. I dwelt on the sentence â€œâ€Ś I stopped and looked out over the fjord‌â€? The incredible resemblance between the nuclear logo and the face represented by Munch prompted me to merge them. In the foreground, MSRQGBCČŠRFCČŠDP?KCUMPI ČŠRFCČŠČ?MUCPČŠMDČŠRFCČŠ?JKMLBČŠRPCC ČŠ Č?MUCPČŠMDČŠPC@GPRF ČŠPCNPCQCLRQČŠRFCČŠ|EPCCLČŠČ?CJB} ČŠMPČŠP?RFCP ČŠ the last phase to be reached at the end of nuclear disarmament, characterised by the absence of any risk MDČŠP?BG?RGML ČŠ'LČŠRFCČŠ@?AIEPMSLBČŠ?PCČŠ@GPBQČŠUFGAF ČŠČ?WGLEČŠ @CWMLBČŠRFCČŠDP?KC ČŠEGTCČŠRFCČŠCČŽCARČŠMDČŠBCNRF ČŠ?LRGAGN?RGLEČŠ the emergence of the real artwork: the sculpture of the golden eagle, nature triumphant. The purpose of this artwork is to create a state of suspense in the observer, which is enhanced when the work is activated and ?PRGČ?AG?JČŠQKMICČŠMSRJGLCQČŠGRQČŠK?HCQRW

ART SPACES

120

GIORGIO VICENTINI Giorgio Vicentini was born in Varese in 1951 and lives and works in Induno Olona (Varese). In 1974, the year of his Č?PQRČŠQMJMČŠCVFG@GRGML ČŠFCČŠ?@?LBMLCBČŠFGQČŠJ?UČŠQRSBGCQČŠRMČŠBCTMRCČŠ himself entirely to his artistic career. After training in Milan, he focused his research on conceptual art, later choosing to use an individual language based on colour. He teaches art history on the Bachelor of Science in Education course and the Master in Educational Services for Artistic Heritage, Historical Museums and Visual Arts at the Catholic University of the Sacred Heart of Milan. He collaborates with the LAC Lugano Arts and Culture and with the Young Thinkers of Varese. His works are housed in public and private collections in Italy and abroad. He is artistic consultant to the architect Ivano Gianola and the Emilia Bosis Foundation in Bergamo, and has designed well-known international brands.

SEED %JNFOTJPOT 93x102 cm 5FDIOJRVF Acrylics, wood, beeswax and iron rods. %FTDSJQUJPO 4FFE is a leap in the dark. The water-divining text recounts, with the sensuality of the painting, the mysterious journey of the original sin to the centre of the Earth.

ART SPACES

122

WAL (Walter Guidobaldi) Wal (Walter Guidobaldi) was born in 1949 in Roncolo (Quattro Castella, Reggio Emilia), where he still lives and works. He attended the Academy of Fine Arts in Bologna and took the course run by Umberto Mastroianni. In the Seventies, he moved to Milan to study at the Accademia di Brera, where two of his lecturers were Alik Cavaliere and Luciano Minguzzi, and where he became acquainted with the artistic environment of that period and produced conceptual artworks. At the end of the decade, he gradually returned to the fold of painting and joined the “New-Newâ€? group (along UGRFČŠ ?PRMJGLG ČŠ *CTGLG ČŠ +?GLMJČ? ČŠ -LR?LGČŠ ?LBČŠ 1?JTM ČŠ &CČŠ U?QČŠ sponsored by Renato Barilli, Francesca Alinovi and Roberto Daolio at the exhibition at the Municipal Gallery of Modern Art in Bologna in 1980, and later participated in all of the group’s shows, up to the 2009 travelling exhibition, “We’re always New-Newâ€?. He has had personal and group exhibitions in Italy and ?@PM?B ČŠGLAJSBCBČŠGLČŠRFCČŠČ?PQR ČŠNPMKMRCBČŠ@WČŠNS@JGAČŠGLQRGRSRGMLQ ČŠ was the comprehensive anthological exhibition in 2003 at the Cloister of San Domenico in Reggio Emilia, organised by the Civic Museums, which had already housed his exhibitions in 1985 and 1993; personal exhibitions in the streets and squares of Stresa, 2015, and in Rome, at the Museum and Gardens of the Casina delle Civette at the Villa Torlonia, 2017; included in the second was: “Baby Bodyâ€? at the Kunsthalle in Darmstadt in 2007. Last to be mentioned, MUGLEČŠ RMČŠ RFCČŠ GLČ?SCLACČŠ GRČŠ UMSJBČŠ F?TCČŠ MLČŠ FGQČŠ J?RCPČŠ UMPI ČŠ GQČŠ the commission he was awarded in 1984 by a company specialising in children’s games and furnishings for infant schools to create a large playground, which would later be exhibited at major exhibitions in Paris, Genoa and Milan. The subjects of many of Wal’s works are chubby children, playing singly or in groups, or performing agility gymnastics, and animals, sometimes accompanied by a cherub or alone as part of the scene. Everything is done with playful irony, a carefree tenderness, a lightness that is not only relevant to the images and materials, but also to the sentiment @CFGLBČŠ RFCČŠ TGQGML ČŠ GLČŠ ?ČŠ P?PCČ?CBČŠ UMPJBČŠ BMKGL?RCBČŠ @WČŠ RFCČŠ most unbridled imagination, by daydreams, by the ability to amaze and be amazed – an aspect, often lost, of childhood.

THE BOGEY IN THE BIN %JNFOTJPOT 95x180 cm (various) 5FDIOJRVF Fibreglass, PVC, wood, metal, enamel. %FTDSJQUJPO ‌ The bogey wants to get out of the bin to take over the world while a gentle cherub from Orion Č?GCQČŠGLČŠRFCČŠQIW

And with an excess of zeal closes the lid‌

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WILLIAM XERRA William Xerra was born in Florence in 1937; the family moved to Piacenza where the artist lives and works. He attended the Art School and the Accademia di Brera in Milan. His painting debut was in the early 1960s, and was linked to his experiences with non-representational art. However, Xerra soon explored various other artistic options and constantly used the written word. All his work incorporates the poetic and the pictorial. In the same period, he became friends with Corrado Costa (with whom he created “pinball poemsâ€?) Adriano Spatola, Emilio Villa, Sebastiano Vassalli, Antonio Porta as well as other poets and writers of the ’63 group. He is passionate about visual, concrete and sound poetry. From the early 1970s, Xerra’s interests took various directions, including intellectual collaboration with Pierre Restany: space exploration, performances (including 7FSJҨDBUJPO PG UIF .JSBDMF at San Damiano di Piacenza in 1973), 5PNCTUPOFT (in which the artist replaces the photographs of the dead with a mirror), installations, videos and photography, design and monuments. Since 1972, the word “Viveâ€?, borrowed from the typographical lexicon, has appeared in his paintings: an icon that is superimposed on images, words, fragments and rubbings-out and aims to bring back to life everything that has been forgotten, removed and unseen. When Xerra took up painting again in the early 1980s and adopted the “temporary framesâ€? of re-framers in order to gather and enhance fragments of ancient paintings, all his previous experiences came together in the picture, which is intended as a place where actions, quotations and notes are ceaselessly collected. In 1987, Filiberto Menna described him as one of the Italian Masters of PaintingWriting-Painting. In the early 1990s, new wording appeared in his paintings, “io mentoâ€? (I lie): a pitiless confession of existential angst; the poster was read by Pierre Restany at the Fondazione Mudima in Milan in 2002. The artist’s repertoire of exhibitions, in public and private spaces, is extensive and of particular importance, with personal and group exhibitions, and numerous monographs have been dedicated to him. His works are housed in Italian and foreign museums.

VIVE (IT LIVES) %JNFOTJPOT 90x60 cm 5FDIOJRVF Neon writing. %FTDSJQUJPO The term “Viveâ€? means retrieving a deletion, a vacuum, a new awareness of life. “Viveâ€? as a message ?LBČŠRFCČŠRFPC?BČŠAMLLCARGLEČŠSQČŠRMČŠ?ČŠ|EPCCLČŠČ?CJB}

Afterword A. Bandirali - L. Di Cesare - L. Montagna - P. Peerani - G. Tamborini

ART SPACES

The “Art Spacesâ€? idea arose almost spontaneously as a coincidence between a JRC Nuclear Directorate need and a JRC Cultural Committee project. Italian legislation requires local communities to be informed about nuclear decommissioning programmes. 2Q WKH EDVLV RI RYHU WKLUW\ \HDUV RI H[SHULHQFH JDLQHG LQ WKH ZRUOG RI Ă€QH DUWV the JRC-Ispra Cultural Committee was looking into continuing the combination EHWZHHQ Ă€QH DUWV DQG VFLHQFH ZKLFK LQ WKH SDVW KDG FUHDWHG FROODERUDWLRQ DPRQJ XQLYHUVLWLHV -5& DQG DUWLVWV ZKR KDG MRLQHG WKH LQLWLDWLYH The Nuclear Directorate requirement and the Cultural Committee project worked WRJHWKHU WR LGHQWLI\ WKH ORFDWLRQ RI WKH Ă€UVW H[KLELWLRQ DQG WKH FRPPRQ WKUHDG that would bring them together. $FFRUGLQJ WR ,WDOLDQ OHJLVODWLRQ WKH -5& EXLOW WKH ,QWHULP 6WRUDJH )DFLOLW\ ,6) as future temporary repository of radioactive waste produced by the dismantling activities of the JRC-Ispra nuclear facilities. 7KH FRPPRQ WKUHDG ZKLFK ZRXOG OLQN WKH SURMHFW RI WKH &XOWXUDO &RPPLWWHH WR WKH -5&¡V DFWLYLWLHV ZRXOG EH D VLPSOH PHWDO GUXP WKDW ZRXOG EH GHOLYHUHG to the artists and then transformed into an artwork. ´$UW 6SDFHVÂľ WKH WLWOH JLYHQ WR WKH HYHQW KLJKOLJKWV WKH FRUUHODWLRQ EHWZHHQ WKH YROXPH RI WKH EXLOGLQJ WKH ORFDWLRQ RI WKH H[KLELWLRQ DQG WKH GUXP¡V capability to become an artwork.

127

ART SPACES IMAGES OF THE “ART SPACES” EXHIBITION

NUCLEAR DECOMMISSIONING SCIENCE AT THE SERVICE OF FUTURE GENERATIONS

Images of the “Art Spaces” exhibition

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Art Spaces exhibition at JRC-Ispra 29th September-15th October 2017

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Opening cerimony 29th September 2017

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Laser harp show by Pietro Pirelli

131 Images of the “Art Spaces” exhibition

Artworks on display at JRC-Ispra Interim Storage Facility

Images of the “Art Spaces” exhibition

132

Artworks on display at JRC-Ispra Interim Storage Facility

Art Spaces exhibition at Castello di Masnago (Varese) 18th February-18th March 2018

Images of the “Art Spaces” exhibition

͢

133

Artworks on display at Castello di Masnago (outside)

Artworks on display at Castello di Masnago

Images of the “Art Spaces” exhibition

134

Artworks on display at Castello di Masnago

Artworks on display at Castello di Masnago

135 Images of the “Art Spaces” exhibition

Rewards

Images of the “Art Spaces� exhibition

136

Reward for Art Spaces exhibit, received in Rome on the 22nd of November 2017 and assigned by the Italian Ministry for Cultural Heritage and Tourism.

137

MECENATI OF THE XXI CENTURY The best practices in the collaboration between the institutional world and the Art world ~ 2018 edition ~

Luca Desiata Professor of Corporate Art at LUISS Business School

Motivation On Nov. 28, 2018, during a Ceremony at the premises of the European Parliament within the celebrations of the European Year of Cultural Heritage, JRC was awarded the “Institutional Art Award�, assigned by the Art patrons of the XXI century, for its exhibit “ART SPACES - NUCLEAR DECOMMISSIONING, SCIENCE AT THE SERVICE OF FUTURE GENERATIONS� which was on display at the Castello di Magnago (Varese) from 18th February to 18th March 2018 and included, in addition to the art pieces, interactions and meetings with the local population. The motivation of the award received is: – The introduction of artistic creativity in an unexpected sector. – The innovative use of the arts in institutional relationship with local community to promote greater transparency. The Art Patrons of the XXI century awards aim to enforce visibility, recognition and reputation for those Institutions, Corporations and Private Investors who have actively contributed to the development of the Arts and the society. In 2018 the roaster of winners includes, in addition to JRC, international institutions such as the World Bank, The British Council, the Central Bank of Argentina, the Italian Ministry of Foreign Affairs, the University of Auckland (New Zealand) as well as companies such as Bulgari, FIAT, Fendi, BMW, Vranken-Pommery Monopole, HBC, PLMJ, Bic. This year’s winners join a selected group of organizations that have been awarded these prizes in recent years among many distinguished participants: the three editions between 2016 and 2018 saw the participation of over 300 companies and institutions from 32 countries in all 5 continents. This is the second consecutive year that the exhibit receives this prestigious award. In 2017, JRC was awarded for the first edition of the “ART SPACES� exhibit, which was exposed within the JRC Ispra site premises from 29th September to 15th October 2017. The 2017 award was organized under the patronage of the Italian Presidency of the Republic and the Italian Ministry of Culture. The Awards ceremonies took place at the presence of the President of the Italian Republic, Sergio Mattarella and of the Minister of Culture, Dario Franceschini. About the Art Patrons of the XXI century The Corporate Art AwardsŽ, part of the Art patrons of the XXI century program, were first developed in 2016 by pptArtŽ in collaboration with the LUISS Business School. The underlying principle is that companies that are actively involved in the Art world tend to be successful in terms of profitability and in terms of ethical, environmental and social standards. The novelty since the 2017 edition was the introduction of an award category dedicated to institutional patrons, the so-called “Institutional Art Awards�. The two programs combined, Corporate and Institutional Art Awards, generated a higher-level initiative.

Images of the “Art Spaces� exhibition

NUCLEAR DECOMMISSIONING SCIENCE AT THE SERVICE OF FUTURE GENERATIONS

Index

3

4

Some data on the JRC

5

Directorate G - Nuclear Safety and Security

8

The Nuclear Decommissioning and Waste Management Programme at JRC Ispra

10

Nuclear liabilities at JRC-Ispra

10

Implementation of the JRC D&WM Programme at Ispra

10

%PCCLČŠČ?CJBČŠ

Nuclear installations in Ispra

10

Radioactive waste management

11

Temporary storage of radioactive waste

11

JRC-Ispra D&WM Programme Joint Research Centre, Ispra Site

The JRC, from past to present

The JRC, from past to present

JRC-Ispra D&WM Programme Joint Research Centre, Ispra Site

4

ÍĄ

The JRC in Ispra in the Seventies

The EURATOM Treaty, signed in Rome in 1957 by the six EU founding countries (Belgium, France, Germany, Italy, Luxembourg and the Netherlands), created the European Atomic Energy Community (EURATOM). From its creation EURATOM supported the establishment and growth of safe nuclear power-related industries to contribute to the peace, health and prosperity of European citizens. To support this mission, a Joint Research Centre (JRC), with sites located in four Member States, was established to perform top level research, BGQQCKGL?RCČŠČ?LBGLEQČŠDMPČŠNMJGAWK?IGLEČŠ?LBČŠQCRČŠ uniform safe standards. During spring 1958 a research centre started to be developed at Ispra. The “Ispra-1â€? reactor was completed in less than one year. In March 1959 RFCČŠPC?ARMPČŠČ?PQRČŠUCLRČŠAPGRGA?JČŠ?LBČŠGLČŠRFCČŠDMJJMUGLEČŠ KMLRFČŠRFCČŠQGRCČŠU?QČŠMČ‘AG?JJWČŠGL?SESP?RCBČŠ?QČŠ?ČŠ national nuclear research centre by the President MDČŠRFCČŠ'R?JG?LČŠ0CNS@JGA ČŠ'LČŠ ČŠ'R?JWČŠP?RGČ?CBČŠRFCČŠ agreement, signed in 1959, to transfer the Ispra Site to EURATOM. The initial research topics at JRC Ispra were focused on nuclear reactor and fuel cycle

development. As research progressed, a variety of additional experimental facilities, as well as radioactive waste management plant and stores, were completed. The second experimental reactor, #11-0 ȊUFMQCȊ ȊKCRPCȊQR?AIȊGQȊ?ȊUCJJ ILMULȊ J?LBK?PIȊGLȊRFCȊQSPPMSLBGLEQȊMDȊRFCȊ'QNP?ȊQGRC Ȋ entered its operational phase in 1968. From RFCȊ Q ȊRFCȊ#3Ȋ$P?KCUMPIȊ.PMEP?KKCQȊDMPȊ research and innovation progressively reduced their focus on nuclear R&D, hence most of the installations on the Ispra site are currently shut down and in a state of safe conservation. 2MB?W Ȋ?QȊRFCȊQAGCLACȊ?LBȊILMUJCBECȊQCPTGACȊMDȊ the European Commission, the JRC’s mission is to support EU policies with independent evidence throughout the whole policy cycle. The activities of the JRC have a direct impact on the life of the citizens as the results of the research contribute

ÍĄ

The Ispra-1 reactor

5

Some data on the JRC 3,000 scientists and researchers ȊILMUJCBECȊNPMBSARGMLȊBGPCARMP?RCQ ʀ ȊILMUJCBECȊK?L?ECKCLRȊBGPCARMP?RCQ ʀ 5 countries: Italy (Ispra), Belgium, Germany, Spain and The Netherlands. Across Europe, the JRC has built up successful partnerships with a large number of public and private organisations under the EU Research ʀ ʀ

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Visiting the ESSOR reactor

$P?KCUMPIČŠ.PMEP?KKCQ ČŠRFCČŠJ?RCQRČŠ@CGLEČŠ&MPGXMLČŠ ČŠ2MECRFCPČŠRFCWČŠUMPIČŠGLČŠ?ČŠUGBCČŠP?LECČŠMDČŠ areas including health, food and food security, @GMRCAFLMJMEW ČŠ%CLCRGA?JJWČŠ+MBGČ?CBČŠ-PE?LGQKQ ČŠ the environment, sustainable water management, climate change, air quality, metereological research, ozone and ultra violet light radiation data, oceanography, maritime surveillance, crisis management, models of adaptation to change, seismic safety and civil protection, nuclear research, evaluation of ageing materials, radioactive environmental monitoring, renewable energy, photovoltaics, biomass and nanomaterials. 2FCČŠ(0! QČŠUMPIČŠGQČŠMPE?LGQCBČŠ?PMSLBČŠ ČŠ@PM?BČŠ research areas that serve the European Union’s political priorities: Ę€ Energy and transport Ę€ #AMLMKW ČŠČ?L?LACČŠ?LBČŠK?PICRQ

JRC-Ispra D&WM Programme Joint Research Centre, Ispra Site

to guaranteeing environmental sustainability, energy provision, health and consumer protection as well as sustainable mobility.

JRC-Ispra D&WM Programme Joint Research Centre, Ispra Site

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#BSA?RGML ȩQIGJJQȩ?LBȩCKNJMWKCLR Food, nutrition and health Environment, resource scarcity, climate change and sustainability People, governance of multicultural and LCRUMPICBȩQMAGCRGCQ Civil security Migration and territorial development

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The ESSOR reactor, external view

Data and digital transformations Innovation systems and processes 1AGCLRGȏAȩILMUJCBECȩNJ?WQȩ?ȩAPSAG?JȩPMJCȩGLȩ addressing global challenges such as climate change, an ageing population, economic crises and migration. The JRC acts as a science NPMTGBCPȩ?LBȩILMUJCBECȩ@PMICP ȩ'RȩCLQSPCQȩRF?Rȩ NMJGAW K?ICPQȩF?TCȩRFCȩ@CQRȩ?T?GJ?@JCȩCTGBCLACȩ UFCLȩR?IGLEȩGKNMPR?LRȩBCAGQGMLQȩRF?RȩF?TCȩ?Lȩ impact on daily life. JRC research contributes to jobs and economic growth, a healthy and safe environment, secure energy supplies, sustainable mobility, consumer protection and safety and nuclear safeguards, to name but a few areas. 2FCȩ(0!ȩ?JQMȩNJ?WQȩ?ȩICWȩPMJCȩGLȩRFCȩBCTCJMNKCLRȩ of standards that stimulate innovation and competitiveness in Europe. The aim is to use QAGCLRGȏAȩILMUJCBECȩRMȩBCTCJMNȩQMJSRGMLQȩRF?Rȩ?PCȩ CȎCARGTC ȩCȑAGCLR ȩCOSGR?@JCȩ?LBȩQSQR?GL?@JC

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JRC-Ispra D&WM Programme Joint Research Centre, Ispra Site

JRC Visitors’ Centre

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JRC-Ispra D&WM Programme Joint Research Centre, Ispra Site

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Directorate G - Nuclear Safety and Security Directorate G is one of the six JRC directorates GLTMJTCBȩGLȩQAGCLRGȏAȩPCQC?PAF ȩ"GPCARMP?RCȩ% Qȩ mission is the implementation of the EURATOM Research and Training Programme and the maintenance and dissemination of nuclear competences in Europe, to serve both “nuclear” and “non-nuclear” Member States. Strong cooperation and complementarity with their L?RGML?JȩMPE?LGQ?RGMLQȩ?PCȩMDȩICWȩPCJCT?LAC

Directorate G performs activities which are complementary to those of the national research organisations and collaborates with RFCKȩGLRCLQGTCJWȩ?LBȩQNCAGȏA?JJW ȩ"GPCARMP?RCȩ%ȩ supports European Commission policies, supplying RCAFLGA?Jȩ?LBȩQAGCLRGȏAȩQSNNMPRȩGLȩRFCȩȏCJBȩMDȩ nuclear safety and security independent of political and economic interests. Directorate G is ?JQMȩ?ȩAPSAG?JȩN?PRLCPȩGLȩGLRCPL?RGML?JȩLCRUMPIQȩ and collaborates with university organisations and international research institutes. It supplies RFCȩQAGCLRGȏAȩ@?QCQȩDMPȩRFCȩNPMRCARGMLȩMDȩ #SPMNC?LȩAGRGXCLQȩ?E?GLQRȩRFCȩPGQIQȩ?QQMAG?RCBȩ with the handling and management of highly radioactive materials. Directorate G’s role within the EURATOM programme implies the continuous development and acquisition of fundamental ?LBȩ?NNJGCBȩILMUJCBEC ȩ2FGQȩGQȩLCACQQ?PWȩ@MRFȩ to ensure that the production of nuclear energy is sustainable and controlled, with the highest possible level of reliability, safety and security, and to evaluate the safety margins of innovative

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systems for the production of energy with low carbon emissions. The Directorate research programmes are distributed over the four JRC sites located in Germany (Karlsruhe), Belgium (Geel), The Netherlands (Petten) and Italy (Ispra). The activities are performed in collaboration with the Member States and the most important international organisations. Today Directorate G is one of the JC?BGLEȩGLQRGRSRGMLQȩGLȩRFCȩȏCJBȩMDȩLSAJC?PȩPCQC?PAFȩ and technology and the main provider of nuclear data for measurements and analyses. Directorate G contributes to the protection of citizens through studies concerning the safety of the nuclear fuel cycle. This includes the evaluation of methods to optimise the use of fuel in the production of energy, the storage and disposal of high-activity radioactive waste, deactivation ?ARGTGRGCQ ȩRFCȩQ?DCES?PBGLEȩMDȩȏQQGJCȩK?RCPG?Jȩ?LBȩ the development of chemical nuclear technologies UFGAFȩA?Lȩ@Cȩ?NNJGCBȩRMȩRFCȩȏEFRȩ?E?GLQRȩRFCȩ GJJCE?JȩRP?ȑAIGLEȩMDȩLSAJC?PȩK?RCPG?J

Directorate G contributes at international level to research into the safety of advanced nuclear energy systems whose exploitation has the potential to guarantee a sustainable and costcompetitive supply, while respecting stringent requirements on the prevention and control of accident conditions, minimisation of masses and half-life of waste and resistance to nuclear proliferation. These requirements are a necessary

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condition if nuclear energy is to be accepted by public opinion. Nuclear safeguards represent an important aspect of the Directorate’s research. Mentioned in the EURATOM treaty, safeguards has been an essential part of European Union policy since its beginning. The technologies developed by the JRC in this area support the EU and the International Atomic Energy Agency (IAEA) to guarantee that nuclear material is used for peaceful purposes. The various basic competences also include the development of analysis techniques and data collection for radioactive contamination monitoring and environmental information systems. Directorate G also contributes to the study of new technological and medical applications of radioactive substances. In RFGQČŠQNCAGČ?AČŠČ?CJBČŠRFCČŠ(0!ČŠF?QČŠBCTCJMNCBČŠLCUČŠ QCN?P?RGMLČŠRCAFLGOSCQČŠRMČŠGQMJ?RCČŠQNCAGČ?AČŠ radioactive elements to be used in the treatment of cancer. Last but not least, training and education in nuclear safety and safeguards are all GLRCEP?JČŠAMKNMLCLRQČŠMDČŠRFCČŠ(0!ČŠUMPIČŠNPMEP?KKC

The aim of these activities is to promote the maintenance and development of the competences

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?LBȊILMUJCBECȊLCACQQ?PWȊRMȊICCNȊLSAJC?PȊK?RCPG?JQȊ and processes safe for coming generations. "GPCARMP?RCȊ%ȊCKNJMWQȊ?PMSLBȊ ȊQR?ȎȊBP?ULȊ from throughout the EU, and its budget comes from the EU’s research budget. Further income is generated through the JRC’s participation in GLBGPCARȊ?ARGMLQ Ȋ?BBGRGML?JȊUMPIȊDMPȊ!MKKGQQGMLȊ QCPTGACQȊ?LBȊAMLRP?ARȊUMPIȊDMPȊRFGPBȊN?PRGCQ ȊQSAFȊ as regional authorities and industry.

JRC-Ispra D&WM Programme Joint Research Centre, Ispra Site

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The Nuclear Decommissioning and Waste Management Programme at JRC Ispra The European Commission is committed to protect citizens and the environment from radiological hazards associated with its activities. To this end in 1999, following a Communication to the European Parliament and the Council of the EU, a Decommissioning & Waste Management (D&WM) Programme was started for all its nuclear sites, including JRC-Ispra. The JRC is supported by a group of highly competent nuclear experts, independent from commercial interests, to assure the highest level of safety and respect of the environmental standards.

Nuclear liabilities at the JRC-Ispra The Ispra site Decommissioning & Waste Management (D&WM) Programme includes the management of radioactive waste and nuclear materials from past research activities (so-called “IJTUPSJDBM MJBCJMJUJFT”) as well as the decommissioning of operational nuclear installations and the waste management infrastructure (so-called “future liabilities”).

Implementation of the JRC D&WM Programme at Ispra The implementation of the D&WM Programme is under the sole responsibility of the JRC, as stated by the EURATOM Treaty, and must comply with the national legislation. Most of the activities are carried out by specialised contractors with internationally recognised CVNCPRGQCȩGLȩRFCȩȏCJB ȩ2FCȩFGEFCQRȩCVGQRGLEȩ technological standards are applied.

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AAMPBGLEȩRMȩ?LȩGLRCPL?RGML?JȩBCȏLGRGML ȩRFCȩ “HSFFO ҨFME” is a condition reached after the decommissioning process where buildings and land are released free of any radiological constraint.

Nuclear installations in Ispra

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All shut-down installations on the Ispra site ?PCȩICNRȩGLȩ?ȩQR?RCȩMDȩQ?DCȩAMLQCPT?RGML

Their characterisation has been almost completed and they will be decommissioned up to the “HSFFO ҨFME”. After the release of the radiochemical J?@MP?RMPWȩ 0!&* ȩ?LBȩRFCȩBGQK?LRJGLEȩMDȩRFC Fuel Assembly and Release Oven (FARO) facility,

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ESSOR Reactor: top view

the Nuclear Decommissioning Unit plans to proceed with the decommissioning of the hot laboratory (LCSR), the old Liquid #ȒSCLRQȩ2PC?RKCLRȩ1R?RGMLȩ 1200* ȩ?LBȩȏL?JJWȩ the ESSOR reactor. Other minor installations included in the D&WM Programme are the ECO building and the Cyclotron laboratory. The decommissioning and dismantling of the Ispra-1 reactor will be the responsibility of the Italian Government, according to an agreement with the European Commission.

storage, transportation and disposal of radioactive waste from a nuclear installation. The JRC-Ispra waste management policy is based on three main pillars: 1. minimise the amount of radioactive materials by recycling them within the industry; 2. maximise the quantity of radioactive waste that can be removed from regulatory control; 3. reduce the volume of remaining radioactive waste for temporary storage on the Ispra site, waiting for transfer to the Italian national repository.

Temporary storage of radioactive waste Radioactive waste management Waste management covers all technical and administrative activities involved in the handling, sorting, characterisation, treatment, conditioning,

An Interim Storage Facility (ISF) was built in 2013 for the temporary storage of low and intermediate level conditioned radioactive waste. To this end a grouting station to immobilise solid waste will be built.

JRC-Ispra D&WM Programme Joint Research Centre, Ispra Site

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2FCȩ'1$ȩGQȩ?ȩICWȩ?QQCRȩDMPȩRFCȩ"CAMKKGQQGMLGLEȩ and Waste Management Programme and will boost its completion. It will only host JRC-Ispra waste, coming either from past research activities or produced from the decommissioning and dismantling activities. In order to store waste properly, ad hoc containers F?TCȩ@CCLȩBCQGELCB ȩ2FCWȩUGJJȩ@CȩQR?AICBȩGLȩJ?WCPQȩ SNȩRMȩȏTCȩFGEFȩGLȩDMSPȩQRMP?ECȩAMKN?PRKCLRQ ȩ 2FCȩ?QQMAG?RCBȩȏL?JȩU?QRCȩN?AI?ECQȩF?TCȩ@CCLȩ OS?JGȏCBȩGLȩAMKNJG?LACȩUGRFȩ'R?JG?Lȩ3,'ȩ1R?LB?PBQ ȩ JRC-Ispra radioactive waste will be transferred to the future Italian national repository at the end of the programme.

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The JRC in Ispra in the Seventies

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