UNIDEE - University of Ideas
UNIDEE NOTEBOOKS 2015 | N.2
Notes from the residential modules 2015 Fall programme mentored by Alessandra Donati with SMart Belgio/Italia; raumlaborberlin; Beatrice Catanzaro; STEALTH.unlimited (Ana Džokić and Marc Neelen); Santiago Reyes Villaveces with Manuel Ángel Macia; Andrea Caretto and Raffaella Spagna with Attila Faravelli; Omer Krieger; Monica Narula (Raqs Media Collective) with Rasmus Nielsen (Superflex).
Cittadellarte Edizioni, 2019 ISBN: 978-88-98698-20-2 This booklet is part of the series of publications “UNIDEE NOTEBOOKS”. Curated by Giulia Crisci Designed by Annalisa Zegna Translations: Elena Pasquali
Cover image: Photo from the UNIDEE module “Terrain Vague”, mentored by raumlaborberlin, 2015. Credits UNIDEE.
UNIDEE - University of Ideas
UNIDEE NOTEBOOKS 2015 | N. 2
Notes from the residential modules 2015 Fall programme mentors and guests: Alessandra Donati with SMart Belgio/Italia; raumlaborberlin; Beatrice Catanzaro; STEALTH.unlimited (Ana Džokić and Marc Neelen); Santiago Reyes Villaveces with Manuel Ángel Macia; Andrea Caretto and Raffaella Spagna with Attila Faravelli; Giusy Checola with Thomas Gilardi; Omer Krieger; Monica Narula (Raqs Media Collective) with Rasmus Nielsen (Superflex).
Cittadellarte - Fondazione Pistoletto, Biella
UNIDEE - University of Ideas, STATEMENT 2015 by Cecilia Guida
UNIDEE - University of Ideas is a multifaceted platform offering an educational programme of residential modules - taking place both at Cittadellarte and at academic partners’ sites internationally - alongside a series of artists’ residency projects. Based on interdisciplinary research, knowledge sharing and experience exchange, the programme fosters processes of cross-pollination to investigate the relationship between art and public sphere. In keeping with Michelangelo Pistoletto’s foundational principle of Cittadellarte as an “interdisciplinary educational laboratory” (Manifesto Progetto Arte, 1994) – of which UNIDEE was one of the first pillars –, this new experimental programme aims to provide practices, methodologies and tools apt at stimulating the emergence of a new figure: the “artivator” – a catalyst of artistic projects for a responsible social transformation. UNIDEE - University of Ideas experimentally undertakes a collaboration with universities and other public educational institutions, not placing itself in an alternative position but rather proposing an alternative to the traditional educational system. Designed for multiple publics, it fosters processes of cross-pollination between academic and artistic knowledge. It aims towards the development of relational
skills, the acquisition of socially responsible behaviours that value diversity, the development of an “effective” practice of horizontal thought embodying the other’s point of view, and the possibility to “err”, to go off topic in the name of a constant research for new directions and means of expression. As an educational artistic project, UNIDEE - University of Ideas faces several challenges: its accretion in time and its impact on the locality. To succeed in becoming a natural site for daily learning and dialogue, the programme must be conceived as a long term endeavour. It shall be engaging continuously with civil society not only through dialogue and active participation, but also through the (re)localisation of those processes of symbolic identification on the side of the modules’ participants, once they go back to their original social contexts and groups. Pistoletto claims that “if there is to be any possibility of openness to change in humanity, this depends primarily on education” (The Third Paradise, 2010). UNIDEE - University of Ideas concurrently embodies a stepping stone and end point of a wider vision finalised at a re-foundation of the educational system as a whole, starting from childhood. This new system maintains the principle of educational offer as an agent for the development of collective
conscience and as an activator of ideas, dynamics and aesthetic and ethical devices for social transformation. For the year 2015 the three broad thematic areas and their interrelations are inspired by Michelangelo Pistoletto’s principle of trinamics: Trinamics is the dynamics of the number three. It is the combination of two units that gives rise to a third distinct and new unit. In trinamics the three is always a birth, which occurs by fortuitous or deliberate combination of two subjects. Trinamics is always a creation. It comes into effect in the process of conjunction, connection, combination, conjugation and interaction of two elements that are in themselves simple or complex, such as two cells or two people. The trinamic phenomenon is found in chemistry and in physics, extends to the physiology of bodies and can even be applied to social life in its cultural, political, economic, religious and philosophical aspects. (Manifesto of Education, 2015). This trinamic principle is as an apt way to create and regenerate knowledge processes: the modules will analyse, on the basis of a combination and (con) fusion of theory and practice, the acceptations and uses of the three key concepts: temporality, responsibility and participation. They provide an outline for an indepth analysis, and will function
as semantic groups unfolding not chronologically but following relational, associative and procedural modalities, set out to examine and critique their semantic ranges – deriving from their presence and appropriation by different disciplines within a variety of social contexts. Temporality is understood as the historical-artistic, philosophical, political and mediological discourse on time as a central element in participatory practices taking place in social contexts. Thanks to those transformative processes the languages of art have undergone since the first decades of the 20th century, art itself has acquired expressive freedom and autonomy and has overcome its self-referentiality. Furthermore, these processes have contributed to a transformation of both artistic thought and practices, questioning the traditional roles of the idea of artist and public, while critiquing the work of art and its function. Artists became less interested in object-making, preferring to activate long term relationships and collective processes, blurring the boundaries between time, situations and spaces of the everyday, as much as moving freely across disciplines (e.g. science, architecture, anthropology, economy, politics, communication, information technology). The concept of responsibility refers to the realm of physical habitat, embracing the
environment and how it is experienced at a private and public, local and global level. It is intended here not only in a strict urban and ecological acceptation, but also in a phenomenological, emotional and anthropological one. A twofold term, responsability is the ability to respond to the needs and desires expressed by certain constituencies dwelling in contexts undergoing urban/ social transformation. Here, the role of the artist becomes ethical, moving beyond its aesthetic nature: she/he is invited to imagine different ways of observing, listening to and analysing people to release them from socially imposed interpretations and schemes, whilst encouraging their self-awareness and knowledge of the other and their environment. The third topic is that of participation: through it, and the combination of art’s autonomy and artist’s social responsibility, individuals become co-authors in the making of an art work. The concept of participation in art is opposed to that of spectatorship (whose critique has Situationists’ origin), since it refers to the observer’s emancipation from her/his passive attitude and to the experimentation of new democratic and “demopractic” modes of action. However, these models of democracy in art do not intrinsically relate to those of democracy in society, rather their equation is misleading. It is the latter which does not
acknowledge art’s ability through new interdisciplinary interpretative models, to create new criteria for a re-imagination, reconfiguration and regeneration of existing sociopolitical structures. Cecilia Guida, Director and Curator of UNIDEE University of Ideas programme
The mentors and guests for 2015 are (in order of appearance): Spring/Summer term Salvatore Iaconesi and Oriana Persico; Silvia Franceschini with Stefano Rabolli Pansera (Beyond Entropy); Aria Spinelli with Tullio Brunone (Laboratorio di Comunicazione Militante); Massimiliano Viel; Emilia Telese with Richard Shields; Giulia Grechi with Fiamma Montezemolo; Saioa Olmo Alonso with Sabel Gavaldón; Giusy Checola with Thomas Gilardi; Fall term Alessandra Donati with SMart Belgio/Italia; raumlaborberlin; Beatrice Catanzaro; STEALTH. unlimited (Ana Džokić and Marc Neelen); Santiago Reyes Villaveces with Manuel Ángel Macia; Andrea Caretto and Raffaella Spagna with Attila Faravelli; Federica Martini with Anne-Julie Raccousier; Omer Krieger; Monica Narula (Raqs Media Collective) with Rasmus Nielsen (Superflex).
Module 9
Artist’s rights and creation mentored by Alessandra Donati with the guest SMart-Belgio and Italia 21 / 25 September 2015 TAGS: Opera d’arte, temporalità, time-based art, diritto d’autore, responsabilità, autenticità, originalità diritto morale, diritto di utilizzazione economica, contratti, arte pubblica, partecipazione, conservazione preventiva, restauro, catalogo ragionato, fondazioni, archivi d’artista
Participants: Pietro Nocita, Anna Pirri, Alessandra Ricci Ascoli, Marta Duzzi.
How would a judge answer the following questions: are Dan Falvin’s neons a work of art? Can you talk about works of art in the case of non-material objects? And what if the realization of the creative act is not actually by the artist himself? How do you guarantee the authenticity of the works to reactivate? What are the rules for the intervention of the artist in the public space? And what about if the work is site-specific? And how would the answers be different if the judge is Italian or French or English or Chinese? Relationships linked to the realization of a work of art (creation, circulation, safeguard, use, conservation, etc.) have, as any other relationship, pertinence in the legal world: the combination of rights and art are several, of different intensity and they vary from country to country. Besides, contemporary art has increased the complexity of the forms of expression, raising issues – from a juridical point of view – about the identity of a work of art, its recognizability in terms of originality, unique elements on which the artist’s rights are based, sometimes highlighting the inadequacy of the law itself. Proceeding from the reading of important and recent judicial cases from European and extraEuropean countries, we started the deconstruction, in a comparative key, of the specific discipline of safeguard and circulation of contemporary art. A contract is a useful tool to manage the complexity of the contemporary art system. It traces, defines, identifies and certifies, it is, in other words, an instrument of communication and documentation for all the actors in the world of art, both in the private and public spheres – artists and collectors, gallery owners and curators, as well as
museum, foundations, etc. Also through the actual drafting of models of contractual clauses, we spanned from the need for information about the modalities of production of the work to the juxtaposition between how much the artist is inalienable (his moral right) and how much the buyer is entitled to, from the procedures about the use of the work and the ones about preserving and restoring it. The theoretical-juridical introduction to each theme taken into consideration was followed by a debate about actual cases and materials like sentences, laws and other interesting legal instruments, with the active and critical intervention of the participants. SCHEDULE SEPTEMBER 21ST morning Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan) afternoon Introduction to the module and participants’ practices Which is the relationship between art and law? Hard, complex, but virtuous. Contemporary art is a contractual art. SEPTEMBER 22ND morning Protection of the artist vs. protection of the work: “What protection for the new ways of expression in contemporary art?” Copyright varies from country to country. afternoon Judging the Image: when art challenges law. The art that copies, the obscene art. Reading and case discussions. SEPTEMBER 23RD morning Artists’ contracts. The usefulness of the contract for the contemporary art world.
Intervention by a representative of SMart, a Belgian company founded in 1998 and present in 10 European countries in order to assist artists and creatives in the professional development of their business. afternoon Commission, circulation and use of the work of art: models and clauses. Writing workshop. SEPTEMBER 24TH morning Public Art, Art in the social sphere: «Definitions and disciplines vary from country to country». From 2% law to the Fund for Art in the public space. afternoon Site specific artworks. Reading and case discussions. SEPTEMBER 25TH morning Authenticity, conservation and restoration of contemporary artworks. afternoon After the death of the artist: heirs, foundations, artist archives and reasoned catalogs. Reading and case discussions. evening Party. REFERENCES · G. Ajani, A. Donati, (a cura di), I diritti dell’arte contemporanea, Allemandi 2011. · M. Buskirk, The contingent object of contemporary art, The MIT Press, 2003. · B. Demarsin, EJH Schorage, B. Tilleman, A. Verbeke, (curated by) Art & Law, die Keure, 2008. · C. Delvaux, M.H. Vignes, Les procés de l’art, Palette, 2013. · A. Donati, Law and Art, Diritto civile e arte contemporanea, Giuffré 2012 in e-book.
· A. Donati, I contratti degli artisti, nuovi strumenti di trattativa, Giappichelli, 2012. · M. Eichhorn, The artist’s contract, Walther Konig, 2009. · D. McClean (curated by), The Trials of Art, Ridinghouse, 2007. · D. von Hantelmann, How to do things with art, JRP Ringier & Les Presses du réel, 2007. · N. Heinich, L’art contemporain exposé aux rejets, Hachette, 1997. · U. Mattei, Beni comuni, un manifesto, Ed. Laterza, 2011. · J. Noordegraaf, C. G. Saba, B. Le Maitre, V. Hediger (curated by), Preserving and exhibiting media art, Amsteram Univ. Press, 2013. · H. Senie, Richard Serra’s “Tilted Arc”: Art and Non-Art Issues, in “Art Journal”, Vol. 48, No. 4, Critical Issues in Public Art (Winter, 1989), pp. 298-302. · I. Villafranca Soissons (a cura di), In Opera. Conservare e restaurare l’arte contemporanea, Marsilio ed. 2015. · A. Young, Judging the Image, Art, Value, Law, Routledge, 2005. · L. Jacob (curated by), Commerce by Artists, Art Metropole, 2011. · unimib.academia.edu/ alessandradonati · smartbe.be/fr · ARTQUEST- Artlaw - www.artquest. org.uk/articles/view/art_and_the_law · ARTNET www.news.artnet.com
On-line resources: info / advices / tools for artists. Check them out! https://smart-it.org/ https://smart-eu.org/ https://www.artquest.org.uk/
Module 10
Terrain vague mentored by raumlaborberlin 28 Sept / 2 October 2015 TAGS: Exploring urban space, temporality, mapping, responsibility, intervention, participation
Participants: Astrid Kaemmerling, Aya Kirresh, Luciana Maia Dos Santos, Muhammad Taymour, Asia Valencic, Anita Bacic, Juhikadevi Bhanjdeo, Queenie Clarke, Marta Colpani, Mariapia Colzani, Nathalie Esther Eldan.
The module kicked off by applying the situationist technique of dèrive, performing with the whole group of participants an exploration of Cittadellarte’s urban surroundings. The aim – to realize, by the end of the week, 1:1 built objects – had to be taken into account from the very beginning of this process, in order to speed up the exploration. During the first day’s walks, the group identified, attracted by their particular spatial-social situations and phenomena, a range of sites to work on. Using a set of simple recording tools, the characteristics of the sites were captured. During the second day, we focused on the evaluation and reflection of the founded and mapped spatial situations and phenomena. The participants, divided in small teams, then designed and built specific objects for specific urban situations. As portable prostheses for the public space or fixed spatial corrections, these objects reflected needs, wishes, character of the sites and the citizens who experience them in their everyday life. The material used was standard timber with screws connections. At the end of the week we carried out a series of small architectural interventions in the city, with the aim of creating atmospheres of communication and exchange or intrusions into a situation of settled habits. A final public walk along the different spots provided the opportunity to test and reflect the realized objects.
SCHEDULE
REFERENCES
SEPTEMBER 28TH morning Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan). Group presentation. afternoon Introduction to the workshop’s core topics. Walk/ Mapping.
· MONUMENTS, 2013 Nantes raumlabor.net/28062013-monuments/ · Cantiere Barca 2011-13 Torino www.raumlabor.net/cantiere-barca/
SEPTEMBER 29TH morning-afternoon Evaluation/ Team-building. Design/Presentation. Discussion/Definition of aims.
· Officina Roma 2011-12 MAXXI, Museo nazionale della arti des XXI secolo, Rome RE-cycle. Strategies for Architecture, City and Planet www.raumlabor.net/officina-roma/
SEPTEMBER 30TH morning-afternoon Building workshop at Cittadellarte.
· The generator / sedia veneziana 2010 Venice, Biennale di Architettura www.raumlabor.net/the-generator/
OCTOBER 1ST morning-afternoon Building workshop at Cittadellarte. Test on site. Adjustments.
· Odyssee Europa 2009/2010 Ruhrgebiet, a joint project organised by the Schauspielhaus Bochum, Schauspiel Dortmund, Schauspiel Essen, Schlosstheater Moers, Theater an der Ruhr, Theater Oberhausen, raumlaborberlin and the European Capital of Culture RUHR.2010 www.raumlabor.net/odyssee-europa/
OCTOBER 2ND morning-afternoon Public walk along the sites/Reflection. evening Party.
Micheal De Certeau, The practice of everyday life, University of California Press, 1984.
Internazionale Situazionista 1958-69, Nautilus, 1994.
Micheal De Certeau, The practice of everyday life, University of California Press, 1984.
Module 11
Why do I do what I do? mentored by Beatrice Catanzaro 5 / 9 October 2015 TAGS: Temporality, participatory practices, engaged art, intersubjectivity, responsibility
Participants: Aya Kirresh, Lila Lee, Clara Madaro, Muhammad Taymour.
Did anyone ever ask you: “Why do you do what you do?” Have you ever tried to understand the deep forces that drive you to engage with your practice? Could you actually separate your practice from your life? This module aims at unfolding the participants’ understanding of their practice and to look at their own work with a reflective and caring attitude, rather then an overly critical one. We explored notions of empathy, active listening and imaginative processes as tools for a truly engaging participatory practice, where the artist is never an external observer but a subject equally involved in the process. We then addressed inter-subjectivity as constructed narrative and the quintessential humankind’s imaginative capacity. Collectively, we drew a constellation of attitudes, conditions and skills that might help us define a survival kit for participatory art practice.
SCHEDULE OCTOBER 5TH morning Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan). afternoon Workshop presentation and group presentation. Participatory Art Practice: Bait al Karama and A needle in the binding (Nablus, Palestine). OCTOBER 6TH morning Reflective thinking vs critical thinking: participants’ presentation. afternoon Unfolding engagement some key factors. Empathy: a transformative potential. What is empathy and why it is essential to social coexistence. Mirror neurons and the development of empathic capacity. Warm empathy vs cold empathy - a personal story. OCTOBER 7TH morning At art school, did anyone ask you why you do what you do? Morning stroll and reflect on this essential question: what are my deep pulses for doing (or wanting to do) what I do? Group reflections and individual tutorials. afternoon Process vs project: the limits of a context-based approach. Reading of The loneliness of the project (Boris Groys). Reflective thinking vs critical thinking: participants’ presentation. OCTOBER 8TH morning Inter-subjectivity: the imaginative capacity of humankind and the building of consensus through narratives. Reading of A brief History of Humankind (Dr. Yuval Noah Harari). Reflective thinking vs. critical thinking: partecipants’ presentation. afternoon Video screening and discussion: “The century of the self – ep. 1” (Adam Curtis).
OCTOBER 9TH morning Collective breakfast. afternoon Glossary for participatory practices: open ended constellation of notions/attitudes/skills/ essential to the practice. evening Party.
REFERENCES · A brief History of Humankind by Dr. Yuval Noah Harari · Guns Germs and Steel by Jared Diamond · www.coursera.org/instructor/~284 · www.ny-magazine.org/PDF/Issue%20 1.1.%20Boris%20Groys.pdf · en.wikipedia.org/wiki/Vilayanur_S._ Ramachandran
Discussion about participatory Art Practice with Beatrice Catanzaro. Presentation of Bait al Karama project and A needle in the binding (Nablus, Palestine)
Bait al KARAMA is a project initiated by Fatima Kadumy (of the Women Committee of the Nablus Old City Charity Society), Beatrice Catanzaro (visual artist – Italy) and Cristiana Bottigella (cultural manager – UK). Bait al KARAMA foresees the establishment of a social-cultural centre run by women and managed according to a social enterprise business model, where food-related activities is the vehicle to develop regular income for the women involved as well as the mean to sustain a social and cultural meaningful programme. At the heart of the project, two main goals: - to support the social and economic needs of women of the Old City of Nablus struggling in the aftermath of the occupation by means of a foodbased social enterprise;
What are MY deep pulses for doing (or wanting to do) what I do?
- to draw international attention to the Old City of Nablus as a place of Art and Culture, by initiating a number of cultural and artistic initiatives involving the local and wider Palestinian cultural scene as well as international guests and to encourage sustainable tourism. Through income generating activities Bait al Karama aims to achieve longterm financial sustainability, and to accomplish its social-cultural mission, whilst offering the women of the Old City employment and the chance to develop income and self-sustainability. Bait al KARAMA is the first Slow Food Convivium in Nablus. https://baitalkarama.org/
A Needle in the Binding is a relational and process oriented public intervention by Beatrice Catanzaro, which took place between 2009-2011 in the city of Nablus in the northern West Bank of the Palestinian Territories. The project began when Catanzaro first visited and spent time in the library over the summer of 2009, and discovered a much-neglected section containing approximately 8000 prisoners’ books, books read by Palestinian political prisoners between 1967 – 1995. One staff member subsequently introduced her to Khalil Ashour and Abdallah Abu Ghudeeb, ex-prisoners, both of whom had spent 12 years in political detainment as prison-mates. Between September 2010 to September 2011, Catanzaro collaborated with both Ashour and Abu Ghudeeb, engaging in a slow and painstaking process of selecting with Ashour books that were especially meaningful to him as well as his prison mates, and (audio) recording the narratives that emerged concerning the pivotal role of books in the prison for the education of detainees. In 2011, Catanzaro also involved the Portuguese director Pedro Paiva in filming this process. The significance of Catanzaro’s public intervention was recognized by a commission from the Al-Ma’mal Foundation for Contemporary Art for The Jerusalem Show.
Which kind of notions, attitudes and skills are essential to the practice?
What is empathy and why it is essential to social coexistence?
Boris Groys, “The loneliness of the project”, New York Magazine of Contemporary Art and Theory, 2002.
Module 12
Where Imagination Slips Into Reality mentored by STEALTH.unlimited (Ana DŞokić and Marc Neelen) 12 / 16 October 2015 TAGS: Spatial practices, selforganisation, urban commons, reimagining urban life, responsibility, participation
Participants: Jeanette Castioni, Marta Colpani, Katia Greco, Mako Ishizuka, Aya Kirresh, Abigale Neate-Wilson.
Gradually, over more than a decade, the responsibility of re-drafting the socially engaged future of the city is being taken upon by an unusual coalition of those that would have until recently - hardly be considered eligible. This module dove into social, political, but also practical sides of a wide range of projects, encompassing STEALTH.unlimited’s own work as well as projects developed by other practitioners in the artistic and cultural field. Factors like a dissolving welfare state, deregulation policies, privatisation agendas, as well as an increasing awareness of the unsustainability of the ongoing financialisation of urban development (think of the ongoing economic downfall), have laid open a terrain in which artists, spatial practices, cultural and artistic institutions, NGOs or neighbourhood initiatives have claimed a territory previously reserved for governmental organisations, real-estate developers and urban planners. Accompanied by a new kind of engagement that seeks to involve citizens as well as a new realm of professionals, these actors or organisations are already making many vital contributions, even if they are still primarily perceived as peripheral or secondary to the discussion on urban development. Where Imagination Slips Into Reality explored the transformation of such practices, and their transition from temporary artistic interventions, via larger urban imaginations, to interventions that clearly step beyond the field of art. What they have in common is a search for a shared creation, different models of governance, and intense participation of communities in various, essential aspects of a life in common.
We investigated what the motives to embark on such endeavours are, as well as what the toolsets we can work with are, and what the potential of such approaches is. Can our imagination consciously and with determination be transposed into reality? And most importantly, once achieved, how can these initiatives carry on beyond their initial creative force? This module was meant for artists, architects, citizens groups, activists, curators, city administrators etc. SCHEDULE OCTOBER 12TH morning Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan). Introduction. afternoon Getting into the week through a conversation about the exhibition project “A Life in Common” (STEALTH.unlimited/Cittadellarte). Cross-section through seven key aspects of urban life and ways in which artistic/architectural/cultural responses can re-define our city, in terms of how we live (housing), how we produce (economy), the resources we have at hand (food, energy, water…), the new civitas (citizens, migration), and the politics of the city (collective decision making). Screening of a section of the program of “Matrix City” (curated by STEALTH.unlimited/Kristian Lukic for Impakt Festival). Trigger for the next days: is the “imagination” brought forward in the projects that will be introduced desired to slip into reality? Setting the space for the next day. OCTOBER 13TH morning (Mornings on Tuesday, Wednesday and Thursday will be used as opening for a critical reading of the
projects brought in: what society is outlined through them?). Introducing the project “(Dis) assembled” that lays out the possibility to take the making of the city as a common effort into our hands. A large collection of materials and tools are brought to life on the not-yet-planned outdoors terrain at Gothenburg’s waterfront, to give it a future direction – through the action and imagination of visitors and neighbours of the Röda Sten Konsthall. Included are screenings of the works exhibited within the project, like The “72 Hours Urban Action” (Bat Yam Biennale), “Passage 56” (Atelier d’Architecture Autogérée), “Eichbaumoper” (Raumlabour). Intuitive assessment of the project by participants, and elaborating each ones stance. afternoon Speculating what sort of society the project outlines, in groups. Bring conclusions to the others (by using and annotating up to 10 slides from the project presentation). Common discussion. Setting the space for the next day. OCTOBER 14TH morning Introducing “Once Upon a Future”, an imaginary fast-forward to a possible Bordeaux in the year 2030 – the year in which the city desires to reach the magic number of one million inhabitants. In this work of social fiction made for the biannual EVENTO 2011, citizens initiative takes a major role in envisioning, managing and governing the city. Following intuitive assessment of the society outlined in the project by the participants groups are formed. afternoon Groups develop an assignment based on their “desired” or “non-desired” assessment. Common discussion. Setting the space for the next day. OCTOBER 15TH morning Introducing “Smarter
Building”, an initiative in Belgrade, starting out of a cultural context to imagine and realise affordable housing through collective action and cooperation. Other forms of collectively devised housing will be introduced too. Following intuitive assessment by the participants groups are formed. afternoon Groups get an assignment based on on their “desired” or “nondesired” assessment. Common discussion.Setting the space for the next day. OCTOBER 16TH morning-afternoon Zooming out: to what larger picture projects like the ones discussed contribute? The last day is dedicated to the concept of “urban commons” that is regaining momentum in the international debate on and around spatial and social justice, the use of natural resources, and digital cultures both through practice and exploration, the concept of commons has started to enter the contemporary city.Collective reading and discussion of a number of selected texts on commons. evening Party. REFERENCES · “A Life in Common”, exhibition · and research project (STEALTH.unlimited/ Cittadellarte): www.cittadellarte.it/attivita. php?att=68#sub · “Matrix City”, program for Impakt Festival, Utrecht (STEALTH.unlimited/ Kristian Luikic): www.kkh.se/index.php/en/aboutkkh/news/1773-commonin-the-citykonferens-2013 · “(Dis)assembled”, project and an exhibition at Röda Sten Konsthall,
Gothenburg (STEALTH.unlimited): www.stealth.ultd.net/stealth/29_dis. assembled.html · “Once Upon a Future”, exhibition and research project for Evento 2011, Bordeaux (STEALTH.unlimited/Emil Jurcan/arc en reve architecture center): www.stealth.ultd.net/stealth/30_once. upon.a.future.html including the novel written with Bruce Bégout: www.stealth.ultd.net/stealth/ projects/30_once.upon.a.future/ download/booklet_EN_web.pdf · “Smarter Building”, housing initiative initiated by Who Builds the City, Belgrade (a/o STEALTH.unlimited), text written for magazine ERA 21: www.academia.edu/15453418/ Smarter_Building_-_So_Far · “Commonng the City”, conference recordings (see under Documentation) on the topic of urban commons, held at the Architecture Museum, Stockholm (STEALTH.unlimited/The Royal Institute of Art-KKH): www.kkh.se/index.php/en/aboutkkh/news/1773-commonin-the-citykonferens-2013
P.M., Bolo‘bolo, Paranoia City Verlag, Zürich, 1993.
Once Upon a future, 2011, project curated by STEALTH.unlimited and Emil Jurcan, in collaboration with architecture center arc en reve. Once Upon a Future features contributions by writer and philosopher Bruce Bégout and a number of graphic and comic artists. It has been produced for the biannual Evento 2011 directed by artist Michelangelo Pistoletto. Once Upon a Future is an imaginary fast-forward to a possible Bordeaux in 2030. It is a work of social fiction, made in the format of a novel and exhibition, starts from the question - how would the future look if citizen’s collective capacity would grow and become Bordeaux’s main driving force? Inspired by meetings with presentday groups of active citizens from Bordeaux, Once Upon a Future extrapolates how the motives, visions and commitments of citizens might prefigure new ways to make the city, by developing new forms of mutual solidarity and collective organization, beyond competition and individualism. Such networks, like – housing cooperatives, artistic production collectives, elderly people associations, social centers, community gardens, etc – have the potential to produce another form of life in the city, which is a precondition for another form of urban landscape.
This ‘social fiction’, laced with irony and tensions, is a trigger to step beyond the rigid framework of the contemporary city and look at its complexities from a distance. But sometimes the story gets so close that it is not difficult to picture our possible roles in building up the city’s future in the next two decades. While freely exploring the possibilities of common desires, it makes us understand clearly what today’s limitations to reach them are.
(Dis)assembled, 2011, exhibition curated by STEALTH, developed for Röda Sten Konsthall in Gothenburg, Sweden, and its not-yet-planned surrounding. The project relates to an ongoing interest in the urban development of the contemporary city and responds to the trend of citizens ‘participation’ in such development processes that is so present in Sweden, but with so varied and often disputed results. As the possibilities for the surrounding of Röda Sten still remain wide open, Röda Sten and STEALTH took a lead to turn the area into a testing ground. For three months we created a possibility for its users to physically transform the site. Much of what could be necessary to assemble outdoor interventions had been prepared – for whoever
The exhibition A Life in Common looks at seven key a spects of urban life, and examines some of the breathtaking,
www.stealth.ultd.net/stealth/30_once.upon.a.future.html www.stealth.ultd.net/stealth/29_dis.assembled.html http://www.cittadellarte.it/subattivita/a-life-in-common-2
A Life in Common, 2012, exhibition curated by Ana Džokić and Marc Neelen (STEALTH.unlimited) and Juan Esteban Sandoval in Cittadellarte, Biella.
daring or sometimes just provokingly pragmatic ways in which art and culture can re-define our city, in terms of how we live (housing), how we produce (economy), the resources we have at hand (food, energy, water…), the new civitas (citizens, migration), and the politics of the city (collective decision making) among others. It does not just highlight the motives and potential of this commitment, but also looks at some of the questions that go hand in hand with this: are we witnessing here a short-term patching of the inconsistencies of our societies, or are we looking at a long-term redefinition of what art and cultural operators are involved with and equally, how far can their capacity in this respect reach?
From STEALTH.unlimited: www.stealth.ultd.net
takes the opportunity to act, alone or in collaboration. On the floor of Röda Sten’s main exhibition space, people could find a collection of materials and equipment to go ahead and give space to their ideas - through a direct, think-on and hands-on format. Three days before the exhibition ‘opening’, 10 people have been gathered through an open call to discuss what is necessary or desired for the site. At the opening, through the doors of Röda Sten they have literally taken the materials out to start making the first outdoors interventions. In just one weekend this varied group made a skate ramp, a graffiti wall, an aqueduct, seating elements, a tree hut, in a way that suggests further connection of these elements over time. At that point we left the process. From there, for over two months, different groups and individuals have continued.
Module 13
Photocopy tales: Publications and visual essays
The bulk of contemporary content production, in its quantitative rush and value, tends to stand on the principle that information must be understandable and verifiable in itself, that it must be already pregnant with its own explanation, in order to be consumed and used in the production of other content.
mentored by Santiago Reyes Villaveces with the guest Manuel Ă ngel Macia
Graphic media, editorial processes and means of production are conceived as second order tools which privilege and facilitate contents of informative nature. This narrows the narrative potential as well as the scope of graphic media and editorial processes.
19 / 23 October 2015 TAGS: Temporality, visual narratives, artist books, publications, art works reproductions, art history narratives, participation, personal archive, graphic design
Participants: Valerio Veneruso, Pablo Jansana, Ricardo Portilho, Sofya Postnikova.
This theoretical and practical module aimed at approaching the editorial and graphic production processes as generators of signification and meaning, while placing an emphasis on visual narratives. It addressed three lines of work: development of experimental visual narratives, editorial processes and means of production and circulation of publications. To narrow down the vast universe of the worklines proposed by the module, the workshop focused on the possibilities of image production and reproduction offered by photocopying. As a cheap and easy manipulation medium, photocopying allowed the development of exercises suggested throughout the module, while avoiding the digital, chemical and mechanical image production methods. The module was designed for visual professionals interested in further exploring visual narrative practices and editorial processes.
SCHEDULE OCTOBER 19TH morning Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan). afternoon Exercise 1 “Self presentation”, part 1: Using only photocopies, participants have 60 min to build a presentation of themselves through means of a visual narrative (min. 15 pages). The result will be discussed in a round table. After the discussion, each participant will edit the exercise of another participant. Reading: Andre Malraux, “The museum without walls”, in The voices of silence, Princeton, Princeton University Press, 1978. OCTOBER 20TH morning Discussion of the text by André Malraux, The museum without walls. Screening: Chris Marker, La jetée (1962). afternoon Introduction to concepts for an editorial project. “Self presentation”, part 2: Participants have the possibility to complement and edit the first version of their own exercise. The second version will then be disscused with the group. Reading: Aby Warburg, Mnemosyne, Akal, Madrid, 2010. OCTOBER 21ST morning Day with Manuel Ángel Macia. Exercise 2 “Chapter 2·3/4”: Using only photocopies, each participant should elaborate a narrative related to art history. afternoon Binding workshop. Discussion of Exercise 2 “Chapter 2·3/4”. Reading: Walter Benjamin, “The storyteller”, in Walter Benjamin: Selected Writings, Vol. 3: 1935-1938, Harvard University press, 2004.
OCTOBER 22ND morning-afternoon Introduction to print production processes. Exercise 3 “Book”: Using only photocopies, participants should produce a visual narrative book. OCTOBER 23RD morning-afternoon Introduction to distribution channels for publications. Final discussion and presentation of the final version of “Book”, “Chapter 2·3/4” and “self presentation” exercises. evening Reggaeton Party.
REFERENCES · Andre Malraux, “The museum without walls” (translation of Le Musée Imaginaire, 1947), in The voices of silence, Princeton University Press, 1978. · Vilém Flusser, Writings (Andreas Strohl, Ed.), University of Minneaplos Press, Minneapolis, 2002. · Keith A. Smith, “The book as a physical object”, in A Book of the Book, Granarybooks, New York, 2000. · Aby Warburg, Mnemosyne, Akal, Madrid, 2010. · Walter Benjamin, “The storyteller”, in Walter Benjamin: Selected Writings, Vol. 3: 1935-1938, Harvard University Press, 2004. · Chris Marker, La Jetée (1962).
Andre Malraux, “The museum without walls�, in The voices of silence, Princeton University Press, 1978.
Rosalind Krauss, A voyage on the North Sea: art in the age of the post-medium condition, Thames & Hudsons, 1999.
Module 14
Matter as Experience mentored by Andrea Caretto and Raffaella Spagna with the guest Attila Faravelli 26 / 30 October 2015 TAGS: Temporality, aesthetic experience, perception, ecology, sensibility to complexity, morphogenesis, Chreod concept, form, ecology of matter, materials, responsibility, participation
Participants: Mariangela Aponte, Juhikadevi Bhanjdeo, Dandara Catete, Marta Colpani, Valentina Furian, Roxane Spang, Fabienne Trotte.
Through a combination of field trips and fieldwork, the mentors set out to share with participants some first hand experiences of aesthetic encounters with materials and landscape, experimenting a non-hyerarchical ontology where animated and unanimated, organic and inorganic are on the same level. Here, the classic dualisms of form/material, organic/ inorganic, man/animal etc., loosen up, leaving room for movements of material aggregation, differentiation and individuation within an allencompassing cycle in which essence is the life of the matter, through its own cycles and relationships. From this angle, what really matters are passion for, knowledge of and care towards matter – intended in its morphogenetic becoming – and the relationships between all the different elements originated by matter itself in a specific context. Thus, mankind is only one of the many possible manifestations of matter, a portion of all interrelated life forms. Such vision certainly leads to a radical rediscussion of the anthropocentric paradigm. Throughout the 20th Century, several philosophers, physicists, biologists and anthropologists – amongst others – brought forward models based on the essential relationship between materials and forces, rather than matter and form. Not only objects or organisms have a form: landscape does as well, as well as cities, social structures, and even thoughts. Studies on complexity have shown how fundamental formal aspects are to systems and relationship configurations, and to the organisation and “functioning” of reality. How are things shaped? Which are the constituting principles governing their development? What are the
relationships between forms and their contexts? What is the artists’ role and responsibility in shaping things? The module Matter as Experience proposed a series of immersive and shared experiences and individual actions reflecting upon processes of growth, erosion and transformation of matter at different levels, and upon the interactions between these processes and human beings, in their subjective, social and political dimensions. SCHEDULE OCTOBER 26TH morning Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan). afternoon Presentation of the participants: motivations, expectations. Each participant and the mentors will introduce her/himself through a short story on her/his own life experience. Workshop presentation and introduction to the main topics of the workshop: Perception of environment/ Form as an emergent property vs. Hylomorphic model/Epigenetic Landscape (C. H. Waddington)/Vitality of matter/Art as quality of experience. Group discussion. OCTOBER 27TH morning Mineral Matter, Relationship with mineral, Landscape, Perception of the environment morning. Field trip and fieldwork: Serra di Ivrea (Andrate), Piedmont; Monti Pelati Natural Reserve (Baldissero Canavese), Piedmont. afternoon Brosso Mines (Val Chiusella), Piedmont; Cittadellarte, group discussion . OCTOBER 28TH morning Pebbles and riverscapes.Field trip and fieldwork: Lame del Sesia Park - Sesia’s riverbanks
afternoon Workshop session, guest: Attila Faravelli. OCTOBER 29TH morning Vegetable Matter, Gathering instinct, Means of nourishment. Field trip in the neighbourhood of Cittadellarte, gathering wild plants (edible and medicinal). afternoon Workshop session: Collective experimentations from the projects Epiderma and Esculenta. OCTOBER 30TH morning Workshop session: individual and group elaboration on the materials collected and the experience matured in the previous days. “All art is environmental art”, group discussion. afternoon Final discussion and public presentation of the works/ documents produced during the workshop sessions. evening Party. REFERENCES · Jane Bennett, Vibrant Matter: A Political Ecology of Things, Duke University Press Books, 2014. · Matthew Calarco, Zoographies: The Question of the Animal from Heidegger to Derrida, Columbia University Press, 2008. · Roger Caillois, Writing of Stones, University of Press Virginia, 1985 (translation of L´Ecriture des pierres, Genève, Editions Albert Skira, 1970). · Roger Caillois, Pierres et autres textes, Paris, Gallimard, 1970. · Daniel Chamovitz, What a Plant Knows. A Field Guide to the senses, New York, published by Scientific American/Farrar, Straus & Giroux, 2012.
· John Dewey, Art as experience, Perigee, New York, 1934.
· Michelangelo Frammartino: The four times (2010) and Trees (2013).
· Giuseppe Di Napoli, I principi della forma, Giulio Einaudi Editore, 2011.
· Werner Herzog: Desert Apocalypse (1992).
· James J. Gibson. The ecological approach to visual perception, Houghton Mifflin, 1979. · Tim Ingold, The perception of environment: Essays on Livelihood, Dwelling and Skill, Routledge, 2000. · Tim Ingold, Making. Anthropology, Archaeology, Art and Architecture, Routledge, 2013. · Sanford Kwinter, “A Discourse on Method” in Explorations in Architecture, ed. Reto Geiser (Basel: Birkhäuser, 2008), p. 46. · Edgar Morin, The Method: Towards a study of humankind. The Nature of Nature, Vol. 1, Princeton University Press, 1977 (translation of La méthode 1. La Nature de la Nature, Seuil, 1977). · Edgar Morin, The Method: Towards a study of humankind, The Life of Life, Vol. 2, Princeton University Press, 1980 (translation of La méthode 2. La Vie de la Vie, Seuil, 1980). · Timothy Morton, Ecology Without Nature: Rethinking Environmental Aesthetics, Harvard University Press, 2009. · Timothy Morton, The Ecological Thought, Harvard University Press, 2012. · Alfonso Ottobre, Arte, Esperienza e Natura. Il pensiero estetico di John Dewey, Albo Versorio, Milano, 2012. · Richard Sennett, The Craftsman, Yale University Press, 2008.
Projects by Andrea Caretto | Raffaella Spagna: www.esculenta.org
The EPIDERMA project focuses the attention on the Skin, semipermeable membrane that at the same time separates our body from the surrounding environment and puts us in connection with it, allowing substances from outside to get into our body and vice versa. The skin is the interface with the external world, and is a way through which we can feed on our body. Epiderma is an experimentation on our deep relationship with plants: what seems to be «other than us» become part of our body entering through our skin, another way to feed ourselves.
E.S.C.U.L.E.N.T.A - from Latin: edible things - originated from an internal motion and is the external form of both impulses and instincts. It tells about the ancestral and natural need for collecting what is spontaneously available in nature and eating it in order to sustain one’s existence and physical vitality. The base and founding purpose of the entire project is to establish a contact with the essential need of selfsustenance and sheer physical survival. The action of collecting spontaneous natural material (vegetable or mineral) represents the first and most important phase of the project involving all the participants completely, both physically and with their senses. The forms and the levels of involvement in the project are extremely various and include: collecting natural spontaneous material / working, transforming and preserving raw materials / cooking experiments / providing information and expertise on the subject.
Over the weekend we built a brick and earth oven. We used it to try and melt hematite ores collected from an ancient cave in the Brosso mines, lower Val Chiusella. The objective: obtaining forgeable iron!
Module 15
Creating Territorialities: a project co-funded by the Creative Europe Programme of the EU mentored by Giusy Checola with the guest Thomas Gilardi 2 / 6 Novembre 2015
10 artists and professionals from different fields related to the investigation of forms of territorialities, such as sociology, music, cultural studies, media and technologies, agriculture, landscape architecture, urban planning and education. Creating Territorialities was a weekly residency programme developed for Cittadellarte in the frame of Understanding Territoriality: Identity, Place & Possession, a project cofunded by the Creative Europe Programme of the European Union and produced in partnership by Fabrica (UK), Netwerk (Belgium), Otvorena Soba (Macedonia) and Cittadellarte - Fondazione Pistoletto (Italy). SCHEDULE
TAGS: Territoriality and extraterritoriality, spatial articulation, historical, cultural and environmental stratifications, spatial and temporal discontinuity, social and territorial identification, imagined communities Participants: Ágnes Básthy, Johanna Bratel, Anna Bromley, Bahar Habibi, Diva Helmy, Lorenza Ippolito, Lia Krucken, Ji Hyun Park, Alessandro Perini, Vittoria Soddu. www.fabrica.org.uk www.netwerk-art.be/en www.publicroom.org www.cittadellarte.it
NOVEMBER 2ND morning 10.30 / Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan). Presentation of UNIDEE by director Cecilia Guida.Presentation of the program and objectives, introduction to the requested outcomes of the research week. Presentation of participants’ work and statement. afternoon 15.00 – 16.30 / Collective discussion about individual motivations and starting images in relation with Creating Territorialities topics. 16.30-17.00 / Coffee break. 17.00-18.30 / Collective discussion about local forms of territoriality together with Enrico Rey, activist and expert of politics of immigration at SPRAR Biella (Protection System for Asylum Seekers and Refugees). NOVEMBER 3RD morning 9.00 – 13.00 / Geographical exploration in Biellese territory,
The place in between: La Trappa di Sordevolo. afternoon 15.30 – 16.30 / Coffee with local guests: Il Biellese è un territorio fondato sul lavoro (the Biellese is a territory founded on the work). 16.30-17.00 / Break. 17.00 – 18.00 / Video screening. 18.00 – 19.30 / Biellese in Transition: aperitivo with Ellen Bermann, cofounder of Transition Town Italy and board member of Transition Network, discussion about paradigms of changing and processes of cultural and economic transitions between art, activism and resilience. NOVEMBER 4TH morning 10.00 – 11.30 / Il Biellese è un territorio fondato sul lavoro (the Biellese is a territory founded on the work): meeting with Luigi Spina, researcher on history and society, representative of Biellese Ecomuseum. 11.30-12.00 / Coffee break. From 12.00 / Free working time on final outcomes (the mentor is available for individual discussions). afternoon 15.00 – 16.00 / International on line meeting about Creating Territorialities topics. 16.00-16.30 / Coffee break. 17.00-19.00 / Geographical laboratory: discussion about the exploration at La Trappa and lecture by Thomas Gilardi. 19.30 – 21.30 / Dinner. evening 22.00 – 00.00 / Time and Heritage in uninterrupted forms of territoriality: visit at the Ricetto di Candelo, with Thomas Gilardi. NOVEMBER 5TH morning 10.30-13.00 / Geographical laboratory: discussion about the exploration at Ricetto di Candelo and lecture by Thomas Gilardi. afternoon 14.30-17.30 / Free working time on final outcomes (the mentor is available for individual discussions). 18.00 – 19.30 / Discussion with the
mentor about the final outcomes (individual and collective). NOVEMBER 6TH morning 9.30-13.00 / Free working time on final outcomes and setting up. afternoon 15.30 – 18.30 / Open studios: presentation of final outcomes by TIPP participants and collective discussion on Creating Territorialities’ topics and outcomes with TIPP Partners and local associations. REFERENCES · BHABHA Homi, The location of culture, London, Routledge, 1994. · CASTORIADIS Cornelius, The imaginary institution of society [L’institution imaginaire de la société, Paris : Éditions du Seuil, 1975], translated by Kathleen Blamey, Cambridge, The MIT Press, 1998. · COSGROVE Denis, Geography and Vision. Seeing, Imagining and Representing the World, New York, I.B.Tauris & Co Ltd, 2008. · GRAHAM Mark, ZOOK Mathew, Augmented realities and uneven geographies: exploring the geolinguistic contours of the web, Environment and Planning A, 2013, Vol. 45, pp. 77-99. · HARDIN Garret, The tragedy of the Commons, Science, New Series, Vol. 16, No. 3859 (Dec. 13, 1968). · HARTOG François, Time and Heritage, Museum International, Oxford and Malden (USA), Blackwell Publishing, No. 227 (Vol. 57, No. 3, 2005). · MAGNAGHI Alberto, Draft of the Territorialists’ Society Manifesto, Florence, 21st February 2011.
We explored Biellese territory under the guidance of the guest Thomas Gilardi that helped us to improve and develop tools and methods from geography, to understand territories and plan our actions on them. Geography can be a creative act!
Excerpts from Creating Territorialities, text by Giusy Checola for UNIDEE.
Module 16
Performative situations in public space. The research and action group mentored by Omer Krieger 16 / 20 November 2015 TAGS: Performance, action, public space, group, politics, public choreography, conflict, civic ritual, ceremony, assembly, state art
Participants: Andrea Alauria, Katia Greco, Miles Greenberg, Lucia Palmero, James Phillips, Miriam Secco, Laurent Vernet, Filippo Vinci.
The module started with the formation of a group out of several individuals. We discussed and researched together which groups act in public space and we trained to become one, or more. We became a group of people moving together, building common performance structures, self-design of shared behaviour, as moments and building blocks of a public choreography that can serve to manifest, attack, defend, protest, relate to other people, create conflict and pleasure, violence and beauty, reality and fiction. Using videos, photos and other documents, and, most importantly, the participants’ own experience and physical knowledge, we worked in the studio and moved on to outdoor public spaces, creating formations of power, resistance, friendship, solidarity. We walked into town and studied it together: reading and analysing public choreography, the performance of the state, modes of civic behaviour, performances of power, order and danger. We chose a public site to relate to, or invent one, and developed a public ceremony, a performative situation to activate and celebrate it, following a research of commemorative actions and new rituals for sites of past and present conflict, in relation to architecture, politics, public sculpture, urban space, and involving questions of pilgrimage, assembly, collective progression, spatial tensions, the performance of mythos and ethos. SCHEDULE NOVEMBER 16TH morning Guided tour to Cittadellarte,
including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan). afternoon Group Trip in Biella.Getting to know each other; public and group biographies of participants, including histories of conflict and collective action. Found dance and theatre, imagery and sound on the street. Using public sculpture and furniture, inahabiting symbolic sites and common spaces. NOVEMBER 17TH morning Participants present videos of readymade moments of public performance: state and opposition, critical and affirmative, announced and unannounced, singular and collective. Discussion and analysis. afternoon Group walk in the area and town, locating, documenting and analysing public choreography and ready-made performance, ritual and pilgrimage. evening Screenings: public actions and ceremonies. NOVEMBER 18TH morning How do we move together? Writing collective movement in the studio and public space. Notations, group communication, code, language. Accident and emergency cases. afternoon Walking the scores. NOVEMBER 19TH morning Politics today. Where do we stand, What do we move for, Where do we move, What do we commemorate. Do we assemble for joy or mourning, consensus or conflict, belonging or standing out. Clear demands vs. positions of ambivalence. afternoon Writing a choreographic score for the group, a route in town. How do we move and where to. Maps, locations, writing of collective movement, action procedures and
protocol of behavior. evening Fake Party. NOVEMBER 20TH morning Rehearsal and preparations for final action. afternoon Final action in town. evening Party.
More info about Omer Krieger’s project: www.omerkrieger.org/06-15-Now-The-Clash
Images: 1. Poetical Licence, Sarenco, 1973. 2. Omer Krieger, Now (The Clash), 2015.
NOW (THE CLASH) An urban confrontation between state power and civil movements. It is a dance with traces of civil protests and resistance movements from history, in the bodies and in distinctively political places such as Tahrir Square, Gezi Park or Wall Street, Maidan Square or East Jerusalem. Confrontations between citizens and police become recurring political events worldwide. NOW (THE CLASH) researched their dynamics and involved the public in choreography that begins with a gathering and ends in conflict in Hamburg’s city centre. NOW (THE CAMP/THE CLASH) is a performance in two acts. The part 1, entitled NOW (THE CAMP) took place on 30th May 2015 at the Neuengamme Concentration Camp Memorial. It consisted of seven gatherings of commemoration and remembrance, as well as an artistic intervention.
We experienced how to share physical knowledge, how to create movements in the city, how to analyze bodies and gestures in the urban space. We tried to create dialogue between our bodies and the city: its gardens, its squares, its monuments.
For the end of the module we designed and we acted together a public choreography in Esselunga, Biella’s mall. We developed a public ceremony inside and outside the mall, crossing the street, arriving in the square... a new ritual between present and past.
Module 17
Recipe for Stone Soup: How to Let Time Cook Us All. Precedures for Conversational Practice in Contemporary Art mentored by Monica Narula (Raqs Media Collective) with the guest Rasmus Nielsen (Superflex) 23 / 27 November 2015 TAGS: Improvisatory knowledge, foraging practices, conversation, the effect of time on a gathering of ideas Participants: Mariangela Aponte, Roberta Bernasconi, Simone Frangi, Katia Greco, Sergey Kantsedal, Katia Schneller, Vitalij Strigunkov, Filippo Vinci.
A folk tale found in many cultures speaks of the magical culinary ability of a host surprised by a sudden guest which consists of her being able to cook a delicious soup, out of odds and ends, (with a hot stone as a base ingredient), apparently out of nothing. The host makes the delicious soup, insisting all the time that it is made of nothing but stone, while borrowing odd bits of flavouring and an assortment of ingredients from the guest and from neighbours. Raqs Media Collective deployed this method to devise a set of procedures for the making of an art work / situation while directly addressing the questions of temporality, responsibility and participation. A gathering of participants who committed to acting together for a few days was asked by Raqs to contribute with a “hot stone” - an idea, an image, a question, a memory, a hope or an anxiety. These “hot stones” were the catalysts for a “soup” or “soups”, which Raqs cooked, together with the participants, in the course of the module. The “stones” interacted with each other and with their contributors, over time, to produce a matrix of possibilities - a soup full of charmed and flavoursome particles. Some of this might give rise to art works, or curatorial, or educational projects. In this way, Raqs introduced methodologies of collaborative work, protocols of thinking together in a public way, and invited the module participants to consider the task of thinking together as a joyous and delicious activity.
SCHEDULE NOVEMBER 23RD morning Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan). Introductions. afternoon Setting out of the idea of the “hot stone”. Discussion of what catalysts can mean in artistic and curatorial contexts. Viewing of Capital of Accumulation (Raqs Media Collective); discussion of what could have been the “hot stone” in this work. Discussion of assignment for the next day - Readings, as well as the task to find a “hot stone” for each participant. NOVEMBER 24TH morning Report on assignment - each participant to bring their “hot stones” to the table, accompanied by showing of short excerpts from the participants selected works. Raqs feedback on the participants work, and assignment. Discussion. Participants to jointly propose two works (by other artists) to be seen by the group. afternoon Discussion of Readings - “Wonderful Uncertainty”, “For the Curatorial, from the Trapeze” and “Syn Processes” (Texts by Raqs). Viewing of Raqs work - “Strikes at Time” Discussion. Further refinement of Participants’ “Hot Stone” projects, in smaller groups. evening Viewing of the works proposed by the group. NOVEMBER 25TH A day with Rasmus Nielsen (Superflex). morning Screenings and discussion of Superflex works. afternoon Viewing of the works proposed by the group. NOVEMBER 26TH morning-afternoon Participants spend the day working on their projects. Raqs visits them in turns, and one on
one discussions. Finishing of projects. Preparation of presentations. NOVEMBER 27TH morning-afternoon Presentation and performances of the Hot Stone Projects throughout the day. evening The Stone Soup Party (Based on pot-luck principles!) REFERENCES · Wonderful Uncertainty (Raqs Media Collective). · For the Curatorial, from the Trapeze (Raqs Media Collective). · Syn Processes (Raqs Media Collective).
Once upon a time, somewhere, some travelers come to a village, carrying nothing more than an empty cooking pot. They go to a stream and fill the pot with water, drop a large stone in it, and place it over a fire. One of the villagers becomes curious and asks what they are doing. The travelers answer that they are making “stone soup�, which tastes wonderful and which they would be delighted to share with the villager, although it still needs a little bit of garnish, which they are missing, to improve the flavor. The villager, who anticipates enjoying a share of the soup, does not mind parting with a few carrots, so these are added to the soup. Another villager walks by, inquiring about the pot, and the travelers again mention their stone soup which has not yet reached its full potential. The villager hands them a little bit of seasoning. More and more villagers walk by, each adding another ingredient. Finally, the stone is removed from the pot, and a delicious and nourishing pot of soup is enjoyed by travelers and villagers alike. Although the travelers have thus tricked the villagers into sharing their food with them, they have successfully transformed it into a tasty and nutritious meal which they share with the donors. The moral is that by working together, with everyone contributing what they can, a greater good is achieved.
Raqs Media Collective Raqs’ could be an acronym for ‘rarely asked questions’, giving name to the pockets of misunderstanding or leaves of research left unturned. Are they ‘rarely asked’ out of shyness, ineptitude, apathy? Or are they ‘rarely asked’ because the answers could be as convoluted as the questions themselves?
Strikes at Time, 2011. 2 synchronized video projections with sound. “Strikes at Time” is a lucid dream, readings from an occasional anonymous journal, and a long walk at the edge of the city of the night. In that no man’s land annexed by the awakening mind from the fatigue of the labouring day, the work weaves together a disquisition on time in the form of a discreet annotation on the philosopher Jacques Rancière’s The Nights of Labour, together with renditions of the found text of a worker’s diary by the CyberMohalla Ensemble, a group of unorthodox proletarian urbanists that [we have] been in dialogue with over a decade. The shadowy presence of a Yaksha and Yakshi – guardians of wealth in Indic mythologies – stands watching over the work, marking time with questions.
Showing and getting inspirations from Superflex’s art projects.
ALESSANDRA DONATI
SMartBe
Alessandra Donati is a professor of Comparative Law of Contracts at Milan-Bicocca University and of Art Law in the Advanced Course in Contemporary Art Markets at NABA. A lawyer, she specializes in Art Law and in particular in legal issues connected to contemporary art. She is the VicePresident of the Scientific Committee of the Italian Association of Artists’ Archives and a member of the board of Careof, Milan. She edited the “Principles of Good Practices of the members of the Italian Association of Artists’ Archives” and, together with other scholars, the Manifesto for the rights of contemporary art. With the artists’ group Vladivostok she drafted the Models of artists’ contracts. She has participated in many international conferences and symposiums.
SmartBe was created in 1998 in Bruxelles (Belgium) as a non-profit organization aiming at providing artists and professionals of the cultural sector with concrete responses. SmartBe offers services of personalized consultancy, professional training and useful tools for cultural management, reaching the heart of the complex situations creatives have to deal with as they often work on individual projects and their role shifts from client to employer to employee, protected by a legal system usually inadequate and unsuitable in respect to their actual working conditions. SmartBe facilitates the process of simplification of those regulations often hindering mobility and artistic work, through the development of accessible web interfaces, the management of the administrative aspects of the projects, personalized consultancies on legal, administrative and financial issues, besides services of financial support. Since 2010, SmartBe has developed an international network with – as of today – offices in Belgium, France, Sweden, the Netherlands, Germany, Spain, Austria, Italy and Hungary.
RAUMLABOR
BEATRICE CATANZARO
raumlaborberlin is a Berlin based group of 8 architects, founded in 1999, working at the intersections between architecture, city planning and art by means of performative, temporary interventions. raumlaborberlin’s works focus on urban transformations and the relationships between private and public space. Urban situations that are leftover and difficult to handle attract us. Artistic and architectural interventions serve us as tools of communication and open up new perspectives for alternative uses, collective ideals, urban diversity as well as difference. We explore and use what we find, the condition of the place and consolidate alliances between local actors and external specialists. The goal is an architecture that succeeds in merging space with subjective experiences, that allows people to discover new qualities and leads to an alternative understanding of the city. Our view of architecture doesn’t only connect to the built environment but rather to an experimental building laboratory for a participatory practice within the public realm. Architecture becomes the tool for finding and inventing a city of possibilities.
Beatrice Catanzaro’s current practice focuses on activating public participation and situations of mutual learning. She has been practicing throughout Europe, the Middle East and India. Her work has been exhibited internationally at (selection) MART Museum of Rovereto, Fundação Gulbenkian in Lisbon and the Espai d’Art Contemporani de Castelló (EACC) in Spain. In 2010, she moved to Palestine, where she currently teaches at the International Art Academy of Palestine (Ramallah) and initiated the participatory art project Bait al Karama in Nablus. She is currently PhD research candidate at the Oxford Brookes University, Oxford, UK.
STEALTH.UNLIMITED
SANTIAGO REYES VILLAVECES
STEALTH.unlimited (Rotterdam / Belgrade) is a practice set up in 2000 by Ana Džokić and Marc Neelen. Through intensive collaboration with individuals, organisations and institutions, STEALTH connects urban research, spatial interventions and cultural activism. Ana and Marc’s projects mobilise thinking on shared future(s) of the city and its culture, like, Archiphoenix: Faculties of Architecture at the Dutch Pavilion at the Venice Architecture Biennial (2008), the Tirana International Contemporary Art Biannual (2009), IMPAKT Festival Matrix City in Utrecht (2010), the fiction-based project Once Upon a Future made for Evento in Bordeaux (2011) or the exhibition A Life in Common with Cittadellarte/ Fondazione Pistoletto, Biella (2012) and Medellin (2014).
Santiago Reyes Villaveces is a visual artist, lives and works in Bogotà, Colombia. His work respond to an inquiry, obsession, fascination, and pleasure for the structures, assemblages and dynamics that evidence the state of transitivity and precariousness that appeal to a state of temporal indetermination. The works – installations, sculptures, drawings and photographs – are characterized by notions of scale, volume, weight, gravity, surface, pressure, contention, resistance, verticality, horizontality, limit and depth, creating an intimate relation with the space, architecture, the spectator’s body and the temporality of the exhibition and the pieces. The works transform, determine, modify, and interfere in the physical space in which they operate as well as the social, political, economic and historical space they inhabit and its possible modes of production, exhibition and circulation. He teaches Visual Cultures, Infographics, Writings and mediations and Transmedia workshop in several Universities in Bogotà, among those Universidad Javeriana (Department of Communications), Universidad Jorge Tadeo Lozano (Art Department), La Salle College and Taller 5.
MANUEL ÁNGEL MACIA Manuel Ángel Macia is an artist. He works and lives in London, where he is a currently finishing a practice based PhD (Goldsmiths). His project charts the capitalisation of language as it intersects mechanisms of knowledge production. He recently collaborated with Rampa (Madrid) and LaAgencia (Bogotá). As of late, his interests have inclined towards aesthetics/politics from the vantage perspective(s) of subsumed perceptual warfare.
ANDREA CARETTO AND RAFFAELLA SPAGNA Andrea Caretto (Turin, Italy, 1970) and Raffaella Spagna (Rivoli, Italy, 1967) explore the profound relationships linking human beings to the environment. They conceive art as inquiry, a tool to investigate the multiple dimensions of reality: formal, qualitative and physical quantitative aspects of matter but also philosophical and social ones. In keeping with their educational backgrounds – Landscape Architecture for Spagna, Natural Sciences and Scientific Museology for Caretto – their projects generate complex installations that simultaneously present the study, demonstration and experimentation of their relationship with nature. They investigate the links between human beings and other organisms and inorganic matter, developing longterm projects. They have been working together on a regular basis since 2002, exhibiting in public and private institutions in Italy and abroad. They are among the founders of the artist collective “Diogene” (www.progettodiogene. eu) and collaborate with the research Center IRIS (Interdisciplinary Research Institute on Sustainability) of the University of Turin and Brescia. They live and work in Cambiano (Turin, Italy). www.esculenta.org
ATTILA FARAVELLI
OMER KRIEGER
Attila Faravelli lives and works in Milano (Italy). In his practice he explores the relationship between sound, space and body. His solo music is released by Die Schachtel and Senufo Editions, in duo w/Andrew Belfi (Tumble) he released on Die Schachtel, on Boring Machines with Nicola Ratti and on Presto!? with the artist Nicola Martini. Together with Enrico Malatesta and Nicola Ratti he is founder of the trio ~Tilde. He presented his work in Europe, USA, Cina and South Korea. In 2010 he participated to the 12th International Biennial of Architecture in Venice. Since 2011 he curates The Lift Series of experimental music concerts. In 2012 he was chosen as the Italian curator for the Sounds of Europe project. He is founder and curator for the Aural Tools project, a series of simple objects to document the material and conceptual processes of specific musicians’ sound production practice. Aural Tools are acoustic devices for relating sound to space, the listener, and the body in ways unavailable through traditional recorded media such as CDs or LPs. www.auraltools.com http://attilafaravelli.tumblr.com/
Omer Krieger is an artist and curator who composes performative actions, political situations, forms of assembly and civic choreographies in public spaces. Krieger studies the public experience and the performance of the state, and is interested in the relations between art, citizenship, politics and action. Co-founder of the performative research body Public Movement, Krieger has served for the last four years as artistic director of Under the Mountain: New Public Art Festival in Jerusalem.
MONICA NARULA / RAQS MEDIA COLLECTIVE
RASMUS NIELSEN / SUPERFLEX
Raqs Media Collective enjoys playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs. They make contemporary art, have made films, curated exhibitions, edited books, staged events, collaborated with architects, computer programmers, writers and theatre directors and have founded processes that have left deep impacts on contemporary culture in India. Raqs (pron. rux) follows its self declared imperative of “kinetic contemplation” to produce a trajectory that is restless in terms of the forms and methods that it deploys even as it achieves a consistency of speculative procedures.
Rasmus Nielsen is co-founder (1993, with Jakob Fenger and Bjørnstjerne Christiansen) of the Danish artists’ group Superflex. Superflex describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users. Superflex have had solo exhibitions, among others, at the Kunsthalle Basel (CH); GFZK and Shirn Kunsthalle (DE); REDCAT Gallery, Gallery 1301PE and Hirshhorn Museum and Sculpture Garden (USA); Mori Museum (JP). The group has participated in international arts biennials such as Gwangju (KR); Istanbul (TR); São Paulo (BR); Venice (IT).
The Raqs Media Collective was founded in 1992 by Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. Raqs remains closely involved with the Sarai program at the Centre for the Study of Developing Societies (www.sarai.net), an initiative they co-founded in 2000.
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 the first year, and with a long history of residency programmes for international students (2000-2013) behind it, the new UNIDEE format proposes for the year 2015 a close examination of three macro-themes: Temporality, Responsibility and Participation.
UNIDEE - University of Ideas 2015 Programme directed and curated by Cecilia Guida With the collaboration of Juan Sandoval Under the supervision of Paolo Naldini Programme Coordinator: Elisa Tosoni (Spring/Summer term) Roberta Bernasconi (Fall term) Assistant Director: Giulia Crisci
@unideeuniversityofideas unidee_universityofideas @unidee_universityofideas @_unidee unideevideo
www.cittadellarte.it/unidee/
CECILIA GUIDA Cecilia Guida (1978), Programme Director and Curator, UNIDEE University of Ideas. She is Doctor in Communication and New Technologies of Art (IULM, University of Milan, 2011), specializing in relations among participative art practices, new technologies and contemporary public space. She is Professor of Contemporary Art History at the Academy of Fine Arts (Bologna). She has taught at the Academy of Fine Arts (Florence, 2013-2016; L’Aquila, 2011-2014; Rome, 2004-2007), at IUAV University (Venice/Treviso, 2008-2009) and at La Sapienza University (Rome, 2004-2007). Member of the IKT - International Association of Curators of Contemporary Art, she has curated exhibitions in museums as well as public and independent spaces in Italy and abroad (“ARTInRETI. Art practices and urban transformation in Piedmont”, Cittadellarte, 2012 and 2013; “Take Your Time”, Tank Space for Performing and Visual Arts, New York, 2009; “Fuori contesto”, public spaces in Bologna, Milan, Trento/Rovereto/ Bozen, 2008; “Menu”, Spaziorazmataz Prato, 2007; “Aprés le diner sur l’herbe”, Villa dei Quintili, Rome, 2007 etc.). She is author of the book Spatial Practices. Funzione pubblica e politica dell’arte nella società delle reti
published by Franco Angeli in 2012. She is editor and translator of the Italian version of Artificial Hells. Participatory Art and the Politics of Spectatorship by Claire Bishop (Inferni Artificiali. La politica della spettatorialità nell’arte partecipativa, lucasossella editore, 2015). Cecilia is a former UNIDEE resident (2009).
JUAN ESTEBAN SANDOVAL
PAOLO NALDINI
Juan Esteban Sandoval (1972), Head of projects and Director of Cittadellarte’s Art Office.
Paolo Naldini is the Director of Cittadellarte since 2000. In 1996 he gained a degree in Economics from Turin University with a dissertation on urban derelict buildings and lands, in connection with the Faculty of Architecture. From ’94 to ’97, he worked as an account manager at F.&T. Srl Consulting in Turin, then moved to England’s West Country; from ’97 to 2000, he worked for Westland Helicopters Ltd, Yeovil, in the finance department, as Accounts Officer and Trend Analysis Researcher.
As artist, he has exhibited internationally since 1994. He is the co-founder of “el puente_lab” art collective in Medellín, a platform for artistic and cultural production which uses contemporary art as a tool for the social trasformation. Since 2002 he has been the director of the Art Office of Cittadellarte, coordinating the realization of 13 editions of “Arte al Centro” exhibitions within the Foundation’s premises and a number of exhibitions in other locations, among others, the MuKHA in Antwerp, the Island of San Servolo for the 50th Venice Biennial, Modena’s Galleria Civica and the MAXXI Museum in Rome. He co-curated the exhibition “Cittadellarte. Sharing transformation” at Kunsthaus in Graz, the first two editions of the seminar “Methods. Research project on art-society relation” and two workshops of shared interdisciplinary planning in Venice and in Gorizia, Italy. Juan is a former UNIDEE resident (2000).
Paolo writes texts and often talks at conferences on Art and Society. His aptitude for words has recently brought him to create the word demopraxy, “a tension toward a new and pulsating declination of the concept of democracy along the lines of concrete experimentation, of direct and working commitment, open and ongoing involvement” or, to say it more plainly, democracy in first person, which refers to all those practices and methods that focus primarily not on the power of the people, but rather on what people do in and of the public space, the things they create in practice as urgent and de-ideologised responses to expropriation in all fields of life. He founded a web project dedicated to exploring creative collaboration by meeting and writing in different places in the city of Turin.
GIULIA CRISCI Giulia Crisci (1989), Assistant Director and Curator in 2015 and 2016, UNIDEE - University of Ideas. She studied Art History at the universities of Palermo and Turin. An independent curator based in Turin, she is interested in the relationship between art and activism within the public realm and the social sphere. Enacted practices – often in the form of collectives or assemblies – are concentrated on territorial communities, with a particular focus on the city and its tension zones, in the attempt to trigger spaces for critical thought and collective action. She was part of the coordination team of Resò - International Network for Art Residencies and Educational Programs. Giulia curated Valentina Miorandi’s itinerant project “Turning Tables”, consisting in the collective construction of an archive of cultural activist experiences. Since 2011, she worked as personal assistant to the artist Marzia Migliora. She collaborates with “Libera in Sicily. Associations, names and numbers against mafias” towards a creative rethinking of social antimafia. She curated several projects within the artistic/curatorial collective Balloon, whose research lays at the boundary between critical writing, projects, web platform and independent micropublishing.
She was assistant curator for the 2014’s edition of Eco e Narciso, Turin’s public art project, and she was a member of the educational department of Palermo’s Museo Riso.
ROBERTA BERNASCONI Roberta Bernasconi (1985), Programme Coordinator 2015 and 2016, UNIDEE - University of Ideas.
Thoughts” project and the SCEPSI conferences run by Franco BerardiBifo.
She holds a masters degree in Visual Arts from IUAV University in Venice. She is working research based on art in the public space and on the approach of the spectator to it. She write her degree thesis on public art in Naples, her hometown, defining the dynamics between institutions and monuments, and participatory actions and collectivity.
She worked for the Musei Civici of Venice, implementing and promoting educational activities for groups of schools, adults and families. She is cultural operator, active in the Venitian Museums network and in Biennale Foundation. She accepts skepticism towards art as a form of positive stimulation and supports projects producing culture, generating knowledge and defining social actions in the collective space.
She completed two semester studies abroad, at École de LaCambre in Brussels and at Bezalel Academy in Jerusalem. She works as an artist producing installations and performances and she finished her studies with a thesis titled “the Other israeli, the Other palestinian. Shooting the enemy”. Since 2010 she has been conveying her artistic practice into a multidisciplinary attitude, permitting her to develop creative methods able to turn art into something accessible to all. In 2012 she worked in the Maybe Education and Public Programs department of dOCUMENTA(13), extending her research on the uncertainty of knowledge and on the impossibility of defining the work of art. While in Kassel she coordinated the “Readers’ Circle. 100 Notes-100
UNIDEE - University of Ideas 2015 is made possible thanks to the collaboration and support of: 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.; RESÒ Network; A.M. Qattan Foundation (PS); Inlaks Shivdasani Foundation (IN); Università degli Studi di Torino (IT); Polo Universitario di Biella e Novara (IT); Politecnico di Milano (IT); Università IUAV, Venice (IT); Ars Academy, Milano (IT); Accademia di Belle Arti di Brera, Milan (IT); Accademia di Belle Arti di Roma (IT); Accademia di Belle Arti di Firenze (IT); Università La Sorbonne, Paris (FR); École supérieure d’art et design – ESAD, Grenoble (FR); École cantonale d’art du Valais – ECAV, Sierre (CH); University of Dundee - Visual Research Centre, DJCA - Duncan of Jordanstone College of Art and Design (UK); Stipendium for Depth Development Artistic Practice, Mondriaan Fund (NL).