UNIDEE NOTEBOOKS 2016 | n. 1

UNIDEE - University of Ideas

UNIDEE NOTEBOOKS 2016 | N.1

Notes from the residential modules 2016 Spring/Summer programme mentored by Expodium (Nikos Doulos and Bart Witte); Jason Waite with Adelita Husni-Bey; Lara Almarcegui with Marco Giardino; Cesare Pietroiusti with Aldo Spinelli; Martino Gamper with Visible (Matteo Lucchetti and Judith Wielander); Giusy Checola with ‘L’Italia che Cambia’ and ‘Transition Town Biella’; Attila Faravelli and Enrico Malatesta with Nicola Ratti.

Cittadellarte Edizioni, 2019 ISBN: 978-88-98698-22-6 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 “Mineral Rights.

Site Exploration: Biella Guide Tours”, mentored by Lara Almarcegui, 2016. Credits UNIDEE.

UNIDEE - University of Ideas

UNIDEE NOTEBOOKS 2016 | N.1

Notes from the residential modules 2016 Spring/Summer programme mentors and guests: Expodium (Nikos Doulos and Bart Witte); Jason Waite with Adelita Husni-Bey; Lara Almarcegui with Marco Giardino; Cesare Pietroiusti with Aldo Spinelli; Martino Gamper with Visible (Matteo Lucchetti and Judith Wielander); Giusy Checola with ‘L’Italia che Cambia’ and ‘Transition Town Biella’; Attila Faravelli and Enrico Malatesta with Nicola Ratti;

Cittadellarte - Fondazione Pistoletto, Biella

UNIDEE - University of Ideas, STATEMENT 2016

by Cecilia Guida

There is no surer way of evading the world than by Art, and no surer way of uniting with it than by Art. Johann Wolfgang Von Goethe, The Maxims and Reflections of Goethe

In 2015, UNIDEE – University of Ideas, inheriting a long experience of residency for international artists (2000-2012), launched within the unique and special context of Cittadellarte – a research centre and an exhibition area – the experimentation of an educational prototype or ‘model’ that combined theory with practice, which bases the processes of learning on doing and discovery, favouring the exercising of imagination through a meeting with the differences and plurality of languages, and that responds to the desire and need to delve more deeply into things, phenomena and stories through relationships, dialogue and the exchanging of views of the participants. Through residential dynamics, UNIDEE sees education as a life experience and social process characterised by the particular cognitive and emotional intensity of the exchange by members of the spontaneous community that is formed each week within the module.

This is an educational model based on a research and project laboratory under the guidance

of a mentor who is an expert in the theme of that specific module and the active participation of a guest with the objective of examining the topics in their complexity and many facets, trying to maintain a balance of the thought forms (theories) and free or unforeseeable situations (creative processes).

The participants create a common space, conversational and relational, in which attention is placed on the procedure and final collective shape that closes the educational experience without turning to easy and preestablished formulae but through the organisation of complicated situations that vary each time, without worrying about precise goals that need to be completed but reaching their conclusions slowly following the time required for reflection, deeper consideration and imagination.

The laboratory modality with which we work together with mentors requires the participants to be involved in questioning their own field, using dialogue and collaboration to evolve their ability to interact in this game as though exercising in a gym of complexities, the unpredictability of performing moves; this allows the development of a doing attitude, giving value to mistakes, comparing contrasting points of view, opening up to view and do things differently than usual, shifting from one position to another without losing attraction for personal territory or language; favouring the ability

to localize problems, enter into details, ask questions, confound significance and uses, and create new openings in meanings.

The didactic approach is a demopractical one of responsible use of power, in the manner of circulating and distributing knowledge within the group, which is expressed, for example, in the dual-dialogue between mentor and guest and between the mentor and participants where the horizontal and circular sharing of knowledge is aimed at the creation of a common ground and language.

A brief time, a pause of one week or longer (for those deciding to return) is what the participants allow themselves away from their usual routine so as to expand on a topic or add final touches to a project, and therefore return to study or work in their own contexts. The intent of the modules is to form ‘artivators’, people who intend to use art as a methodology, practice and language, becoming agents for the activation of responsible actions and processes in urban transformation and social emancipation in the territories in which they live and carry out their professional activities.

The originality of the UNIDEE programme lies in its collaborating with Universities and Academies of the Fine Arts so as to identify reciprocal shortcomings and intervene in the more immediate critical

necessities to elaborate together and find another path compared to that indicated by the traditional educational system; and, furthermore, thanks to the flexibility of the modules, to invent new residential formats, similar to what happened with the redefining of long residencies and in the development of two projects co-financed by the European Union “Ottomans and Europeans” and “Understanding Territoriality: Identity, Place & Possession – TIPP”, where every week the artists in residence met couples of intellectuals and operators in the sector at an international level and exchanged ideas and opinions with them, having collective discussions full of new stimuli and in-depth content for the final Open Studios.

Encouraged by the unexpected high number of participants (111 presences from 16 different countries) and their enthusiastic feedbacks and proposals for future developments of this new educational model experimented in 2015, the intention for 2016 is to continue to analyse and thus fine-tune this educational method through the close examination of three other macro-topics, which are research, gift and alteration, considered central to both theoretical reflection and the practice of artists operating in the public sphere. With an interdisciplinary approach articulating these three concepts according to the Trinamic principle of Michelangelo Pistoletto, that

bases the cognitive process on the combination of detachment of an analytical approach with the implication of who is profoundly involved in the situations, the three semantic areas are considered in their inter-relationships as sites for generating forms of resistance, new possibilities in meaning and social transformation.

The word ‘research’ contains the act of ‘searching anew’ that refers back to semantic proximity, as well as for assonance, in the action of ‘encircling’ something, a study object, a disciplinary field, a territory and leads us back to that which is an aspect of the study method, in other words to the condition of losing one’s self while researching, with the impression of moving in a labyrinth (in which the work, from labor, shares the same etymological root labh) to regain the thread, relocate direction. Besides the willingness to lose one’s self, the research also includes the strain of intellectual and poetical in-depth analysis, attitudes of care and dedication, the ability to enter into the crevices, into the circles of things and discover hidden details due to curiosity and amazement.

Today this is nearly a privilege, as it is so difficult, to take a break from study, without taking anything away from work, to think according to the slow time of research that favours activities of reflection, impossible under the pressures of a project.

The latter, was already used by conceptual artists in the late 1960s

(in particular by the Art and Project Gallery in Amsterdam) to denote a proposal for an artwork, from the 1990s it became a broad term used to include various types of social art (collective practices, groups of self-organised activists, participatory art and socially involved and curatorial experiments), in which duration and process are more privileged compared to the aesthetic solution. In the present phase of cognitive capitalism dominated by networks and projects our working life is described by a succession of ‘projects’, based on efficient connections the value of which lies in the fact that they allow us to generate or enter into a following project, often very different in context and content (L. Boltanski and E. Chiapello, The New Spirit of Capitalism, 2005).

Having liberated the restricted space of the canvas and metabolised the processes and dispositifs through which life enters art and vice-versa, the challenge for artists today is to not abandon their own field of research but to occupy themselves with it, taking care to examine any potential in depth and to cultivate new possibilities. To not tie one’s self totally to the exclusive rules and transformative power of the art system, but rather stop without losing interest in one’s own research and language, and without being satisfied with crossings connected to the themed projects of a certain Biennale or

exhibition or space.

What are the survival strategies to resist the neo-liberalist spiral emphasized by multiple projects?

How do we regain the slow and unproductive time for research today?

By ‘gift’ a particular kind of gift is meant, the munus, aligned with the semantics of duty. The munus, contained in the Latin etymology of the term ‘community’ from communitas, is written into the dynamics of obligation: once accepted, it requires a suitable action to be released from that obligation (R. Esposito, Communitas, 1998). It involves making an exchange, which puts into motion a continuous exchange, and this creates a bond between the individuals based on a common commitment.

Considering the munus as a starting point, a new added value is found for the community and the relationship in juxtaposition with the donum armonicum, carried out in conformity with the autonomy of the subject and spontaneity of the gesture. With the munus the project of modernity and modern individualism is interrupted thus handing people the duty that binds them to each other and establishing between them a ‘contamination of relationship’.

The gift produces an asymmetry determined by the obligation to give, as though it expected to be given back or that something be returned in its place.

Therefore the gift, while on its own light, is in truth harder than the contract, in fact, it is a kind of non-crystallised contract.

This is why it creates social ties and alliances. The promise is another variation of the gift, it is implicit, and means we owe trust and loyalty to each other.

Recognition is the aspect of the gift that establishes dependence, asymmetry, a debt of gratitude towards another.

The intent is to investigate those signs, artistic experimentation and experiences that, uniting the dimensions of duty and freedom of dependency and inter-dependency as well as interest and disinterest, generate new life models in common and sustainability, outside of economic mechanisms that instead involve every human activity, based on social ties that are formed through the gift and generosity.

Is it possible to have models for sharing riches and exchange mechanisms based on the value of a gift and hospitality? How do we stimulate new forms of social relationships based on reciprocal trust?

The concept of alteration contains both the action that makes one thing ‘more’ than itself, as well as its result, or rather the mutation, modification or change that occurs through contact, relationship and comparison.

The term ‘modification’ and the verb ‘modify’ come from ‘modo /

modus’ and ‘to do / facere’, and indicate the introduction of acts that generate ways of being and doing for the other and in virtue of the other. Dealing with alteration means carrying out a reflection on different modalities, forms and methods to active transformative processes.

The choice of this word carries the intent to speak of the also delicate, but increasingly more evident, relationship between art and politics. Facing a crisis of the big forms of social mediation, it seems that attention regarding the functions of some of these historic models of mediation are returning to centre stage and, among these, the role of art in the creation of ‘another’ meaning of things and for the projecting of possible situations next to or in alternative to the dominant categories.

Actions, material and immaterial forms, symbolic and aesthetic, political and social, can alter and transfigure the value systems of institutions and re-signify the terms thus generating ‘other’ models and new institutional imaginaries.

This involves social processes that, exploring the cracks of semantic and functional categories and broadening the sphere of what is possible, in certain cases represent sources of disturbance and determine the place and time of a crisis, resistance and conflict (J. Rancière).

Having defined the investigation and activated the relational

mechanisms (thus combining the two previous terms), it becomes inevitable to talk about ethics: the artist’s responsibility lies in his commitment to intervene in conditions through action and grant continuity to the dynamics that co-involve the public space and social relationships so that they become a part of daily life and, though without any guarantees, can contribute to the change and ‘improvement’ of the territory and way of living in it.

What risks does an artist run when he intervenes in a social context changing habits and rules? How can the possibility of change indicated by art be transformed into a common language?

The mentors and guests for 2016 are (in order of appearance): Expodium (Nikos Doulos and Bart Witte); Jason Waite with Adelita Husni-Bey; Lara Almarcegui with Marco Giardino; Cesare Pietroiusti with Aldo Spinelli; Martino Gamper with Visible (Matteo Lucchetti and Judith Wielander); Giusy Checola with ‘L’Italia che Cambia’ and ‘Transition Town Biella’; Attila Faravelli and Enrico Malatesta with Nicola Ratti; Luigi Coppola with Daniel Blanga Gubbay; Antoni Muntadas with Alessandra Messali; Daria Filardo with Fatma Bucak; Adrian Paci with Edi Muka and Tea Çuni; Aria Spinelli with Núria Güell; STEALTH.unlimited (Ana Džokić and Marc Neelen) with Erik Jutten and Piet Vollaard.

A difference compared to 2015

can be found in the experiment of two residential modules lasting two weeks in collaboration with STEALTH.unlimited (Ana Dzokic and Marc Neelen) and with Adrian Paci. The desire to expand the two laboratories in space and time come from the singularity of the proposed contexts, able to offer new pathways of sense and content to the collective discussions begun in Cittadellarte, and thus offer a more articulate critical analysis of the macro-themes being studied. The group will move with STEALTH to Rotterdam, an exindustrial city that is undergoing a rapid process of conversion in a cosmopolitan creative centre; while the participants from Biella will go with Paci to Shkodër, the artist’s home town, to his new Art House space where activities will continue with encounters and conferences with artists and local professionals in the sector in a private and familiar environment.

In 2016, the ‘historic’ support of the Fondazione Zegna in the development of the UNIDEE programme will be consolidated and reinforced through the co-project of a laboratory and research module conducted

by Martino Gamper aimed at a selected group of international creative artists, with the object of creating prototypes derived from a collective and individual reflection on themes, dear to the two Foundations, of territory, relationships and post-industrial work.

New alliances will be formed with national and local actors, such as the newspaper L’Italia che cambia and the Transition Town Biella movement through their project involvement in organising the second module ‘TIPP’, co-financed by the Creative Europe Programme of the EU. Furthermore, an interesting international collaboration will begin with the Instituto Superior de Arte-ISA of La Havana in Cuba based on the bilateral exchanges of students, artists and researchers, while relationships will be built with Universities and Academies of Fine Arts in Italy and other countries, among which is the Escuela de Bellas Artes de Medellín in Columbia with the organisation of two educational activities: a threeweek module in Spanish aimed at a selected group of students and a research residency with the purpose of writing an essay, reserved for a researcher selected by a panel of judges.

To intensify the dynamics and international nature that have always characterised Cittadellarte, the programme of long-production residential stays (lasting two months) will continue based on the format of laboratory modules aimed at international artists, in collaboration with institutional partners: Illycaffé s.p.a., Inlaks Shivdasani Foundation, Qattan A. M. Foundation, the Resò network, without forgetting the Unfunded Residency of UNIDEE and the Connective Residency.

Cecilia Guida, Director and Curator of UNIDEE University of Ideas programme

Module 1

Unmaking: Subverting The Every-Day mentored by Expodium (Nikos Doulos and Bart Witte) 18 / 22 April 2016 TAGS: Research, politics of everyday, walking, urbanism, imagination, collectivity, hosting the social, play, participation, horizontality, consciousness, responsibility, ephemeral, narratology, alteration, discursive practices, ecosystems, subjective mapping, social engaged practices, demopraxy Participants: Mathieu Brethes, Nicholas Ferrara, Marlon Portales, Luz Nadina Zapata.

unmake vb (tr) , -makes, -making or -made 1. to undo or destroy 2. to depose from office, rank, or authority 3. to alter the nature of Put in a socio-political frame, ‘unmaking’ suggests models of subverting existing patterns of perceiving and intervening in the society / world. It encompasses all those alternative mechanisms devised to implement change. While the everyday neoliberal ethos cultivates notions of apathy, disconnection and false autonomy, ‘unmaking’ exists as a path towards a counter narrative enhancing empathy, co-dependency, co-operation and co-existence.

But can we perceive ‘unmaking’ out of the common emphatic norms of activism, rebellion and disobedience?

This module offered a perspective on rather ‘dimmed’ processes of acting on ‘unmaking’; processes deployed on the basis of our everyday encounters.

They are inclusive, informal, discursive and hands-on actions, centred around (permanent and temporary) smallscale ecosystems.

“Globalisation ushers in new population groups that join the original city dwellers and transfer the city into an organism: ‘The city is a discourse and this discourse is truly a language: the city speaks to its inhabitants, we speak our city, the city where we are, simply by living in it, by wandering through it, by looking at it.”

R. Barthes, ‘Semiology and the Urban’ in The Semiotic Challenge, Berkeley and Los Angeles, 1994.

For over a year, Expodium had been openly exploring ‘unmaking’ through three basic themes - Urban

Cannibalism, Walking and Play. Those themes address urban geographies and the living organisms that occupy them as interlaced particles of ecosystems in constant transition.

Through a set of readings, screenings and walks, mapping strategies and micro-interventions, pop culture references and science fiction scenarios, Expodium tapped into modes of relating with the urban environment on an ecological, social and political level. Within a five-day framework, we collectively practiced mechanisms of exchanging and transmitting ideas with a goal of generating tools for implementing artistic practices within the everchanging every-day.

The module accumulated an archive of reflections, impressions and visual manifestations as an inspirational manual for alternative systems of knowledge exchange.

SCHEDULE APRIL 18TH morning 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 Coming together – individual presentations. Introducing Living Archive (Archive of impressions, reflections, visual documentation of Walking session).

APRIL 19TH morning Empathy and the ‘other’ – overidentifying and temporarily becoming (reading group - collective discussions). Starting from Quotations from/ Thoughts after Symprovization

on Art and Empathy (Mobile Authonomy - Exercises in Artists’ Self Organization, VALIZ, 2015), we will tap into the notion of empahty as a tool of overidentification and collective becoming, and continue with paradigms immerging from our engagement with Detroit. Play – Perceiving play and gaming as a mechanism of re-establishing relations with public space, we will tap into the notion of role-playing through the practice of PLAY THE CITY project and advocate for the value of playful interventions within the city. afternoon Observing the every-day: The Walking Culture – Rethinking flaneurie – the contemporay flaneur.

Tapping into the history of the flaneur as the observer of the everyday and identify the features of the contemporary successors of the city stroller. Maria Lalou & Skafte AymoBoot: performance lecture “the act of projective architecture“ part of the on going project [UN]FINISHED. evening Walking session – exercise modes of reading the cultural landscape through walking. Screening.

APRIL 20TH morning Markus Miessen – The ‘uninvited outsider’ (Reading groups regrouping - collective discussions).

Curating as facilitating (Case study: AGORA - Athens Biennale #4).

Introducing the notion of the ‘uninvited outsider’ as a social practitioner who maneuvers through disciplines and objectively responds to given social challenges. Focus on the uninvited outsider as a facilitator of truly inclusive spaces. Introducing Athens Biennale #4 as a mode of facilitating rather than a model of curating. afternoon Hosting – performing the social: The artist as a mediator, facilitator and agent provocateur.

Recap – reflecting on the work so far – building Living Archive (Reflections,

visual documentation, archive). evening Walking session.

APRIL 21ST morning Ecology – the city as a living organism – basic thoughts around urban cannibalism. Understanding the city as an organism that feeds and destroys itself, we will address the urban beyond the bypolarity of man VS nature. We will question what is nature within the urban, bring in the foreground examples of how vegetation ‘eats’ out the built environment and recruit sience fiction to talk about the cannibal within the city.

Manifesto Anthropofago, Félix Guattari, Jelle Reumer, (reading group collective discussions). afternoon Observing the every-day: Subjective mapping – narratology, imagination, future urban scenarios, science fiction and super heroes.

How is the city constructed through storytelling? Who subjective narratives and personal stories could form a cohesive narrative of the city? A closer look at Flaneur Magazine addressing the street as a storyteller. evening Walking session. Devising microstrategies for communicating the surrounding. Collecting stories, devising narratives and imaginaries as we walk along.

APRIL 22ND morning Recap of the module – adding to the Living Archive – setting guidelines for NIGHTWALKERS session. Tapping into means of verbally communicating the archive. Identify the group as mediators, facilitators of the module’s narrative. afternoon Practicalities and preparations for NIGHTWALKERS Session. evening NIGHTWALKERS Session – open to the public. Party.

REFERENCES The mentor prepared a reader for participants with key texts, some of which were discussed during the week.

The reader included pieces by authors, artists, curators and intellectuals, such as Markus Miessen, Pascal Gielen, Rebecca Solnit, Grace Lee Bogs, Jose Saramago, Wietse Maas & Matteo Pasquinelli, Frédérik Gros, Merlin Coverley, Félix Guattari and Jelle Reumer. · Athens Biennale [http://athensbiennale.org/] · Urbanibalism [http://www.urbanibalism.org/] · Laboratory of Immediate Architectural Interventions [http://www.arch.umu.se/en/education/ master-studies/laboratory-ofimmediate-architectural-intervention/] · The Utopian Office, Hannah Kindler [http://hannahkindler.com/index.php/ projects-detail/651.html] · PLAY THE CITY [http://www.playthecity.nl/] · Janet Cardiff, Walks [http://www.cardiffmiller.com/artworks/ walks/index.html]

EXPOTHESIS I: POLITICS, IDENTITY AND PUBLIC SPACE. CRITICAL REFLECTIONS IN AND THROUGH THE PRACTICE OF CONTEMPORARY ART, by Mika Hannula, Expodium, 2009.

Psychogeography, by Merlin Coverley, Pocket Essentials, 2010.

On Looking. Eleven Walks With Expert Eyes, Alexandra Horowitz, Scribner, 2013.

http://un-finished.org/%5BUN%5D_introduction.htm

>>> Maria Lalou & Skafte Aymo-Boot: “The act of projective architecture” performance lecture, part of the on-going project [UN]FINISHED.

Module 2

(Over)worked Bodies, Care and Maintenance mentored by Jason Waite with the guest Adelita Husni-Bey 25 / 29 April 2016 TAGS: Radical pedagogy, movement practices, critical theory, horizontality, disabilities studies, collective care, research, alteration, gift

Participants: Cinzia Delnevo, Christophe Dos Santos, Stephano Espinoza, Fionnuala Heidenreich, Marie Neumann.

How do capitalist imperatives condition us to perform unsustainably as individual subjects? As cultural workers grappling with the neoliberal imperatives shaping the field’s relations, we wonder, how do these manifest in the mental and physical stresses of the contemporary labour form? The module departed from its context, Cittadellarte-Pistoletto Foundation, a former textile factory transformed into a site of cultural industry, to examine the formation of our desires around our work, its impact on our bodies and modes of maintenance.

While ideology makes us agents of a ‘success story’ that de-politicizes pain and pushes our bodies to their literal breaking points, how can an examination of maintenance (as a form of individual and communal durational processes usually dismissed as wastes of time or obstructing productivity embody a resistance against efficiency and towards an alteration of ways of being? Bringing debility, stress and maintenance into view exposes a constantly shifting set of social, political and affective relations, and invites questions about what needs to be maintained and under what conditions we reproduce ourselves.

Over the week-long session we aimed at identifying and acknowledging these critical constructs shaping our practices, we undertook a collective research to work towards unlearning these moralities through alternative pedagogy, theatre of the oppressed exercises, disabilities studies, the workerist theory and horizontal learning. The module, co-developed by curator Jason Waite and artist Adelita Husni-Bey, worked through our individual and collective embedded ideologies through a three-part focus on the body’s routines, disruptive discourses and neoliberal modes of desire cooption.

SCHEDULE

REFERENCES

APRIL 25TH morning 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 Group introduction presentations. Introduction to the module.

· F. Berardi-BIFO, The Soul at Work: From Alienation to Autonomy, Los Angeles: Semiotext(e), 2009. · A. Boal, Games for Actors and NonActors, London: Routledge, 1992.

APRIL 26TH morning Collective reading I. Constructing a common vocabulary. afternoon Body work. Mapping our mutual conditions.

APRIL 27TH morning Collective reading II. Theater of the oppressed en-acting our mutual conditions I. afternoon Collective reading III.Theater of the oppressed en-acting our mutual conditions II. APRIL 28TH morning Collective reading IV. Critical practices in maintenance. afternoon Mobilizing collective care, foundation as home.

APRIL 29TH morning Preparations for selforganized manifestations. afternoon Maintaining our future: selforganized forms of mutual care. evening Party.

· S. Faye, “A Problem Shared: Our Social Media and My Mental Illness”, in Dazed, 2015. · E. Feder Kittay, “The Ethics of Care, Dependence, and Disability”, in Ratio Juris. Vol. 24 No. 1, pp. 49–58, March 2011. · D. Gambs, “Training Movement”, in Qualitative Inquiry, Vol. 11: No. 157, pp. 157-169, 2005. · M. Laderman Ukeles, “Manifesto for Maintenance Art, 1969!”, 1969 · Adelita Husni-Bey, Movement Break, Kadist Foundation, 2015-2016. [http:// www.kadist.org/en/programs/all/2431] · Nina Horisaki-Christians, Andrea Neustein, Victoria Rogers, and Jason Waite, Maintenance Required, the Kitchen, 2013. [http://thekitchen.org/ event/maintenance-required] · Park McArthur, Sort of like a hug, 2014. [http://www.essexstreet.biz/files/ Park%20McArthur%20-%20Sort%20 of%20Like%20a%20Hug.pdf] · Pilvi Takala, The Trainee, 2008. [http:// www.frieze.com/issue/article/pilvitakala/] · Working Artists for a Greater Economy (W.A.G.E.) [http://www.wageforwork.com/]

Mierle Laderman Ukeles, Manifesto for Maintenance Art, 1969: https://www.arnolfini.org.uk/blog/manifesto-for-maintenance-art-1969

Images: Adelita Husni- Bey, The Law, 2015

Module 3

Mineral Rights.

Site Exploration: Biella Guide Tours mentored by Lara Almarcegui with the guest Marco Giardino 9 / 13 May 2016 TAGS: Research, questioning, prospection, field work, awareness, alteration, politics, activism, ownership, state control, territory Participants: Abigail Auld, Elena Mazzi, Patrick Ostrowsky, Anna Elena Paraboschi, Jennifer Poueymirou, Sarasija Subramanian.

Mineral Rights. Site prospection, what lies beneath and who owns it.

Who owns the globe’s sub-surface?

What lies there, and how is it exploited by private interests?

Mineral Rights is a body of research and a series of ongoing artworks.

Tracing seams of iron ore, pools of oil and deposits of alloys, Almarcegui pursues mineral rights across several countries, variously recording her attempts and failures. Almarcegui tries to reach underneath, not to extract minerals but to highlight how the territory is shaped at a geological level, and how it is broken down for exploitation. Looking back on the history of mining and land ownership, the project investigates how rulers of different countries oppose the idea that individual citizens acquire rights to mineral resources.

As part of a probing, and often humorous, investigation into the intersection between land rights, ownership and matter, Almarcegui shared a new stage in her research exploring the mineral rights beneath Biella, in conversation with the workshop participants and experts in the field. The workshop analysed the situation around Biella in depth. Various forms of territorial representation were investigated alongside this process.

Another section of the workshop focused on discovering other interesting areas of transformation in the city while encouraging fieldwork, site investigation and the finding of other different challenges in the territory. Grounds that were going through a process of transformation were identified, as well as empty lots or wastelands. Places which, after losing their original function, remained useless and open to all sorts

of possibilities. To look at them and understand what happens in them is a way to question how the city is designed, and a way to know more about the future of the city space, its wishes and its failures.

SCHEDULE MAY 9TH morning 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 Introduction of workshop.

Mineral Rights project in other country’s: attemps and failures in Germany, Spain and the Netherlands.

How it worked out well in Norway and Austria. Working plan to find out what is the situation in Italy, Piedmont and Biella. Open questions on other territory’s in Biella.

Participants presentations.

MAY 10TH morning Talk with urban expert in Biella. Field work: Site prospection; Biella site investigation. afternoon Field work: Site prospection; Biella site investigation.

MAY 11TH morning Meetings with guest geologist Marco Giardino. Questions to him on how to move on with the project. afternoon Presentation of what we know and collective decision on how to find more information. Advance in research on sites.

MAY 12TH morning Establishing contacts.

Proceding to submit applications.

Further research on sites. afternoon Further research on sites.

Resume on what we know about the places we choose. List of the most interesting sites in order to organise projects’ presentations.

MAY 13TH morning - afternoon Final guide tours visiting all the sites after making a list of interesting locations. Presentations in each location with the found information and wanted narration. evening Party.

REFERENCES · J.G. Ballard, Concrete Island, Jonathan Cape, 1974. · G. Perec, Tentative d’épuisement d’un lieu parisien, Christian Bourgois, 1982. · R. Smithson, “A walk though the Monuments of Passaic”, in (ed. Nancy Holt) The Writings of Robert Smithson, essays with illustrations, New York University Press, 1979. · H. D. Thoreau, Walden, Ticknor and Fields, 1854. · R. Walser, The walk, Serpents Tail, 1993.

«Un grand nombre, sinon la plupart de ces choses ont été décrites, inventoriées, photographiées, racontées ou recensées.

Mon propos dans les pages qui suivent a plutôt été de décrire le reste: ce que l’on ne note généralement pas, ce qui ne se remarque pas, ce qui n’a pas d’importance: ce qui se passe quand il ne se passe rien, sinon du temps, des gens, des voitures et des nuages».

Georges Perec, Tentative d’épuisement d’un lieu parisien, Éditions Christian Bourgois, 1982

Artworks by Lara Almarcegui: Going Down Into a recently Excavated Tunnel, Madrid, 2010; Berlin Excavation, Haus der Kulturen der Welt Berlin, 2015; Abandoned River Park, installation view at MUSAC, Leรณn, 2013.

Text from the reader: Ignasi de Sola-Morales, Terrain Vague, 1996 (pp.125-126)

Module 4

Girotondo mentored by Cesare Pietroiusti with the guest Aldo Spinelli 23 / 27 May 2016 TAGS: Research, group behaviour, participation, temporality, circularity, creation of situations, art experiences, interactions, relational systems, alteration Participants: Sarasija Subramanian, Lorelinde Verhees, Benjamin Volta, Seitaku Aoyama, Mary Hogan.

Ring around the rosie A pocket full of posies Ashes, ashes We all fall down (*) The geometrical figure of the circle has often provided a metaphorical expression for complex concepts, being them philosophical, historical, religious, etc.

The time, an argument, a group of people, music can normally proceed according to a linear order, but they can also be imagined as having a circular motion.

In opposition to any historicist or evolutionist determinism, to the typical timeline of a CV, or to the statistical graphs of economic growth, the metaphor of the circle presents an ecological and holistic vision where causes and effects, growth and de-growth are intertwined in a general balance, where one can gain experience from the unexpected return of things, from sudden jumps and from supra-temporal connections between faraway events.

The idea of moving in a circle around something (a problem, a place, a concept) is commonly associated to a condition of fruitlessness but, in the development of a workshop, especially in an artistic context, the metaphor can help to frame and give meaning not only to a condition where work is shared in a non-hierarchical way, but also to an approach that does not face a problem only to find a solution, but rather to look at it from different points of view, to find its abnormalities, its nuances, its ambiguities. The 360-degree approach can, in fact, be free from the constrictions of the rightor-wrong judgement and can instead linger on any characteristic of a given situation, and therefore be able to

unveil, and use, its different cognitive, expressive and critical potentialities.

The workshop wanted to carry out the following experiment: how is it possible to enter into and to observe an unknown and abandoned space without automatically thinking of a specific function and destination for it?

How is it possible to read (or to listen to) a certain text without immediately trying to catch its meaning? Therefore, the workshop proposed practical sessions individual and group which included an extensive exploration of a specific abandoned site in the Biella area, as well as alternative ways of reading a certain text collectively. The discussion following such sessions tried to ‘move around’ the concepts themselves of judging, projecting, understanding. And it attempted to do so by using methods of exchange of ideas based on circularity.

A working session was dedicated to a meeting and a discussion with Aldo Spinelli, an artist who operates, with both humour and rigour, between visual art, mathematics, game theory and geometry. (*) Some interpretations, suggestive although not scientifically proved, connect this famous refrain with the epidemic plague that devastated the whole Europe in the second half of the seventeenth century. The ‘pink spot on the skin’ seems to refer to the aspect of the early symptoms of the plague.

SCHEDULE MAY 23RD morning 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 Introduction to the theme through readings and discussions. Selfpresentations of the participants.

MAY 24TH morning Site visit to the Oropa Bagni, former thermal bath complex built in the XIX century and abandoned in the 1960s. afternoon Discussion and feed-backs.

MAY 25TH morning Meeting with Aldo Spinelli. afternoon Collective reading session focused on “The time of the king”, first chapter extract from Given time: I. Counterfeit money by Jacques Derrida. Discussion and feed-backs.

MAY 26TH morning Discussion: how to connect and give reciprocal meaning to the two experiences of the site visit and of the reading.Discussion: how to translate/ transform such connection and such experiences for a public of non-participants. afternoon Organization of the presentation.

MAY 27TH morning Final part of the organization. afternoon Public presentation. evening Party.

REFERENCES · J. Derrida, Given time: I. Counterfeit money, University of Chicago Press, Chicago, 1992. · D. Hofstadter, Godel Escher, Bach, chapter V “Recursive Structures and Processes”, chapter VI “The Location of Meaning”, Penguin Books, London, 1979. · J. Lacan, The Seminar (Vol. Book VII): The Ethics of Psychoanalysis 19591960, Chapter IV “Das Ding”, chapter V “Das Ding (II), chapter VI “On the moral law”, chapter VIII “The object and the thing”, chapter IX “On creation ex nihilo”, W. W. Norton & Company, New York, 1992. · M. Mauss, The Gift: Forms and Functions of Exchange in Archaic Societies, Routledge, Oxon, 1990. · F.J. Varela, “The Creative Circle: Sketches on the Natural History of Circularity”, in The Invented Reality: How Do We Know What We Believe We Know?, curated by P. Watzlawick, W. W. Norton & Company, New York, 1984. · P. Virno, E così via, all’infinito, Bollati Boringhieri, Torino, 2010. · P. Watzlawick, J. Helmick Beavin, D.D. Jackson, Pragmatics of Human Communication, W. W. Norton & Company, New York, 1967.

Marcel Mauss, The Gift: Forms and Functions of Exchange in Archaic Societies, Routledge, Oxon, 1990.

Meeting with the guest Aldo Spinelli.

He presented his works: - S = f(S). 404 cm2 grigi,1977; - ventidue lettere bianche, 1977; - otto tele, 2009; - 48 forme in 48 colori, 2009.

Module 5

Designing while Walking, Walking while Designing mentored by Martino Gamper with the guests Matteo Lucchetti and Judith Wielander (Visible project) 6 / 10 June 2016 TAGS: Research, design, nature, group behaviour, participation, creation of situations, art experiences, interactions, relational systems, alteration, local development Participants: Vanessa Alessi, Milagros Arias, Claudio Beorchia, Tom Collison, Hisae Ikenaga, Fenia Kotsopoulou, Valeria Nekhaeva, Jihyun Ryou, Yana Shushkova.

A week of exploration and wandering on the hills of Oasi Zegna in Trivero (Piedmont region) experimenting group and individual dynamics, which fed creative processes. The aim was to design an object or situation that added new thinking, interaction and behaviour to the Oasi.

The module explored the idea of creating interventions in this very particular area looking at its nature, architecture and history. What can be added? What can be fixed? How can we contribute to an aesthetic experience of the environment?

A cooperation of ideas, under the guidance of Martino Gamper, encouraged individual proposals envisioned in the frame of symbolic values of the venues visited during the tours scheduled for the module.

The participants collectively reflected on the level of research and project enacting relationships with the territory and tried to catch the nature of sitespecific projects spread over the Trivero area.

The theoretical and curatorial contributions by Matteo Lucchetti and Judith Wielander stimulated the discussion, analysing in depth experimental relationships between arts and design within the social sphere, through the presentation of selected case studies from the project Visible’s archive.

During the conclusive public presentation, ideas produced during the workshop session were discussed together with Michelangelo Pistoletto, Anna Zegna and J.J. Martin (a wellknown journalist and fashion blogger) with the hope of acknowledging, in particular, proposals coherent to the context, sensitive to its ethos and peculiarity, and able to enact collaborative creative processes on different levels.

SCHEDULE JUNE 6TH morning 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.

Arrival at Lanificio Ermenegildo Zegna and walkthrough the mill.

Lunch in the mill canteen. afternoon Guided tour to the Ettore Olivero Pistoletto’s painting gallery, to Daniel Buren’s artwork on the mill’s terraces and to Casa Zegna’s archive and exhibition space.

Guided tour to Oasi Zegna.

Back to Cittadellarte.

JUNE 7TH morning Collective discussion. afternoon Free exploration of one of these three scenarios in Oasi Zegna: • Conca Rododendri – the mountain garden, with the rhododendrons in full bloom and the art work by Dan Graham reflecting their colours; • Margosio – the productive mountain, visit to the goat farm and steep pastures of Valsessera looking out onto Mount Rose; • Bocchetto Sessera – forest bathing, walking and resting in the woods to enjoy regenerating effects on mind and body. Back to Cittadellarte.

JUNE 8TH morning Group session with the guests: Matteo Lucchetti and Judith Wielander curators of “Visible. Where art leaves its own field and becomes visible as part of something else.” (A project undertaken by Cittadellarte Fondazione Pistoletto in collaboration with Fondazione Zegna). They will present and discuss selected case studies from Visible’s archive, that

deploy new experimental relationships between arts and design. afternoon Workshop session.

JUNE 9TH morning - afternoon Workshop session. evening Presentation and discussion on Martino Gamper’s artworks.

JUNE 10TH morning Workshop session. afternoon Public presentation of ideas and projects emerged during the workshop sessions, followed by a group discussion with Michelangelo Pistoletto, Anna Zegna, Cecilia Guida, Paolo Naldini, Juan Esteban Sandoval and J.J. Martin.

REFERENCES The mentor prepared a reader for participants with key texts, some of which were discussed during the week.

Fondazione Zegna was set up on 1st December 2000 by the Zegna Family. Its mission is to give continuity to the values, philosophy and work of Ermenegildo Zegna, who in 1910 in Trivero, in the Biella Alps, founded the wool mill that carries his name to this day.

Following his example, quality and dedication may live in harmony with protection of our natural environment, social wellbeing and the cultural development of the local community.

Fondazione Zegna is based in Trivero, where Casa Zegna, an historical archive and cultural center, and Oasi Zegna, an “openair laboratory” covering over 100 km2 and focusing on relationships between people, mountain culture and nature, are also situated.

Anna Zegna is the Foundation’s president and Renata Zegna is its vice-president. Other members of the family make up the board of directors.

In 2008 Fondazione Zegna establish ALL’APERTO (OUTDOORS), with the aim of broadening access to contemporary art and its values.

The project supports the realization of a series of sitespecific permanent artworks, created in the Trivero area, aimed at the local community and all visitors. It is curated by Andrea Zegna and Barbara Casavecchia.

Visible is a research project in contemporary art devoted to artwork in the social sphere, and the first European award that aims to produce and sustain socially engaged artistic practices in a global context. Visible is a project

by Cittadellarte – Fondazione Pistoletto and Fondazione Zegna in partnership.

Visible examines the spatial relationships within which different players, from different cultural backgrounds and with different temperaments, generate meaning and form alliances. The alliance between actors and spectators brings to life the space of action of cultural and social relationships. visible brings to light and gives strength to artistic actions which have a real capacity to experiment and produce visions that can have impact on the social and cultural imagination of our contemporary world. www.visibleproject.org

Conclusive public presentation of ideas for Oasi Zegna.

Participants worked on them during the workshop under the guidance of Martino Gamper and they discussed with Michelangelo Pistoletto, Anna Zegna, J.J. Martin (relevant journalist and fashion blogger), Cecilia Guida and Paolo Naldini.

Module 6

The Shifting Place.

Aesthetic, spatial and temporal fractures of transitional territories.

A project co-funded by the Creative Europe Programme of the EU

mentored by Giusy Checola with the guests ‘Italia che cambia’, Let Eat Bi and ‘Transition Town Biella’ 17 / 24 June 2016 TAGS: Localness, temporal and spatial locality, transterritorial, materiality and immateriality of the place, neo-ruralism, pluriurbanism, neo-communitarism, delocalisation and relocalisation, origins, permaculture, resilience, self-sufficiency and self-regulation Participants: Alaa Abu Asad, Silvia Cruells, Andrew Friend, Emma Gibson, Eleni Kamma, Wayne Lim, Teresa Palmieri, Elja Ranta, Chiara Sgaramella, Moonis Shah.

According to the Understanding Territoriality: Identity, Place and Possession (TIPP) project, a better understanding of the nature of our forms of territorialities could allow us to understand and investigate tensions between the personal, the local and the general that are threatening the sustainability of the European Union.

In continuity with the first TIPP residency at Cittadellarte, run within the frame of UNIDEE 2015 and entitled Creating Territorialities, this second residency with the title The Shifting Place aimed at investigating the aesthetic, spatial and temporal fractures of transitional territorial processes, both in local and transnational, private and common, material and immaterial dimensions.

The Creating Territorialities programme considered territoriality as a possibility of working on the evolution of human life and on the place as a process of co-evolution, on the interrelated transformations of societies and territories, and on the co-presence of the local and the global in our daily life. This is in opposition to the concepts of territorialisation, deterritorialisation and reterritorialisation as forms of cultural, social and spatial control that can be actualized exclusively by mankind, in order to transform and dominate the territories.

The concept of locality that the project Understanding Territoriality addresses is that of a “territory we feel most connected to emotionally”, a connection which is “often exploited

by Eurosceptic and nationalist arguments but often neglected as a subject for discussion by Europhiles”.

At the same time, the renewed and widespread attention to the “local”, as a place that gives life, as origin, as individual and collective heritage,

and as a battleground, creates forms of delocalisation and relocalisation of values and imaginary meanings attributed to places, as well as forms of strengthening or destabilization of forms of expression, narration or representation of the dominant territorial identities.

As well as the discussions held during the Creating Territorialities residency, this second week-long module also established interactions with locals through their ways of telling stories about “their” own territory, considering people as fundamental tools for revealing some of the evident or hidden, dominant or specific forms and processes of the Biellese territorialities.

Together with the editorial staff of the web newspaper “Italia che cambia” and the association “Biellese in Transition”, we explored, experienced, investigated and formulated proposals about how artivators could create and activate shifting visions and processes between the paths, the places and the paradoxes raised by practical and theoretical elaboration of issues such as permaculture, resilience, bioregion and transnational social changing, between current forms of border thinking and the necessary self-alteration of local communities, societies and their own territorialities.

The module was articulated in three parts: three days spent around the Biellese mountains, hosted by the “agents of changing”, members of the “Biellese in Transition” network; the week of individual and collective work at Cittadellarte; and the public presentation of the module’s outcomes. 10 artists and professionals from different fields, related to the investigation on forms of territorialities, were selected via open call to participate in The Shifting

Place. Aesthetic, spatial and temporal fractures of transitional territories.

This second week-long residency, organised by UNIDEE - University of Ideas and taking place in Cittadellarte Fondazione Pistoletto, was developed in the frame of Understanding Territoriality: Identity, Place & Possession, a project co-funded 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). www.fabrica.org.uk www.netwerk-art.be/en www.publicroom.org www.cittadellarte.it SCHEDULE JUNE 17TH morning Meeting with Michele De Biase of the company AGROZERO, partner of Let Eat Bi, and visit to the farmers about how to create localness and locality values and imaginary meanings with the territorial and extraterritorial distribution systems of agricultural products. Axis of research: “Locality between space and place”. lunch Informal meeting with Roberto Vietti, journalist and member of the Italia Che Cambia and collaborator of networks Transition Towns Biella and Geography of Transformation.

Piemonte che cambia: Bioregionalism and Global Locality. Axis of research: “From the Real to Reality”. afternoon Meeting with Associazione Pacefuturo Onlus, partner of Let Eat Bi, about the Intergenerational and transitional effects of migratory processes on the forms of narration and representation of the place Axis of research: “From the real to reality”.

JUNE 18TH morning Visit at CASCINA FORESTO, partner of Let Eat Bi network, and meeting with Edoardo Ferla about Permaculture. Axis of research: “Community and proprium”. afternoon Meeting with Gigi Manenti, inventor of the bio “Manenti method”, about Nature and Culture.

Axis of research: “Locality between space and place”.

JUNE 19TH morning Visit to Ecomuseo Valle Elvo and Serra Onlus at La Trappa about Museification of the Place and Patrimonialization of Territorial Stratifications. Axis of research: “Community and proprium” / “From the Real to Reality”. afternoon Cittadellarte: 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.

JUNE 20TH morning Presentation of participants’ work and statement. Presentation of the module and objectives, introduction to the requested outcomes of the research week; discussion of the experiences done with the agents of changing in relation with the 3 axes of research. afternoon Meeting with Fiorella Costanza, member of Transition Town Biella: Resilience, Transition and Sacrifice. Projection of the fllm The Power of Community - How Cuba Survived Peak Oil, by Faith Morgan, Pat Murphy e Megan Quinn (2006).

Following discussion.

JUNE 21ST morning Individual work on ideas about the outcome of the module: A

Visual Geomatics of the Shifting Place.

Definition and articulation of contents and methodologies; identification of parts and authors; construction of 4 days working plan. afternoon Collective discussion on ideas about the final proposal, setting and objectives.

JUNE 22ND morning Individual and/or collective working on the final project proposal. afternoon Skype meeting with Jochen Becker, author, lecturer and curator of the research project Global Prayers.

Redemption and Liberation of the City (http://globalprayers.info/), founding member of metro-Zones – Center for Urban Affairs, Berlin.

JUNE 23RD morning-afternoon Individual and/or collective working on the final final project proposal; setting up public presentation.

JUNE 24TH morning Individual and/or collective working on the final final project proposal; setting up public presentation. afternoon Tracing the ground: presentation of final outcomes by TIPP participants and collective discussion about fractures, possibilities and criticalities of territorial networks systems and neo-communitarian philosophies, with members and collaborators of local networks and associations. evening Closing party.

REFERENCES The mentor prepared a reader for participants with key texts, some of which were discussed during the week.

http://www.cittadellarte.it/unidee/ userfiles/docs/opencalls2016/theshifting-place_giusy-checola.pdf

Giusy Checola, The Shifting Place.

Aesthetic, Spatial and Temporal Fractures of Transitional Territories, curatorial text of the module:

Transition town Tran • si • tion [tran – zish – uhn] 1. passage from one form, state, style or place to another 2. a period of transformation

Italia che cambia Italia che cambia is a project intending to narrate, map and connect in a network parts of the country which – when facing a problem – activate themselves in order to actually change things instead of delegating or waiting for someone to do it on their behalf.

It also wants to offer instruments to facilitate the processes of positive transformation in progress throughout the country, with the aim of helping people “who want to make changes” express their potential, providing examples, the know-how and the support of the network of the projects already under way. http://www.italiachecambia.org/ chi-siamo-2/

We have produced a newspaper, a map, territorial portals and a campaign for the activation of territories through the proposals emerged from “visioni 2040”.

Transition is a movement that has been growing since 2005.

It is about communities stepping up to address the big challenges they face by starting local.

By coming together, they are able to crowd-source solutions.

They seek to nurture a caring culture, one focused on supporting each other, both as groups or as wider communities. In practice, they are reclaiming the economy, sparking entrepreneurship, reimagining work, reskilling themselves and weaving webs of connection and support. It’s an approach that has spread now to over 50 countries, in thousands of groups: in towns, villages, cities, Universities, schools.

Principles We respect resource limits and create resilience. We promote inclusivity and social justice.

We adopt subsidiarity. We pay attention to balance. We are part of an experimental, learning network.

We freely share ideas and power.

We collaborate and look for synergies. We foster positive visioning and creativity. https://transitionnetwork.org/

Module 7

Sound, Space, Body mentored by Attila Faravelli and Enrico Malatesta with the guest Nicola Ratti 11 / 15 July 2016 TAGS: Sound, space, body, research, aural awareness, participation, field recording, walking, ecological perception, affordances, experiential design, appropriation, media cultural history, traditional music, sonic unconscious, rhythm, idiophones, alteration Participants: Lydia Ang, Nicolò Cervello, Emer Costello, Rebecca Dunne, Sophia Edlund, Nicholas Ferrara, Katherine Lee, Victoria McKenzie, Phumulani Ntuli, Juan Recaman, Alessandro Scotti, Maria Vastola.

The module revolved around sound and the modes of its perception and production, with a focus on its fundamental relationship with body and space.

The week was evenly divided between theoretical sessions and practical exercises, seeking to offer the participants a series of both conceptual and experiential tools for questioning common but too simplistic opposites like action vs. perception (active performer vs. passive listener), intentional music vs. unintentional noise, composition vs. improvisation, musical instrument vs. performer’s body, clean signal vs. effect.

In the theoretical part of the laboratory achievements were discussed from fields as disparate as the Sound and Media Cultural Studies, the New Materialism philosophy, some heterodox branches of anthropology, non-western musical ethnography, paleo-acoustics, ecological perception, experiential design and experimental music; what emerged amidst such diverse approaches was the exclusive role played by sound in showing the fundamental interrelations between humans, animals and the only apparently inert materials and forces present in the environment. If considered well beyond the simplifications offered by both dominant musicology and the common discourse (or the absence of any discourse about it) in art critiques, sound can push toward an ethical incitement to explore and experience such complex and creative connections.

The practical part of the laboratory took place in the greatly diversified spaces of Cittadellarte-Fondazione Pistoletto and in the foundation’s neighbourhood; the suggested

exercises consisted in both sitespecific sonic actions and field recording sessions.

Each participant was provided with a series of very easy to use protoinstruments and guided through their use; these simple objects, unlike a musical instrument, are not so much intended for producing sound per se, but conceived as tools either to enact the aural potentialities of a site or to display the specific responsiveness of the material they are built from. The aim of the proposed actions was to produce sound out of a negotiation between hearing and listening to the site’s affordances by a specific body, wherein the participants were asked to listen to themselves while in the act of producing sound in a specific space and time, realizing an embodied awareness of the complex aural capacities of body and space.

The field recording sessions interacted with the soundscape of the environment in its rougher, unmediated form, as an apparent collection of unrelated and unintentional sonic phenomena, forcing the listener to seek for different kinds of organizational structures and forms. * No specific musical skills were needed to participate.

SCHEDULE JULY 11TH morning 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 Workshop and group presentation. Field Recordings: listening sessions and investigation of the relation between sound, body and materials’ capacities.

Short performances. Participants presentations.

JULY 12TH morning Gathering. Aural Tools presentation-showcase. Video screenings. afternoon Walking. Exploration of interior spaces: sound-actions with Aural Tools objects. Observation of the spaces’ conditions and listening sessions. Exercises to improve the awareness of a specific space’s potentialities and aural character. Short Performances.

JULY 13TH morning Nicola Ratti: guest presentation and short performance.

Aural Architecture and SoundSpace relationship introduced by Nicola’s sound work and research.

A-dimensionality of an audio-signal and its spatialisation through playback devices. Sound-Signal and effects. Modular analog synthesizers’ introduction. Effects and space.

Electric-electronic sound sources vs digital DSP. afternoon Practical session: soundinterventions, actions and performative interactions between the group and “Tilde” (Attila Faravelli, Nicola Ratti and Enrico Malatesta).

JULY 14TH morning Laboratory about active listening and rhythmicity. Readings.

Brainstorming and discussion. afternoon Field Recording session.

Various locations.

JULY 15TH morning Workshop about active

listening, sound-space relation, material’s vitality and rhythmicity.

Readings. Brainstorming and discussion. afternoon Field Recording session.

Various locations (indoor and outdoor). evening Listening sessions of ‘non western’ traditional musics and video screenings. Party.

REFERENCES

· W. Gaver, “What in the World Do We Hear?: An Ecological Approach to Auditory Perception”, in Ecological Psychology, Vol. 5(1), Lawrence Erlbaum Associates, Inc, 1993, pp.

1-29. · W. Gaver, “How Do We Hear in the World, Explorations”, in Ecological Acoustics, Ecological Psychology, Vol. 5(4), Lawrence Erlbaum Associates, Inc, 1993, pp. 285-313.

· J.-F. Augoyard, H. Torgue, Repertorio degli effetti sonori, LIM, 2010, trad. it. a cura di Sabrina Doria.

· T. Ingold, The Perception of the Environment: Essays on Livelihood, Dwelling and Skill, Psychology Press, 2000.

· J. Blacking, How Musical Is Man, University of Washington Press, 1974.

· D. B. Massey, For Space, SAGE Publications, 2005.

· B. Blesser, L. Ruth Salter, Spaces speak, are you listening? Experiencing Aural Architecture, The MIT Press, 2006.

· G. Ryle, The Concept of Mind, Hutchin Son’s University Library, 1949.

· B. Buxton, Sketching User Experiences: Getting the Design Right and the Right Design, Focal Press, 2007. · C. Cox, “Sound Art and the Sonic Unconscious”, in Organised Sound, Vol. 14, 2009, pp. 19-26. · C. Cox, “Beyond Representation and Signification: Toward a Sonic Materialism, in Journal of Visual Culture, SAGE Publications, 2011. [http://vcu.sagepub.com] · A. Dix, “Designing for Appropriation”, talk given at University of Technology Berlin, 12 February 2008 (unpublished). · S. Feld, Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression, University of Pennsylvania Press, 1982.

· J. Sterne, The Audible Past: Cultural Origins of Sound Reproduction, Duke University Press, 2003. · E. Thompson, The Soundscape of Modernity Architectural Acoustics and the Culture of Listening in America, 1900–1933, The MIT Press, 2002.

AURAL TOOLS www.auraltools.com Multiples who’s aim is to document the work of selected musicians and sound artists by means of objects that produce sound through specific processes.

Aural Tools was founded by Attila Faravelli, who is also its curator.

EXPODIUM

JASON WAITE

Expodium is a collective of three [Nikos Doulos, Friso Wiersum, Bart Witte]. Through a variety of methods of artistic research, we generate vital information about urban areas and at the same time activate those areas and their users. We are a satellite at grassroot level; framing local developments in global discourse. We document, archive, contextualize and frequently publish information and knowledge generated through our practice. We work unsolicited and we are for hire.

We work with an international network of artists, architects, academics and the likes for mutual brain-picking.

We collaborated with and worked for housing corporations, local governments, museums, universities, festivals and art institutions. We stroll and awe.

Jason Waite is a New York and Utrechtbased independent curator focused on forms of practice toward forming agency across diverse fields such as art, society, politics and critical theory.

A recently co-curated exhibition, Maintenance Required, explored modes of individual and systemic maintenance in diverse artistic practices with a focus on the practice of Mierle Laderman Ukeles, held at the Kitchen, New York, during the Helen Rubinstein Curatorial Fellowship at the Whitney Museum Independent Study Program. He co-curated “Don’t Follow the Wind”, an ongoing project inside the uninhabited Fukushima exclusion zone; “The Real Thing?”, Palais de Tokyo, Paris; “The Common Sense” by Melanie Gilligan; and “White Paper: The Law” by Adelita Husni-Bey at Casco – Office for Art, Design and Theory, Utrecht, where he was recently curator. He holds an M.A. in Art and Politics from Goldsmiths College, London.

www.expodium.nl www.unamkingthenetherlands.nl www.newstrategiesdmc.blogspot.com www.nightwalkersexpodium.tumblr. com

ADELITA HUSNI-BEY

LARA ALMARCEGUI

Adelita Husni-Bey is an artist and pedagogue based in New York. Her practice is based on workshops in which she explores contemporary social topics with participants who collaborate critically in shaping the outcome. Her recent solo project at Kadist Foundation in San Francisco worked with teenage athletes who had been injured through their sporting activities, to discuss the problematics of competition and de-individualize feelings of failure. Husni-Bey is a graduate of Goldsmiths University and the Whitney Museum Independent Study Program. Her work has been featured in numerous exhibitions such as “Playing Truant”, Gasworks, London; “Undiscovered Worlds”, the High Line, New York; “Really Useful Knowledge”, Reina Sofia Museum, Madrid; “Utopia for Sale?”, MAXXI Museum, Rome and TRACK, S.M.A.K museum, Ghent.

The work of Lara Almarcegui aims to fully understand the dynamics of a chosen location. Her projects function as guides to neglected or overlooked sites, to places where change is omnipresent. She investigates and engages with such spaces, confronting the public with unknown aspects of a seemingly familiar terrain and illustrating processes of urban transformation.

In 2013, Lara blew the public minds as Spain’s representative to the “55th Venice Biennial”, where she filled the interior of the pavillion with massive piles of building ruble similar to those used by workers during its construction. Working at a time of widespread urban renewal in Europe, she has remained a champion of overlooked, forgotten sites — creating guides for the cities’ wastelands and even instigating their legal protection.

MARCO GIARDINO

CESARE PIETROIUSTI

Marco Giardino is professor of Applied Geomorphology at the University of Turin, member of the Italian Glaciology Committee, coordinator of the European project geoNatHaz for EU-Canada university exchange. Specialized in the study of the Alps, and in particular of their recent evolution and natural hazards due to climate and tectonic conditions; he also analyzes Geodiversity and Geoheritage to develop effective strategies of geoconservation. He is author of hundreds of scientific papers and of popular texts and multimedia products to rise sensitivity of the general public on issues of Geosciences and environmental education. He is representative of the Erasmus programs for the school of Science.

Cesare Pietroiusti is an Italian artist based in Rome. Trained as a medical doctor, he studied Psychiatry in the late 1970s. Co-founder of the Artistrun space “Jartrakor” in Rome and of the magazine “Rivista di Psicologia dell’Arte” (1979-1984) and one of the coordinators of the “Oreste” projects (1997-2001), his work focuses on paradoxical situations that are hidden in common relationships and in ordinary acts. His book “Non Functional Thoughts” published in 1997 gathers many of his projects, both realized and un-realized (www. nonfunctionalthoughts.net). Pietroiusti teaches at the Laboratorio di Arti Visive, IUAV University, Venice, (2004-) and is MFA Faculty at LUCAD, Lesley University, Boston (2009-).

ALDO SPINELLI

MARTINO GAMPER

Aldo Spinelli is an artist based in Milan.

He was raised up in Brera art academy cultural environment during the ‘60s and ‘70s, he has shown his works in 35 solo exhibitions and participated to more than hundred group exhibits in galleries and museums all over the world. The conceptual feature of his artistic production has placed him close to the world of games, like a tumbler between words, in order to turn art into a game and game into art, in a continuous and cyclic pursuit between form and content, signifier and meaning. Since 1991 is a member of Oplepo movement (Opificio di letteratura potenziale) and is italian contributor for Oupeinpo (Ouvroir de peinture potentielle). When he does not make art, he writes for Artribune and Pagina99.

Martino Gamper (b. 1971, Merano, Italy) lives and works in London.

Starting as an apprentice with a furniture maker in Merano, Gamper went on to study sculpture under Michelangelo Pistoletto at the Academy of Fine Arts, Vienna. He completed a Masters in 2000 from the Royal College of Art, London, where he studied under Ron Arad.

Working across design and art venues, Martino Gamper engages in a variety of projects from exhibition design, interior design, one-off commissions and the design of mass-produced products for the cutting edge of the international furniture industry. Gamper has presented his works and projects internationally, selected exhibitions and commissions include among others: ‘design is a state of mind’, Serpentine Sackler Gallery, London (2014); ‘Period Room’, Palais De Tokyo, Paris (2014); ’Tu casa, mi casa’, The Modern Institute, Glasgow (2013); ‘Bench Years’, London Design Festival commission, V&A Museum, London (2012); ʻGesamtkunsthandwerk’ (Karl Fritsch, Martino Gamper and Francis Upritchard), GovettBrewster Art Gallery, New Plymouth – New Zealand (2011); Project for Café Charlottenborg, Kunsthal Charlottenborg, Copenhagen (2011); ‘Bench to Bench’, public street furniture in East London in collaboration with LTGDC (2011);‘100 chairs in 100 Days’, 5 Cromwell Place, London (2007).

VISIBLE PROJECT

GIUSY CHECOLA

Visible is a contemporary art research project devoted to producing and sustaining socially engaged art practices in a global context.

Operating since 2010, it has taken a global and interdisciplinary approach to researching the physical and theoretical spaces in which these practices affect society. In 2011, Visible initiated the biennial Visible Award, the first European award for socially engaged artistic practices.

A nomadic institution, Visible has worked with a variety of formats, collaborations, and institutions, including Tate Liverpool; Creative Time, New York; Van Abbemuseum in Eindhoven; Kunsthaus Graz; Kadist Art Foundation, San Francisco; Center for Historical Reenactments, Johannesburg; and The Serpentine Gallery, London. Recently, Visible has become part of the Extended Network of Public Art Producers (ENPAP), a network of institutions including Situations (Bristol, United Kingdom), Statens Konstråd / Public Art Agency (Stockholm, Sweden), and Creative Time (New York). Visible is a project

by Cittadellarte – Fondazione Pistoletto and Fondazione Zegna in partnership, curated by Matteo Lucchetti and Judith Wielander.

Giusy Checola (San Severo, 1973) is PhD researcher at University Paris VIII Vincennes Saint-Denis (France) and curator of artistic-pluridisciplinary projects mainly focused on the relation between art and public sphere, developed in interaction with cultural geography and geophilosophy.

Currently her work focuses on placemaking, on artistic intervention in public sphere and its effects in material and immaterial dimensions of the public and the common dimensions.

Founder of the platform and archive Archiviazioni (Southern Italy), she has been researcher for editions 2013 and 2015 of International Award for Excellence in Public(USA/China) and mentor for UNIDEE in June 2015. She’s member of the curatorial board of SoutHeritage Foundation of Matera (Italy) and co-director of Maverick Campus (Basilicata region). She’s contributor of Domus magazine.

ATTILA FARAVELLI AND ENRICO MALATESTA Attila Faravelli (Milano, Italy, 1976) and Enrico Malatesta (Cesena, 1985) are sound artists and long term collaborators. They first met in 2012 to compose and perform music for a contemporary dance play (Teatro Valdoca). This initiated a series of diverse collaborations ranging from electro-acoustic music releases (http://www.balloonnneedle. com) to research projects about the perception of a surfaces’ irregularities (http://auraltools.tumblr.com/bilia) and the use of an everyday-life-use object to produce sound (http:// www.lateraladdition.org/#24). In their collaborative works they explore the relationships between sound, space and gesture, with a focus on producing complex sonic information through simple actions and tools in contrast to the conception of music as a fully intentional human output.

In 2013, together with Nicola Ratti, they founded Tilde, a collaborative project created with the aim to explore, through sound actions, the possibilities of listening and practice of the space.

Attila Faravelli and Enrico Malatesta have presented their work in festivals and leading art institutions and universities throughout Europe, North America, Japan and South Korea.

Among the institutions with which they have collaborated: Brown University (US), Non Event (US), MoMA PS1 (US), AIR Krems (AT), Qo2 (BE), 12th International Biennial of Architecture in Venice, Sounds of Europe project,

Seoul Foundation for Art and CultureMullae Art Space / South Korea, Academy of fine Arts-Brera, Academy of fine Arts-Bologna, Sapienza Università di Roma, Politecnico di Milano.

Enrico Malatesta, as a solo artist, plays percussions and addresses the multimaterial affordances of his instruments.

He has been playing and recording with musicians like Giuseppe Ielasi, Renato Rinaldi, Adam Asnan, Alessandro Bosetti, Christian Wolfarth, Ingar Zach, Burkhard Beins, Michael Vorfeld, Seijiro Murayama. Since 2010 he leads educational workshops concerning active listening and body movement. He is currently teaching sonic space design at the Academy of fine Arts in Bologna.

Attila Faravelli’s solo music is released

by Die Schachtel and Senufo Editions, in duo w/ Andrea Belfi (Tumble) he released on Die Schachtel, on Boring Machines with Nicola Ratti , on Presto!? with the artist Nicola Martini and on Mikroton with Angélica Castelló, Mario de Vega and Burkhard Stangl. He is co-founder of Neither Sound and founder/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.

NICOLA RATTI Nicola Ratti was born in Milano in 1978. Polyhedric musician and sound designer active since years in the field of experimental music. He’s been extensively presenting his music in Europe, North America and Russia.

His albums have been released

by Anticipate, Preservation, Die Schachtel, Entr’acte, Where To Now?, Senufo Editions, Boomkat Editions, Holidays Records, Megaplomb, Musica Moderna, Boring Machines, Coriolis Sounds, Zymogen. He is currently collaborating with Giuseppe Ielasi (with whom he formed the Bellows project and Tilde (w. Attila Faravelli and Enrico Malatesta). He’s been playing guitar (2007 to 2013) in the soundtrack-band Ronin.

He collaborates with visual artists such as Nicola Martini, Alessandro Roma, Riccardo Arena, Ferruccio Ascari and Blisterzine/NastyNasty. He’s been curating “The Variable Series” (20132014), a series of events hosted by O’ in Milano concerning sound and performance.

He’s one of the promoters/ artists of the italian electro-acoustic music collective Auna. Since 2015 he curates experimental music and sound art related events at Standards in Milano.

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 second year, and with a long history of residency programmes for international students (2000-2013) behind it, the new UNIDEE format proposes for the year 2016 a close examination of three macro-themes: Research, Gift and Alteration.

UNIDEE - University of Ideas 2016 Programme directed and curated by Cecilia Guida With the collaboration of Juan Sandoval Under the supervision of Paolo Naldini Programme Coordinator: Roberta Bernasconi 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 2016 is made possible thanks to: 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

Minister of Culture of the Republic of Albania (AL); 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); ISIAIstituto Superiore per le Industrie Artistiche di Faenza (IT); SACI Studio Art Centers International, Florence (IT); Fondazione Bevilacqua La Masa, Venice (IT); Queens Museum, New York (US).