UNIDEE - University of Ideas
UNIDEE NOTEBOOKS 2017 | n. 1
Errasmus Mundus. The Desire of Error in Revolutionary Times module mentored by Etcetera with Franco “Bifo” Berardi
Cittadellarte Edizioni, 2018 ISBN: 978-88-98698-04-2 This booklet is part of the series of publications “UNIDEE NOTEBOOKS”. It has been realised by gathering ideas, images, impressions, thoughts and discussions from mentors, guests and participants during the modules. Curated and designed by Annalisa Zegna Under the supervision of Cecilia Guida Translations: Elena Pasquali
Cover image: NO-WORK NO-SHOP, ERRASMUS MUNDUS. Errorist interventions, Bogotá, Colombia, 2009. Credits: Archivo Etcetera.
UNIDEE - University of Ideas 2017 Weekly residential module n.1
UNIDEE NOTEBOOKS 2017 | n. 1
Errasmus Mundus. The Desire of Error in Revolutionary Times
mentors: Etcetera (Federico Zukerfeld & Loreto Garín Guzmán) guest: Franco “Bifo” Berardi participants: Edoardo Aruta Stefania Crobe Manuel Focareta Marie Henrich Peter Kærgaard Andersen Lasse Mouritzen
24 April / 28 April, 2017
Cittadellarte - Fondazione Pistoletto, Biella
MODULE OUTLINE
NO-WORK / NO-SHOP The errorist laboratory is focused on researching and experimenting the diverse uses of artistic actions and social imagination strategies regarding common problematics, through “trial and error”, with the intention of creating collective public interventions around the specific context of Cittadellarte and the city of Biella. The NO-WORK / NO-SHOP seeks to create “non-consumption” space for the development of artistic experience. It is built from a collective initiative, starting from the interests – or conflicts – that participants bring to the module, contextualizing and choosing the main errors, mistakes and failures to discuss, re-think, and eventually solve specific problems. It is developed from the exchange of knowledge and experiences, showing different anti-productive experiences as a result, such as ephemeral actions, interventions, manifestos, erratic drifts inside-outside the city, institution or machine. It is an “extra-disciplinary” experience using different languages and strategies depending on the participants’ knowledge and desires as well as the specific context of Cittadellarte and Biella, in which the intervention takes place. The module incorporates tools such as storytelling, performance, video and other techniques in order to imagine and develop together a mix, or an accumulation, of the ideas and proposals that emerge during the daily meetings. Inviting everyone involved in the experience to live a de-educational experience as result of the NO-WORK / NO-SHOP.
The module focuses on the subjects of “Revolution” and “Desire”, using them as a starting question: “What happens after the end?” During the week, the mentors show examples related to this question and other concepts close to their research, such as crisis (Of representation, economical, and of imagination); migration (Diaspora and racism); state of emergency (State of exception), and financial hell (Financial capitalism, “neo extractivism” and cognitarian precariat). In order to accompany the results of the errorist laboratory, the third day of the module Etcetera invite the Italian philosopher Franco “Bifo” Berardi to give a public lecture on the issues which appear in AND: Phenomenology of the End (2015), one of his last books.
TOPICS/ TAGS Errorism, research, art, social imagination, desire, revolution, direct action, public intervention, participation, responsibility, performance in public space, art and politics, financial capitalism.
SCHEDULE
___________________________________ APRIL 24TH #ERROR 01 morning ERRORIST BREAKFAST. Guided tour to Cittadellarte (Curated by Elena Rosina), including the Pistoletto, Arte Povera collections and temporary exhibitions. Introduction to the Theorem of Trinamics, the symbol of the Third Paradise and the concept of Demopraxy. afternoon Short introduction about the laboratory, methodology and schedule. Presentation of each participant: a short introduction about their experiences, backgrounds and desires. NO-WORK / NO-SHOP: GENEALOGY OF ERRORS. Review of the history of the Etcetera’s actions. Videos, registers and archives about direct action, agit-prop, public interventions and performances related to different communities, political contexts and spaces of conflict. Discussion about the material presented. pre dinner TO EAT, TO CREATE. Bohemian Aperitivo. Preparation of the materials, tasks for next day.
___________________________________ APRIL 25TH #ERROR 02 morning ERRORIST BREAKFAST. The group is divided into subgroups that brainstorm regarding the main topics discussed, common desires, and the possible collective actions. Why? Motivation, ideologies and context. Where? Defining those territories or contexts to intervene. How? Methodologies, languages, medium. What? Formats and structures for the action or intervention. For whom? Audience, protagonists or participants? With whom? Mediation between people, social organizations, communities and institutions. afternoon NO-WORK / NO-SHOP: TO ERR TOGETHER. This second session of the laboratory is focused on discussing those possible ideas which appear within the group, based on the concepts that emerged from the exchange between the mentor and participants. In order to put together ideas, tools and common needs for living a collective experience, this session is divided in three moments: - SOCIAL IMAGINATION Two subgroups prepare a collective investigation on the resources and elements to be used (e.g. scripts, costumes, cameras, flyers, internet, public spaces, etc.).
- COLLECTIVE PRESENTATION: The subgroups choose the way of presenting the proposals and questions that emerged in the collective discussion of each group (issues, politics, contexts and goals to be developed in a collective action). This presentation can be a classic technique (lectures, power-point) or a performative presentation, depending on the desire of the participants. - PLENARY Debate about the proposals with all participants and decision session. pre dinner TO EAT, TO CREATE. Bohemian Aperitivo. Preparation of the materials, tasks for next day.
___________________________________ APRIL 26TH #ERROR 03 morning ERRORIST BREAKFAST. To-do-list: distribution of roles and tasks for the action-intervention. NO-WORK / NO-SHOP: TO ERR TOGETHER. The two subgroups of participants together prepare and produce all the needed materials (e.g. scripts, cameras, flyers, Internet, printings, registers). Rehearsal. afternoon Lecture held by the Italian mediaactivist and theorist Franco “Bifo” Berardi. pre dinner TO EAT, TO CREATE. Bohemian Aperitivo. Preparation of the materials, tasks for next day: action-intervention.
___________________________________ APRIL 27TH
___________________________________ APRIL 28TH
#ERROR 04
#ERROR 05
morning
morning
ERRORIST BREAKFAST
ERRORIST BREAKFAST
Action-intervention’s pre-production.
The group shares and shows the documentation, pictures, videos as results of the action-intervention.
afternoon FAILURE AS PERFECTION, ERROR AS A SUCCESS. ACTION-INTERVENTION Realisation of the collective actionintervention (performance, website, declaration, manifesto, video and/or other possible experiment that emerged from the laboratory). Memory: documentation and registration of the experience using video recordings, audio, photography and writing as statement for the presentation of the results the day after during breakfast. evening RE-EVOLUTION: Party of Collective Mistakes. Each participant brings some of hisher favorite music to dance. Drinks and food to share all together.
afternoon The group shares and shows the documentation, pictures, videos as results of the action-intervention. evening Dinner.
REFERENCES
The mentors prepared a reader for the participants with key texts, some of which are discussed during the week.
Texts: - Errorist Manifesto, International Errorist, 2005. - Jennifer Flores Sternad, “The Rhythm of Capital and the Theatre of Terror: The Errorist International Errorist, Etcetera…”, in Art and Activism in the Age of Globalization, Rotterdam: Nai Publishers, 2011, pag. 214. - Gerald Raunig, “Theater Machine”, in Thousand Machines, Semiotext (E), 2010, pag. 35. - Gerald Raunig, “War Machines”, in Thousand Machines, Semiotext (E), 2010, pag. 72. - Brian Holmes, “Remember the Present: Representation of Crisis in Argentina”, in Escape the OverCode: Activist Art in the Control Society, Zagreb: WHW; Eindhoven: Van Abbemuseum, 2009, pag. 172. - Brian Holmes, “Continental Drift: From Geopolitics to Geopolitics”, in Escape the OverCode: Activist Art in the Control Society, Zagreb: WHW; Eindhoven: Van Abbemuseum, 2009, pag. 194. - Franco Bifo Berardi, “(T)error and Poetry”, in Precarious Rhapsody, 2010, pag. 124.
At the beginning, Etcetera asked the participants to introduce themselves through a representative action.
The mentors opened the module critically questioning our tendency to live each aspect of everyday life as consumers. The group Etcetera doesn’t have a method or a methodology. They base their art practice on self-education and error.
Franco ‘Bifo’ Berardi explained to us how he met Federico and Loreto in 2007, and how he has since been following the International Errorist.
Franco Bifo Berardi, “(T)error and Poetry”, in Precarious Rhapsody, 2010, pp. 123-125.
Recently, Bifo has been working on a text temporarily entitled “Trumping Truth”, where to trump means to outclass, upstage, put in the shade, eclipse, surpass, outdo, outperform, beat; and also, informally, to be a cut above, be head and shoulders above, leave standing, walk away from.
«... Nomen est omen, “in the name is the fate” (the name is a sign, the name speaks for itself, the promise is in the name) ... and what if the real mission of the famous guy is to destroy the world? »
«Is “fake news” the present problem? No, it isn’t. The problem is not the flow of fake information»
« FAKE INFORMATION MAY PRODUCE TRUE EVENTS... » Quotation from a past edition of A/traverso.
What is the relation between the information and the event? How can we articulate this relation?
How can we protect ourselves from fake news?
What is TRUTH?
What is the meaning of TRUTH? Not an object, not a property but a relation.
Truth is an obsession for the American puritan culture. It is an ambiguous source: sometimes a strenght for them, sometimes it is a weakness.
The Baroque culture is the multiplication of the truth of the reality. The perspective becomes infinite, God is everywhere..
In the Baroque culture, the regime of Truth has to be understood in the multiplication of the regime of MEDIASPHERE and INFOSPHERE, within the social dimension.
People produce fake news everywhere. Followers don’t check information, they just repost them... this is a multiplication of an acritical regime. There is a German law against fake news. But who decides? The problem is AUTHORITY, or better, ACCOUNTABILITY.
TRUTH is the relation between enunciation and the social world.
TRUTH is a MIRROR, but we are not talking about Representation, we are talking about the social dimension instead, which is much more complicated and articulated. We don’t need language for the truth, we just need the finger TO POINT AT it.
There is a history of bourgeoise culture about what is accountable, the common ground which everyone trusts. In the regime of the public discourse, TRUTH and FALSE are not distingueshed from one another. Feeling the pain of the other is only possible if people have a common sense, a common perception of reality, a common ground called SOLIDARITY, ETHIC or EMPATHY. FRIENDSHIP creates a common horizon of meaning, a shared landscape. It is at the basis of everything.
Every news is fake because each ENUNCIATION is a lie / a construction and can be multiplied. We usually think that language is to understand each other, but actually it is to multiply enunciations and levels of reality.
What we call INFORMATION is not the reality but the useful part of it. There is always a difference between what happens and what is supposed to happen. There is not true or false, but degree of information which manipulate reality. ... when INFORMATION has the force to provoke and change the perception of reality.
Today SIMULATION is the dominant regime of production. Financial capitalism is destroying and humiliating people. SEMIOCAPITALISM signs / simulation
There is a strong process of de-territorialization, acceleration and globalization. It is necessary to create a ri-territorialization: an artificial context, a simulation in which to articulate and problematise the INFOSPHERE, INFORMATION and SIGNS.
Simulation is a reference to the ORIGIN, but which origin? The origin has to do with the problem of IDENTITY. You can speak about identity only if you trust that History is the realization of Truth, in a Hegelian Theologic perspective.
More references: - Jean Baudrillard, Simulacra and Simulation, University of Michigan Press, 1994. - Mario Perniola, La societĂ dei simulacri, Mimesis Edizioni, Milano, 2011. - Gilles Deleuze, FĂŠlix Guattari, What is Philosophy?, Columbia University Press, 1996.
There is an ongoing repression of error in the society ... but ERROR is a possible way to enunciate.
ERRARE HUMANUM EST in which ‘errare’ means not having a home, wander, roam, ramble, rove, stroll.
ERRATIC DIMENSION If you look for something that does not exist, you are creating something. You have to be really conscious about your error.
The Theology of Error relates to HAPPINESS, by living the temporary precarious dimension. Besides neoliberal systems, PRECARIOUSNESS is a temporary dimension concerning beauty.
ERROR as action as behaviour as philosophy as life
ERRORISTAS Erroristas go somewhere else, look for other possibilities of life. Erroristas do wrong, they are wrong. They destabilize the power by using a symbol of propaganda and manipulating his meaning.
> (T)ERRORISTAS They have been also conceived as ‘(T)erroristas’ by mistake, because they were accused of creating a Golpe by re-enacting the leaving of the Argentinian President in 2001, during a demonstration in 2017: it was just a cardboard helicopter with the inequality symbol drawn on it, used during a demonstration. For the journalists and main newspapers this became a ‘terrorist’ action.
There is the will of POWER, to decide and establish the TRUTH.
... ... crisis of representation paranoia mise-en-scene communication fake news virtuality role of journalists in the POST-TRUTH era accountability control contemporaneity of events, facts and their information
How to trigger SOCIAL IMMAGINATION?
How to create a change or a shift?
power of symbols ... ... ...
How to switch something in the reality?
Art has always been a NEGOTIATION of meanings and signifiers.
3 kinds of ACTION: - easily predictable results; - no action’s effects; - to trig a reaction, to break the chain of power without knowing which the consequences are.
There are different STRATEGIES to de-contestualise objects and recreate critical and effective signifiers by opening new possible meanings.
* To use fake news created by Facebook, Twitter and all the social networks. * To take something from the reality and give it back differently. * To play within the INFOSPHERE and MEDIASPHERE. * To use political or cultural rethorical propaganda.
Thanks to a friend, we visited Associazione Pacefuturo Onlus, a local association which promotes peace, sharing and hospitality for asylum seekers. (Pettinengo, April 25, 2017)
We spoke with migrants about their life and culture in their native countries, and their experience in Italy. They showed us a little room full of drawings and clay sculptures realised by them.
Thinking about an action / intervention we dealt with the following questions:
Why? Motivation, ideologies and context. Where? Defining those territories or contexts where to intervene. How? Methodologies, languages, medium. What? Formats and structures for the action or intervention. For whom? Audience, protagonists or participants? With whom? Mediation between people, social organizations, communities and institutions.
We created a FAKE EXHIBITION with photos, videos, captions, quotations, artworks, communication spread through with social media and a press release. We reflected together about the SYSTEMS OF REPRESENTATION, the SOCIAL AND POLITICAL DISCOURSES and the DISPOSITIFS which are used by art institutions in order to include the Other, in this case related to the Migrant.
The participant Stefania Crobe wrote an article about the module on the Italian online magazine Il Giornale delle Fondazioni: “404 ERROR_ART (NOT) FOUND”, published on 01/06/2017 in the section ‘La parola agli artisti’. www.ilgiornaledellefondazioni.com/ content/404-errorart-not-found
On Revolution, Desire, Mediation. A short interview with Loreto Garín Guzmán and Federico Zukerfeld.
1. In 2017, UNIDEE - University of Ideas programme has proposed an interdisciplinary approach to examine three macro-themes which are central to contemporary socialpolitical debates: Revolution, Desire, Mediation. UNIDEE’s director Cecilia Guida has invited you to present a weekly educational module on these key words, with a strong interaction between critical theory in the social sphere and participatory art practices. How does your artistic practice relate to contemporary forms of protest in regards to the concept of revolution? Etcétera’s artistic practice is based on civil disobedience, in that necessary intersection between protest and art. In this sense, we conceive art from its revolutionary, corrosive and disobedient aspect. Etcétera began its artistic and collective practice in 1997, together with H.I.J.O.S, a human rights organization constituted by sons and daughters of the disappeared, survivors and exiles of the last Argentine military dictatorship (1976), a group that seeks social justice and the memory of state crimes. In the late nineties, H.I.J.O.S started a new type of organized protest, creating the socalled ESCRACHES, which organized forms of social condemnation of those responsible for torture, death and disappearance and who had found impunity in freedom. At the very beginning of those political practices, we contributed to these processes of social imagination, which have then developed into the big representation and economic crisis of 2001. That street school and protest was the laboratory that founded the practice of the collective and was the scenario where we did big part of our interventions or by which our artwork is inspired. After twenty years of collective activity, we think that contemporary forms of
protest are many and in many fields, and that the concept of revolution, which was so reviled in the ‘90s, has resumed the relevance it had in other times. We are living in revolutionary times, and this revolution is perhaps the capitalism system that reinvents itself or simply goes to its cataclysm. However, in response to this revolution inside the evil system, we see many revolutions happening in different parts of the world, and in many fields. From the feminist revolution, the sexual revolution, to the de-colonial necessity back in the agenda of the debate of the neo-cognitive colonization, against all kind of racism: intellectual, cultural, territorial; the fights against the ideological dominance in the student’s fights and all the struggles against the neo-extractivism all around the world. Errorism is Re-EVOLUTIONARY. Its practices re-evolutionize the search for social autonomy and social and selfsufficiency. For errorism: Politics = Life. The Errorist International undertakes a fight against all forms of control: social, cultural, racial, spiritual, sexual, gender, political or economic domination. (Extract of the first Manifest of the International Errorist Movement, 2005) 2. Thinking about desire, in the sense of movement towards someone or something that is missing, what is its role within the framework of your art practice? Desire is fundamental to build any need for change and construction. In art as in life and in politics, we believe it is desire that produces the necessary eroticism to make the errors on which our artistic practice is based. We do not really believe that the so called «politics of desire» is everything though, since capitalism is a constant creator of artificial desires. The politics of desire can be completely
manipulated and used against us. This is why it is very important to break with the blocked “identity” and the desire forced and built by the mass media. In our artistic practice desire is born from a need. At the beginning of our collective, the desire was the negation of the time in which we lived, we were disgusted with the social context and the frivolous art produced by artists in the 90s in Argentina, disgusted with impunity and social inequality, and we reacted against it, creating our own way of doing things; in that sense we try to move from the individual desire to the collective desire that arises outside archetypes and stereotypes. With the experiment of Erramus Mundus, we incite this collective desire by creating or seeking a political context or conflict arisen within the participants themselves, but also involving the institutions and the glocal context. In the workshops, it often happens that the young participants have inhibited the tools leading their desires and their ideals, they are very scared that their singularity produces dissent or rejection, scared to make mistakes and be punished for that, scared to fail. Therefore, we often find students who are fanatical followers of intellectuals and artists who are being sold to them as hyper-producers of desire. So what we finally do is creating strategies which force the collective of participants to take out that ability to disobey, to be different, to produce other perspectives and other forms, to lose the fear of making errors, to become protagonists and stop consuming the protagonism of others, and to carry out those strategies we use all kind of tools. Usually when the group is involved in collective experimentation, collective desire produces random (objective
hazard) magical situations, and when the error is built together, it doesn’t matter if it succeeds or fails, which provides complicity and eroticism to the group, creating real friendship, love and empathy. We are also interested in creating a monstrous tool of de-education, a machine of collective desire and error, a kind of «machine-animal-human-alien» where desire is not only productivity of success, or the body that expresses itself, but where the idea of «Buen Vivir» is the motor, so we mix the elements (body, rhetoric, word, readings, intellectuality, food, singing, etc) and each experience is completely different because it is not a manual of learning, it is trying to be a real experience of art and life. 3. How did your practice as artists and mentors mediate and translate reality in the case of UNIDEE’s module? We have been working on the concepts proposed by Cecilia Guida: Revolution, Desire and Mediation. We created the module “The Desire of Error in Revolutionary Times” and, together with our guest Franco Berardi Bifo, we focused on the following concepts: Fiction - Simulacrum Fake news - New Wars and Social Imagination. We prefer collective experiences and processes of social imagination as the construction of realities, rather than of translation of reality, in that sense we approach reality through surrealist methods. The module addressed Reality vs Truth, the belief systems and the construction of simulacrum on which the dominant system is based. During the days of our module in Biella and thanks to the conditions provided by UNIDEE, we lived in a parallel reality to our daily life, slept in the
same house, ate breakfast together, had lunch and dinner together, we had long days of workshop, we made at least two drifts and we enjoyed nocturnal gatherings, something that helped imagine and enter into the collective game. Together with the group of participants and thanks to them, by chance we moved from the “Third Paradise” to the “Third World” and viceversa, and created a liminal zone in which the whole course of the laboratory culminated in the creation of a simulated reality that made visible some of the ideological situations that occur in our glocal context. Thanks to its randomness, we could also confront the reality of the art world with refugees in Biella, an experience we had in a short time and in a very a panoramic view and always mediated by language, translation and coordinators (Italian). However, this experience helped the collective of participants imagine together, debate more deeply and play. There was a moment when the mediation of translation was dissociated from the unnecessary mediation of art, and that was during the meeting with an amazing African sculptor who is currently a refugee in Biella. From there, enhanced debates and exchanges emerged, and helped the collective of participants and ourselves move from rhetoric to action.
ETCETERA Formed in 1997 in Buenos Aires, Etcetera is a multidisciplinary collective composed of visual artists, poets, actors and performers. They all shared the intention of bringing art to the site of immediate social conflict – the streets – and of bringing this social conflict into arenas of cultural production, including media and art institutions. In 1998, they moved into the squatted house-printing shop of the surrealist artist Juan Andralis, who in the 50s and 60s played an active role in the Paris group led by Breton. At the same time, Etcetera worked closely with the Human Rights organization H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence) in developing and popularizing “escraches,” acts of public denunciation that seek a form of social justice not beholden to the state’s legal and judicial institutions. Beyond their participation in museums’ exhibitions, cultural centers and other spaces, they often work with street-art, public interventions, actions and performances that are by nature contextual, ephemeral and circumstantial. They form part of the urban scene as a statement of protest, denunciation or signaling; and as a result it pertains to a specific time and place. In their practice, Etcetera employ irony, great sense of humor, poetic discovery and all the deconstructive potential they possess to forge a new kind of
committed art: free of hackneyed rhetoric and often quite sarcastic and “incorrect”. In 2005, they were part of the foundation of the movement INTERNATIONAL ERRORIST, an international organization that claims error as a philosophy of life. Today the group continues to develop its activities collaboratively with other collectives and individuals, inside and outside the art institutions, and on the educational field. In 2013, Etcetera won the second edition of the “International Award For Participatory Art” in Bologna, Italy, for their project C.R.I.S.I. (Commune of Research for Inclusive Social Imagination). In 2015, they were laureate with the “Prince Claus Award” at the Royal Palace in Amsterdam, in the Netherlands. Who coordinate the archive, exhibitions, educational activities and other initiatives today are Loreto Garín Guzmán (Chile) & Federico Zukerfeld (Argentina) co-founders of the collective.
www.erroristas.org www.crisiproject.wordpress.com/ www.princeclausfund.org/en/network/ grupo-etcetera.html
FRANCO “BIFO” BERARDI Franco “Bifo” Berardi is a contemporary writer, media-theorist, and media-activist. He founded the magazine A/traverso (1975–81) and was part of the staff of “Radio Alice”, the first free pirate radio station in Italy (1976–78). Like other intellectuals involved in the political movement of “Autonomia” in Italy during the 1970s, he fled to Paris, where he worked with Felix Guattari in the field of schizoanalysis. He has been a contributor to Semiotext(e), Chimerees, Metropoli, Musica 80, and Archipielago, and he is currently writing for the monthly LINUS. Berardi’s publications include Le ciel est enfin tombé sur la terre (Paris, 1978), Mutazione e Ciberpunk (Genoa, 1993), Cibernauti (Rome, 1994), Felix (Rome, 2001, and London, 2009), Generacion Postalfa (Buenos Aires, 2007), Skizomedia (Rome, 2005), La fabrica de la infelicidad (Rome, 2000, and Madrid, 2004), El sabio el guerrero el mercader (Madrid: Aquarela, 2006), The Soul at Work (Los Angeles: Semiotext(e), 2009), After the future (Oakland: AK Press, 2012), The Uprising (Semiotext(e), 2012), the recent books HEROES (London: Verso Futures) and AND: Phenomenology of the end (Los Angeles: Semiotext(e)), both published in 2015. Berardi teaches Media Theory at the Academy of Fine Arts in Milan, and has lectured in many universities around the globe.
About Cittadellarte Fondazione Pistoletto Cittadellarte’s aim is to inspire and produce a responsible change in society through ideas and creative projects. Cittadellarte - Fondazione Pistoletto was instituted in 1998 as a concrete action of the Progetto Arte Manifesto, where Michelangelo Pistoletto proposed a new role for the artist: that of placing art in direct interaction with all the areas of human activity which form society. Cittadellarte is dedicated to the study, experimentation and development of practices translating the symbol of the Third Paradise* into realty, implying it into every sector of society. It is a great laboratory, hosting many young artists, which generates unedited processes of development in diverse fields of culture, production, economics and politics. Cittadellarte is a vibrant international network of cultural and social innovators, individuals actively interlaced with their social contexts where they often act as catalyst of change. The interrelationship between people and projects is based on a common vision whose roots lie in an accumulative thought&practice process, developed by a wide range of thinkers, managers, innovators of all field. Pistoletto’s work, from the 60s to today, acts as a pumping brain for Cittadellarte’s communities. Cittadellarte has developed an extensive networks of collaborations with Institutions (various United Nations Agencies, Ministries, Universities and Educational Organizations) global enterprises and local businesses, civil society collectives, organizations and individuals from all fields.
* “The symbol of the Third Paradise, a reconfiguration of the mathematical infinity sign, is made of three consecutive circles. The two external circles represent all the diversities and antinomies, among which nature and artifice. The central one is given by the compenetration of the opposite circles and represents the generative womb of a new humanity”. Michelangelo Pistoletto www.cittadellarte.it www.terzoparadiso.org
About UNIDEE University of Ideas UNIDEE - University of Ideas is a higher educational programme based on a weekly modular format investigating the relationship among visual arts, public sphere and activism by combining critical theory with practice. Through residential dynamics, UNIDEE is designed to form artivators, people who intend to use art as a methodology, practice and language, in order to become agents for the activation of responsible actions and processes in the territories in which they live and carry out their professional activities. For its third year, and with a long history of residency programmes for international students (2000-2013) behind it, the new UNIDEE format proposes for the year 2017 a close examination of three macro-themes: Revolution, Desire and Mediation.
UNIDEE - University of Ideas 2017 Programme directed and curated by Cecilia Guida With the collaboration of Juan Sandoval Under the supervision of Paolo Naldini Programme Coordinator: Clara Tosetti Assistant Director: Annalisa Zegna
@unideeuniversityofideas unidee_universityofideas @unidee_universityofideas @_unidee unideevideo
www.cittadellarte.it/unidee/
UNIDEE - University of Ideas is made possible thanks to the support of: Patrons
Piedmont Region; Compagnia di San Paolo; Creative Europe programme of the EU; CRT Fondazione Cassa di Risparmio di Torino; Fondazione Zegna; illycaffè S.p.A.
Production Residency Collaborations & Scholarships RESÒ Network; A.M. Qattan Foundation (PS); Inlaks Shivdasani Foundation (IN).
Institutional Collaborations & Scholarships
ZKM Zentrum für Kunst und Medientechnologie Karlsruhe (D); kim? Contemporary Art Centre, Rīga (LV); Minister of Culture of the Republic of Albania (AL); National Gallery of Kosovo (RS); Jyvaskylan Yliopisto, Jyväskylä (FIN); Austrian Culture Forum Moscow (RUS); École cantonale d’art du Valais – ECAV, Sierre (CH); Fundación Universitaria Bellas Artes, Medellín (CO); Instituto Superior de Arte-ISA, La Habana (CU); École supérieure d’art et design – ESAD, Grenoble (FR); Università degli Studi di Torino (IT); Università IUAV, Venice (IT); Accademia di Belle Arti di Brera, Milan (IT); Accademia di Belle Arti di Roma (IT); Accademia di Belle Arti di Firenze (IT); ISIA-Istituto Superiore per le Industrie Artistiche di Faenza (IT); IULM-Istituto Universitario di Lingue Moderne, Milan (IT); SACI Studio Art Centers International, Florence (IT); Fondazione Bevilacqua La Masa, Venice (IT); Queens Museum, New York (US); Center for Fine Arts (Bozar), Brussels (B); Galeria Sztuki Wspolczesnej Bunkier Sztuki, Krakòw (PL); HYDRO, Biella (IT); Ordine degli Architetti Pianificatori Paesaggisti e Conservatori della Provincia di Biella (IT).
Media Partners
Giornale delle Fondazioni; Roots&Routes.