Shuffle Catalog #5

Shuffle Project #5 week 12th to 18th May 2014

Guest Artist: Valerio Veneruso with participation of 4bid

4bid participants and workshop leaders: Giacomo Cardoni Paolo Paggi Masako Matsushita Documentation: Irina Baldini

Concept Shuffle project provides a ground for the development of ideas from various fields (Visual Arts, Performing Arts, Literature, Music, Photography, Film or Hybrid) during a week long project based in the Gallery c/o the OT301. Each participant is invited to run one day of the week’s workshop and take part in the sessions hosted by the others during the week.

day #1: Giacomo Cardoni Title of the workshop: -- The trip of Golem, through Merkavah, looking for Silk -Brief description of the workshop -- imagine to be on a chariot, the Shufflers start a narrative trip on the old road of the Silk, the same one he the ancient Romans went through looking for it.

This is just the context to enter the mood of this activity, where the participants are asked to draw and tell something about themselves (by leaving drawings and symbols of expression through a tablet and a projection to the wall) under 10 instruction guidelines. The narrative accompanies the work until the end, setting the process in different context and cultures. Schemes of body-feeling connections are shared and used to build up an "alternative Golem", a new creature with the characteristics of each person. It is an experiment derived by mixing different cultures and ideas, but aims to deduce small revelations for oneself. The workshop is thought to be the first of the Shuffle week, to create a good base for the group and a relationship between he individuals. Stories and tails told during the afternoon are taken from jewish alchemist culture, Ayurvedic indian culture, chinese medicine, Euro-german philosophy and therapist, latin roman culture, contemporary poetry and narrative -Giacomo The workshop took shape from a personal research of many things I encountered, so I tried to glue things together and see if it were possible to gather them all. I take all I have and I try to make sense of it all to find inspiration. I like the idea of adventure, that which makes me discover alien worlds. The music I chose to accompany the workshop is the soundtrack of a video game. I had control of nothing of which happened today. It was a collection of tasters of researches that I carry on, but nothing is studied in depth, I am not in control of all the information.

info workshop: start 15.15hrs, duration 4hrs setup 2 benches per side on two sides of a table; 2 people facing two people; simulation of a caravan, travelling from Rome through to the Silk way all participants are given a travel diary where to record all the phases of the journey, giving the idea of the voyage in motion whilst creating a relationship between the travellers who share the means of transport; a blank sheet of paper projected on the gallery wall, a laptop computer from where to draw.

Step 1: Self Portrait Participants: Masako, the first word that I thought of was 'saliva'; Paolo, I am Paolo Paggi; Valerio; Giacomo, I want to take you through a journey, it's new to me but I hope it also makes you have fun together.

"unconditional Baricco)

solitude"

(quoted

from

an

excerpt

by

Alessandro

Step 2: find the "other" of the self you drew Paolo: this is my other, the side of me that hates the presence of everybody else, that defends me at the same time, and doesn't allow just anybody to enter my world.

Valerio: it is happening recently that when I see an animal, especial an insect, I cannot stop myself from thinking what might this being have been in a past life. I start to think of reincarnation. But i feel like a dog. It's a contemplative animal, they think a lot I think.

Masako: Symbols, glasses because of my relationship with reading, a strange one. The moustache, masculine side of me which sometimes is very present. The cat, femininity, the knife for killing. My being, or my other is there, and has this aspect. The snake.

Giacomo: my Other looks very much like my mother. There is something beautiful that I have to defend, and that often is in danger. When i was a scout I chose myself a name of a spirit from the indian tribe, those who guides the others when they are looking for their talents on the way to growth. So I feel a little related to a cut that changes shape and needs to hide in all various ways.

The caravan has moved, we are now in Syria.

The divine caravan, dragged by 4 angels, with wings that point different directions, one of them covers the face, which changes and has different representations.

Inspired by where we are, we keep on drawing the creature from the following words: intellect, understanding, what will I take with me on the journey.

Step 3: Paolo, un filo a piombo.

Valerio, I miss something, and on this caravan I feel the lack of something concrete, some direction or aim. I thought of the adjective Solid, a geometric solid, or a crystal. A symbol for precision and solidity that has the capacity of reflecting too.

Masako, I need something blurred, a blurred line with which to draw, or a finer line. We know that it's there but I don't need to make an effort to feel it.

Giacomo, it's a hand, i feel her presence from the outside and comes to me in help, strength, courage.

Step 4: Think of wisdom.

Paolo, I leave the things that constantly hurt me. Those things which someone or simply myself inflicts ton me. I carroty he weight, so i leave the weight of those things which slow me down towards the goal. I must leave those. Not all, because some are good weight to carry, but others I must let go of.

Valerio, it's the memory and the coming back to places and thoughts of situations I leaved in the past. Cyclic events, related to time?

Masako, a lot of questions.

Giacomo, it's the same hand as before. A hand that represents

something I want to leave, recognising inside me that I am able to leave things behind without having to use arms, feeling the conflict with time, usage time better.

Step 5: Think of a secret. You can confess it through the drawing, or by talking about it. You can share it, though don't have to.

Paolo, my secret is that i am afraid that all I am building will have a leak, that water will spill out, that all i am investing in within the choices i take every day in my life, where I build the environment, the perfect environment, will not work. There is a hole, in some moments. In other moments there isn't. The choices are the holes, I don't know where I am going and if it is going to work out.

Valerio, not going to say Masako, nothing to say Giacomo, something that potentially lives inside a very small thing. A small flame.

Step 6: A magic object, could be an engine that beats or activates something. The keyword for this is Lovely.

Paolo Valerio Masako, wavelengths, almost invisible thin lines Giacomo, the heart. Partly, the part that is missing and that can re-generate itself when necessary. Something that is inside, but comes out of a tube and will grow something around it.

Step 7: cohesion and immunity, the sensation that it gives when you touch the abstract object.

Paolo, the memories are many gazes, friends, love stories, sand looks, and also the gazes of people who are not there, people who went away. In my memory the eye represents my memories related to the sot emotional things of my life. The look, of a deep eye, a shimmering but almost about to turn off. Vivid eye.

Valerio, the scribble. The memory of an individual potential energy of everyone. The energy I might have had when I was a bit younger. I like to keep that memory.

Masako, the memory of a jump. The jump, as an action both spiritual and physical.

Giacomo, an elephant, a big elephant, in blue. It's toy that I was given as a present when I was born. The elephant was always with me until i was 19 years old. I didn't need him, but I liked the fact that I was with me. It still is enough for me to feel beatitude. I discovered it ha hair under his hat. I couldn't believe it. The memory of how I used to be when I was little. It's name is Elefantone. I like the fact that it's in a box somewhere in the house of my parents. It's re-discovery makes me appreciate colour blue and serenity, peace. A nice memory which I hold onto tight.

Step 8: The key word is Dream, it could also not exist. A dream you want to keep on carrying with you. Think of Movement.

Paolo, I dream about modifying our bodies with super powers, with wings, tails, ears, horns. Immortality and invulnerability.

Valerio, i dream about things being clear and in harmony, final wellbeing. I think of the smiley face. By chance the circle turned

out to be yellow. It's ok.

Masako, a white sheet. Clarity, definition. It's already a form.

Giacomo, the dream of being de composed in many fragments, and wondering what it is that is between all the pieces of this me. A fluid substance, I need to feel this which allows to to re-compose pieces together still remaining human (not in the shape but in the essence).

Step 9: A Concrete Future Paolo, a future that is positive, improving the quality of what I live every day.

Valerio, a certain responsibility, if I think of the daughter of my sister, just born. A rabbit. The second time I came to Amsterdam I encountered this rabbit toy and gave it to my niece.

It's a positive concrete future for those who still have to build it. Her. Masako, it's the scene of a theatre piece. The dogs are those pink dogs that you get sold on the beach, that walk by themselves with battery, that never shut up. Then there are bodies as well. And the dogs go bumping against the bodies.

Giacomo, it's a happy seed. I would really like to have happiness and serenity.

Step 10: Last step, after green and perfumed lands. We have come to the extremity. "Under the sky there is a total chaos. The situation is excellent." (Quote) Tell through an image what the journey has been. Something related to the travels, the roots, where we have come from.

Paolo, you know here you are coming from but actually you never know your past. The past is somehow always unknown, ambiguous and mysterious. I'm more projected towards where I am going, and as I am going forwards I also discover what I have been through.

Valerio, I feel apolid. I moved from my roots, where I was born and raised. So I stopped to have strong friendships and relationships in the place I was born, not feeling that I should or would go back. I know I have no country, at this is not stabilising. I am aware that we live in a mental state, the only anchored thing in us is the brain that lets us perceive and live experiences. We continue on voyaging in other ways, with the brain, a means of travelling even though you might stay where you are. Energy.

Masako, I think I come from the black hole, but as a space of transition. A passage through it. Black in not necessarily obscure. I don't feel like explaining much.

Giacomo, a giant, using all he strength and fatigue. Now he sees things much smaller, now he can lift anything, he always did it with the head bent down. Now it's enough.

Conclusion: The creation of a being where past, future and present.

---img to be added--4 images, 1 x person + one collective image that regroups them all.

It might arise questions to work on things about ourselves.

Hoping for a surprise.

Feedback: It was nice to see how the time has passed..the 4 hours - Valerio There were a lot of symbols and links with thoughts. I imagine that something was moved in the group. I wonder if a constant sound rather then the tracks chosen would have accompanied us through a journey even more in depth and in different states.

-MasakoIt was almost as being read the tarots by someone. It's an introspection to see where are we at. An instrument to go into what goes through our minds. It would have been interesting to have more details about the pitstops in the journey on the caravan. Could have been a map -PaoloI suggest you read "In me and inside me". It's a book that becomes an instrument to create a map of yourself. I hope we had a nice journey and our souls have met -Giacomo-

Conclusion by the artist: I was satisfied with how it went. The feedback was great, but I'm curios to know if it will trigger further thoughts and become art.

I saw a lot of potential for development of a project starting from here, making one's own Golem creature. The structure of the process is still rough, but there have been great results.

Here a gif website created by Giacomo after the workshop: http://www.golemwork.altervista.org/gif.html

day #2: Paolo Paggi Title of the workshop: --An attempt to find another way to be a critic-Brief description of the workshop: --The workshop is divided in 3 phases: the 1st, didactic, tries to give an introduction to art critique, from the past till today.

The second, more practical, consists in an exploration of local art galleries during the monthly event West-Wednesdays in Amsterdam. Each participant has as a goal to find or choose at leas t one work of art, with a maximum of three, which would attract their interest and their attention. In the third phase the participants are asked to choose one of the selected works of art, and try to make an “alternative critique” to it, trying to give a reading of the work without using word to explain, but means such as video, collage, performance, etc. Through the critiques, which are presented, discussed and analysed, the objective of the workshop is to experiment alternative possibilities to verbal or written modes, to give a reading of the work to a public.

Paolo Bio: Paolo research is based on the creation of critical spaces, where the collision of field and ideas allows for a constant discussion around culture.

He graduated in 2009 in Visual Art at the Academy of Fine Art in Carrara, Italy. In the same year he lived in Lisbon and got close to the curatorial practice linked to glocal thinking, thanks to some curators like Carlos Alcobia and Lucia Marquez and also thanks to a project with Priscilla Carbone and C.e.m. of Lisbon.

In 2011 he participated as young curator to the project SACS Milano and the residency project for curators by Dena Foundation for Contemporary Art in Paris. In the same period he worked with the association FARE in Milan and with Fart Gallery of Turin.

In 2012 he gained a post-graduate degree at Academy of fine art of Brera in Communication and Organization of Contemporary Art, whilst he was creator and curator of the international residency project “Mitologie Urbane” in the space of Fondazione Centro Arti Visive Pescheria of Pesaro.

From the end of 2012 to 2013 he worked on several performances and installations in various countries in Europe with the artist Giacomo Cardoni around the concept of “relationship”. He is now part of a group in charge of the gallery space in the OT301 with three other creatives. info workshop: start 17.00hrs, duration 6hrs The workshop introduces the participants to notions on Art Criticism. It includes gallery visits during the monthly event "West Wednesdays" in West Amsterdam, challenging the ways in which to be critical -without use descriptive wording, no classical methods or approaches-. The group is asked to find information on site and later through web research about chosen works seen in the galleries and express the critique on the works presenting it

without using words (only other artistic mediums) in a 10 min critique of 1 chosen work.

I will invite you to become art critiques, but in an alternative and a bit awkward way.

What is Art Critique: from Wikipedia Art critics usually criticize art in the context of aesthetics or the theory of beauty.A goal of art criticism is the pursuit of a rational basis for art appreciation but it is questionable whether such criticism can transcend prevailing socio-political circumstances.

The variety of artistic movements has resulted in a division of art criticism into different disciplines which may each use different criteria for their judgements.The most common division in the field of criticism is between historical criticism and evaluation, a form of art history, and contemporary criticism of work by living artists.

Despite perceptions that art criticism is a much lower risk activity than making art, opinions of current art are always liable to drastic corrections with the passage of time. Critics of the past are often ridiculed for either favoring artists now derided (like the academic painters of the late 19th century) or dismissing artists now venerated (like the early work of the Impressionists).Some art movements themselves were named disparagingly by critics, with the name later adopted as a sort of badge of honour by the artists of the style (e.g., Impressionism, Cubism), with the original negative meaning forgotten.

Artists have often had an uneasy relationship with their critics.

Artists usually need positive opinions from critics for their work to be viewed and purchased; unfortunately for the artists, only later generations may understand it.

The workshop proposes a journey through the history of Art Critique. To begin with: a series of examples accompanied by images to guide the participants through history to approach the world of Art Critique.

Critique is inserted inside written texts, poems and also works of art. It is not a science, nor a philosophy. Critics take into account the rational context. From Modernism onwards the concept of purity starts to take away from the form and addresses majorly the content of a work of Art. Contextualizing Historiography VS Contemporary critique to then go out in the west part of the city and choose works to comment in an alternative manner (video collage, sound, quotations, a performance?)

Is it possible to tell a work of art with other mediums? can it be read as a constructive critique and not a negative, or "making fun of".

Looking for another non-conventional way to tell that the work is interesting or has value.

It has to be functional and comprehensible by the public. (Quote Isabella Falbo, italian performative-critique) After the gallery tour the Shufflers come back to 4bid gallery space and work on the chosen work of art, researching, brainstorming, in order to present to the others their critical

response to the work.

Valerio's critique to the work by ---to add--- at Janine Hofland Gallery medium: video and sound Giacomo's comment: it seems a critique on the critique itself. He took a book by a critic, dismounted it with taste, the colours were referring to the original work. The work becoming video and in Valerio's work a book becoming video.

My interpretation would be that Valerio wanted to research something small to explain something bigger.

Masako's comment: a clear un-definition, falling down towards the ground, a de-composition. An interpretation might be a regularity of de-composition, melting.

Paolo's comment: there is a critique both to the work which is reproduced with ease (3D printed) but also easy money.

Vaerio's comment: people are trying to interpret the work rather than the work as critique. I agree with some of the observations, and others I did not even think of. This piece made me reflect on the theft by Benjamin, a reflection on modern technologies which was strongly shown in the two works I saw in the gallery (video and 3D element installation). Automatically the theme of advancing of technology and accessibility of this to the artist, carries an economic discourse. A dog biting its tail: to be able to do certain things there are instruments required. To access the instrument money is necessary. Dynamics which are related to economics of contemporary art are strongly present (relationship/dependence on funding institutions). A translation of a de-composed text. Then the aesthetic elements (colours), the ladder/staircase going forth and back with the technical mediums (as a symbol) were also fun to consider.

Giacomo's critique to the work by --- at C&H art space Valerio's comment: I see Giacomo comments on the aesthetic and an aspect related to the vanity of a work of art. He found the link to the work he was looking for in the internet leading to another work. It's a comment on the superfluous information given by the internet. The work looses importance and the attention is purely drawn to the artist's vanity. Useless websites.

Masako's comment: I feel the critique is moving away from the work, and moved towards criticising the artists rather. Also the movement of the two screens was pointless to understand the context of the space.

Paolo's comment: I was confused and taken away from the work itself. But I feel a remark on the uselessness of the work.

Giacomo's comment: I was surprised by the work, by its simplicity and uselessness, but curious about the artists process. So I needed to find an explanation to what I saw. I felt nothing, then all of my interpretations came into conflict with the work. My installation consist in a generator of useless websites confronted with a work by the artist. Useless..when I like to be useful, and used, to transmit something to the people. I felt so far from the work that I need show the distance I hat to take from it.

Masako's critique to the work by --- at ---gallery Giacomomo's comment: I propose we do a one day event with videos from youtube and sound with this same critical approach. The videos Masako proposed us suggested me the words, game stereotype, kitch, cultural differences, simplicity, looking for meeting

points despite an imminent collision. In Masako's critique I see the original work, and I see the artist using the game to present something serious.

Valerio's comment: some elements were prominent: the box as a gift box, the box as a game box, the box as a present but by whom? to who? the village where the original work was filmed? Or the exchange of money, the gift of the funding institution to the artist. The chicken, that has nothing to do with the rest, makes me think that all the videos together make the composition chaotic. I can't quite comprehend a critique through this collage.

Did you (Masako) like the work you chose?

Paolo's comment: I see a paraphrase of the artist's video, amateur style and banal in a ludic way. The critique is functional as it makes me think further of the places the video is showing (Suriname, a Dutch colony), and also a bit trash in points that I cannot explain even though they make me curious and make me question. However trash, I feel a positive comment to the original video.

Masako's comment: the gift (to a country), the game (mixing easy things together), the laugh (a reference to the work being easily comical). I overlapped everything to also give a sense of union, which I think was the attempt of the artist.

Feedback: How did you find this experiment?

A huge challenge. It had a crescendo for me, with a climax at the end. I wasn't so awake in the first part, it felt like being in school. I think I touched the aspect of Critique which generally does not touch me much. It would be interesting to do it on our own works -Masako-.

I found a resistance which I was not comfortable with, the speed of production of though especially. I would have wanted to make something better, with more time. But I liked the challenge the fun of it and its constructive functionality. A chance to find meeting points between artists in other contexts perhaps -Giacomo-.

The workshop was well structured and very didactic, not so practical. I liked the best the pressure and tension of having to produce. The attempt was interesting and appreciated (translating critique in other ways) but I was disappointed that it is almost impossible. Now we are talking about it -Valerio-.

Paolo started the workshop assuming it would be a failure, but the results were more positive than what he expected. I saw some potential.

day #3 part 1: Valerio Veneruso Title of the workshop: --L'occhio tagliato / The cut eye-Bio Valerio: --I’m used to work with different medias, from the performance, to the installations, passing through video and drawings; I believe is very important to create a kind of empathy with the spectator so as to cause cathartic effects, because just the catharsis can help us to destroy the Maya’s veil, making us perceive the true nature of things. My projects are inclined to develop themselves over time to reflect, not only on the transience of the things, but also on the fleeting nature of life.

My attempt is to incorporate art into life (and vice versa) in order to merge these two elements into a single, indivisible process… because, for a creative mind, art and life are the same thing.

I think the power of art is basically to be able to create a common experience, that is, to represent a time of reflection and sharing between artist and spectator, use art to reveal themselves, to document and share experiences both private and collective, create other spaces to trigger cathartic mechanisms, dig inside the observer to involve him personally.In a single concept: to clear boundaries between art and life. info workshop: start 13.00hrs, duration 6hrs Through a introductory lecture Valerio presents some attempts to work on the image -pre-cinema-, the cinematographic image, since the early 1800, through a journey in the history of photography.

How some were interested in blocking the photographic image and manipulating it towards the creation of moving image, to use it for propaganda, spreading it through the masses.

He shows of excerpts from videos, Dada/Surrealism.

-I balletti Svedesi, Francis Picabia, 1924; -Inflation, Hans Richter, 1927; Un Chien Andalou, Luis Buñuel and Salvador Dalí, 1929 which play with surprise and contrast, with elements of the film which are inserted in ways that suggest illusion and paradox.

Question by Paolo: what was happening commercially in the Valerio answers: already Hollywood was starting to take this meant that many other film makers started to commercial, aiming to a total different view in regards the target for this type of cinema, who consumes what.

30's? power and be antito who is

-The man with the movie camera , Dziga Vertov, 1929; really works on editing, talking about the importance of the film maker, the concept of filming and being filmed, with all the russian parameters of film making of the time.

-October, 1927; a "cine-fist" as Valerio defines it, the phatos given by the choice of the scenes, the order in which the audience receives the drama suggested by the film. Utopistic -Olympia, Leni Riefenstahl, 1936; looking at the classical ideal, looking to the past, making one reflect on propaganda/promotion of Germany through the ideal of men and not so much on the actual topic, the Olympics.

Jumping of about 30 years, Valerio talks about the aesthetic of Voyerism, the will to show and show ourselves avowing Screen tests, 1964-1966 (Andy Warhol, Experimental films, ) considering also the uselessness of filming to a certain extent. Filming "unnecessary" things, un-touching, even not editing the film at all, confronting the artist with the matter of time (using technology and computer for fast production).

Valerio introduces the aesthetics of Lo-Fi, in which elements such as error and mistake are all part of the work, and that of Cut-up, in fact consisting in cutting a text in several parts, and inverting the order of events by creating displacement in the story told either in cinema or text. The concept can be traced to at least the Dadaists of the 1920s, but was popularized in the late 1950s and early 1960s by writer William S. Burroughs.

-The Cut Ups, 1966 reminds Paolo of the effect Culaciov, Masako of Fargion/Burrows choreographies.

-Stan Brakhage's Thot fal'n, 1978. The process of forgetfulness is shown in the film, the imagination is represented not as a loss but as a transformation, of association of thoughts. Images are the emblem, not the symbol. The actors are in the process of moving away from thought.

-The Act of Seeing With Ones Own Eyes, sill by Stan Brakhage, shows 31 minutes of an autopsy. The group is shown only the first two minutes, and the group finds relations with voyeurism.

- DIMI Ballet with Erkki Kurenniemi, Finnish designer, philosopher and artist, best known for his electronic music compositions and the electronic instruments he has designed, shows a dance composing the music for itself, through his machine.

-Trash Humpers by Harmony Korine and other short clips are mentioned and shown to create a transition between film and video clip for sound.

-The Future Sound of London, a British duo who started with electronic music, ambient, and carried on a series of different projects through the use of new technologies.

Relationship between Music and moving image: From there the participants are introduced to the concept of VJing, to live 3D audio visual effects, to Chris Cunningham and to music clips and electronic sound by Andy Jenkinson, Team Doyobi with psychedelic, colourful and experimental acid music videos until touching the aesthetic of the internet (from lo-fi to well curated videos) moving step by step alongside the development of new technologies.

It seem that the trend is now to produce techniques for film making that sit somewhere in between naive and low quality, to realise works that are actually of a very high standard.

L'immaginario collettivo nella rivoluzione culturale dei social

network: meme, gif, video virtuali, youtube, Facebook, tumblr.

day #3 part 2: Valerio shows the participants some of his work: a video called Teleroi, where he worked with interest around television, starting to record material on VHS and on the screen of the TV with a camera, and assembling the footage another that focuses on pixel, called Hidden Pixel which is interesting as the amount of work in post production is minimal as most of the work is done whilst filming, in real time, by manipulating the settings of the TV and/or the camera.

He focuses on GLITCH (a short-lived fault in a system, often a transient fault that corrects itself, and is therefore difficult to troubleshoot) and generates videos through a series of softwares by using this faulty footage.

Some of the websites and blogs that illustrate glitch are mentioned, such as glitchgifs.tumblr.com; uglitch.com.

There are several ways in which to operate when dealing with Glitching. Valerio uses programs such as ScreenFlow, Modul8, Drift and simple applications as VLC. He uses alternative programs obtaining very similar effects to those of animation programs, but in an almost anagogic process of manipulation of the image.

Valerio presents several practical aspects of the programs he uses to work, introducing the participants to a number of possibilities to play with and generate interesting moving images and capture them to manipulate as pleased.

day #4: Masako Matsushita Title of the workshop: --Assist/Endure-Masa Bio: --Masako Matsushita graduated from TrinityLaban Conservatory of Music&Dance, she performs and works both individually and collaboratively with artists coming from different backgrounds. In 2009 she formed a duo Soi3 together with the artist Irina Baldini and they are constantly performing around the glob. Sha wse artist in residency at RU – Residency Unlimited (NYC), Mitologie Urbane (IT), Erkki Hirvela Atelier (FIN) and Hagart (IT). She’s presented works for many Festival like In& Off Danza inscena IT, Crash Festival UK, Neu/Now Festival NL, Armunia IT, Festival Aperto IT, Festival Ammutinamenti IT, Revnedans e Sontidsdans NOR, HangartFest IT, CivitanovaDanza 2.0 IT. She researches. info workshop: start 13.00hrs, duration 3hrs The structure is given by strict timing. There are changes of activity with sharp changes of focus. The theme of the day is Resistance.

The structure sees a series of activities alternated to one another, accompanied by chosen scores of sound an music. Each task is performed for the duration of 5 minutes: Sustaining one other person's weight, with punk music; staying still, in silence; clapping hands at the rhythm of a metronome whilst watching a workout clip on youtube; caressing one other person in pairs, listening to romantic love songs; to To finish Masako shows a clip retrieved from youtube concerning the protests in Ukraine. The clip shows raw footage from Kiev protests 2014.

Shuffle Project Open Show The Open Show which took place at 4bid gallery on the 18 th of May consisted in a participatory interactive installation.

The group, after having long discussed the format of the Open Show, defined a concept and a procedure: The visitors were invited to come to the hallway of the gallery, and to sit with a card in front of them. The card would represent “Golem�. They were asked by one of the artists to draw on the card according to his or her directions, and to give the completed task to the team behind the curtains in the gallery space, where the installation was set up. There the team of artists would then rework the image, manipulating it, pixelating it, deforming it. Only after this procedure the visitor would then be invited to enter the main space and sit on a sofa in front of a projection scree.

There there they were able to watch the result, as id it were a tarot reading, of the elaboration.

The installation touches aspects related to introspection and reinterpretation of image. What is being proposed to the visitor (by giving them the material -drawing on a card-) is processed and the result of the elaboration according to the themes of the workshops given during the week. The reading of the outcome is meant to be a provocation, in the literal deconstruction of images.

Irina Baldini (Documentation) Born in Florence, Finnish-Italian dance and movement artist, living and working across Europe. She works independently as well as collaboratively with artists of various mediums.

She has worked as a performer at various art galleries such as the Hayward Gallery, Institute of Contemporary Art, White Cube in London and lately shown work at the Southbank Centre UK, Centro Fondazione Arti Visive la Pescheria, Hangart IT, The Secret Theatre NY, C&H Art Space and OT301 NL deepening her interests though artist residencies across different countries including UK, Italy, Finland, Sweden, Spain, US and the Netherlands. She is one of the founders of 4bid gallery.

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