Portfolio - Selected Works 2007-2016 (English) by Pierfabrizio Paradiso

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pierfabrizioparadiso

Portfolio Selected Realised Works 2007-2016

Referring to :

me too, I am a painter! Jacques RanciĂ¨re, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation, translated by Kirstin Ross (Stanford, Cal.: University of Stanford, 1991), p. 65.

We need to think about what is happening around us, within us, each and everyday. We live on familiar terms with people in our own family, our own milieu, our own class. This constant impression of familiarity makes us think that we know them, that their outlines are defined for us, and that they see themselves as having those same outlines. We define them. and we judge them. We can identify with them or exclude them from our world. But the familiar is not the necessarily known. Henry Lefebvre, Critique of Everyday Life, vol III. From Modernity to Modernism (Towards a Metaphilosophy of Daily Life), 1971, Haper and Row

In few words my researches focus on Art in the Everyday; my starting points are the reflections of Henry Lefebvre and Georges Perec around the concept of Everyday. Everyday is what belongs to people in their automatic attitudes in everyday life. According to me, this is not no longer put in a criticism today because it is accepted as it is.

statement of works

In the banality of what we generally do everyday, there is always something to unveil, something that we are not able anymore to recognize, because we are used to that. The repetition becomes something natural, without the active Consciousness of Thinking, but only with the passive attitude in accepting a packaged world. In my latest projects, my performances and works are always involving people who belong to ordinary life in ordinary places. The aim is to consider the existing world as an ongoing display where the experience of Art could be settled, and Art could be a tool implied in decoding our human environment. A tool that is available for anyone to use. My projects are intended as a possibility to investigate ourselves, to recover the comprehension of our actions, to unveil the meanings of Reality: something in which be active, in order to escape a staged one.

My projects are set often in place of everyday life: bars, streets, squares, private, houses. Here the relation among art, random people and me is very strong and important. I have always represented myself as artist, but also as inhabitant, as way of relation and communication, as anyone. Another aim is to destroy that invisible wall, which keeps a distance between the realm of “High Culture” and the realm of supposed “low culture”. Or, simply, the everyday life. Culture and History are not built by the big and celebrated events only. These are always the results and the effects of what day per day human beings are going to do in their little gestures. As a big puzzle in which its pieces are sketched by every of us to represent something, that is not predetermined and imposed by above. Simply it goes on and on. And it belongs to everyone.

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Il Problema della Quadratura del Cerchio

(en. The Problem of Squaring the Circle)

2016 Mixed Media Installation (A4 Drafts, Silver Glittered Powder) Dimensions according to the site within the Exhibition Sviluppo di un Poliedro Irregolare nello Spazio by Imagonirmia, Treviso

The title of the work refers to a problem of the Euclidean geometry, which was considered not solvable: i.e. the squaring of the circle. Many authors during the Italian Renaissance, among them Piero della Francesca, tried to solve it in order to prove the divine nature of Christ, for instance. This work evokes the value of attempt, of the failed gesture, of the efforts to reach a goal which is defined out of reach: a series of balled-up drafts on which the obsessive repetition of some titles of some masterpieces belonging to the historiography of Arts and written by artists is repeated. From Luca Pacioli to Giorgio Vasari, from Vasily Kandinskji to Luciano Fabro the works set itself as a metaphor of the fundamental value of every attempts, every errors and every missed targets, which belong to the construction of an obsession of our own, and sometimes considered as impossible or ridiculous, within a social context where errors and attempts are not considered anymore.

Sgretolarsi

(en. to crumble oneself) 2016 Video DV

No Place #2 Castello Scotti Fombio (PC)

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1. Video Still 2. DVD Cover 3. Installation View

sgretolarsi 2015 Video VD

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Pergamon 2015 Series of pictures

Pergamon investigates the aspects of contemplation and of the performing relationships between the monument and the audience. The contemplation is not a sufficient attitude to evoque the feeling of memory, implied by the monument itself, within the spectator. For this reason, the monument has to imply within its experience not only the intellect, but alos the body in its whole phisical dimension. This series explores the body tension and the dramaturgy of gesture during the act of contemplation of a monument, that is the Altar of Pergamon, one of the highest example of the dramaticity of the hellenic art. This sequence of images ponders the necessity of a new grammar for the Monument and for its experience, within which the specator is active inside the activation process of the memory.

Kulturelemente n.123 “Monument und Denkmal” guests a part of the series Pergamon . The issue has been presented within the exhibition “Ripresa dei Discorsi per un monumento” by

The Everydays

a series of 20 daily life quotes 2015 Digital Print on Fine Art Paper on dibond support cm 100 x 66,5 each

Boring Angel

Cose del Silenzio (en. Things of Silence), T. I donâ&#x20AC;&#x2122;t want to see those thing anymore, which left me have felt this silence.

Comporre/Modulare (en. To compose/To module)

Geometrie (en. Geometries), T. Geometries. Arches standing on the circumeference

Platea (en. Audience), T. Everything concludes in ourselves, it belongs to us for a while (but that Intraprendere il Viaggio (en. To undertake the journey), T. To be and to think, with my own idenis all) that this belonging affects. tity, where I am not.

Dance in August

Ego

Gustav Mahler T. Tradition is feeding the fire, not the adoration of ashes.

Journey to Mars

Le Temps qui reste (en. The Remaining Time)

Passare (en. To pass through/ To spend)

Tracy Chapman

Stravinsky/Nijinsky

Percorsi (en. Routes)

Slowly and Intently

Segmento/Punto di Fuga (en. Segment/Vanishing Point)

J.L. Godard T. The language is the Home where the man lives.

Il Principio del Punto Cieco (en. Principle of the Blind Spot) T. I dontâ&#x20AC;&#x2122; see not to see.

At your Age

Tensione degli Opposti (en. The Power between reverses)

Suzanne/Luka

The Chorus

Le Charme de la Musique

Voliera (en. Bird Cage), T. The Umbrella locked, and you stand in it

Quelli che passano (en. Those who are passing through), T. Even when we look from above and we suppose to be above, from outside, we are those who are passing through.

MaestĂ (en. Majesty)

The pictures of this series have been shooted during this last 3 months, by chance in my everyday life. The implied words on the pictures, chosen by me, try to let the meaning of the pic go beyond the description towards a furhter value, which goes out to the normal perception and try to moltiplicate the possible meanings of every single thing, wich we face everyday of.

Darsi in Pasto al Vero (en. Offering yourself to the Truth as feed), T. She loves revealing herself at nighe, in presence of nobody.

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Trittico per Uscire fuori al Freddo

(En. Triptych to go out in the cold)

2014 Series of three consequential books in wooden Boxes cm. 15x24

10 Limited Edition

Piante

(Plants/Maps)

2014 pp. 18

In Italian the word Piante stays both for Plants as well as Maps.

Come nelle Case delle Bambole, le Finestre guardano sempre dentro se stesse. (Like in the House of Dolls, Windows always look

The inner Pictures are taken from the serie Things as Composition. Cover: Piante#1, 2014

(en. Desert/High Tide)

2014 pp. 20

inside themselves)

2014 pp. 18

Language: Italian Language: Italian

Deserto/Alta Marea

The inner Pictures are taken from the serie Things as Composition. Cover: Come nelle Case delle Bambole, le Finestre guardano sempre dentro se stesse, 2014

The Architectural Model represents The House VI by Peter Eisenmann

Language: Italian

The inner Pictures are taken from the series Deserto/Alta Marea (en. Desert/High Tide) Cover: Deserto/CaffĂ¨ Latte, 2014

The Pubblication collects three brief tales, which investigate the connections among people, places and things in three different peculiar places in Berlin ( a park, the Italian embassy in Berlin and a bar), which define both phisycal as well as mental spaces. In Italian.

Series: Things as Composition 2014 10 Limited Editions/each work.

Le Cose #1

Le Cose #2

Foresta

(en. Things #1)

(en. Things #2)

(en. Forest)

Volkspark Hasenheide, Berlin

Digital Print cm 15x24

2014

Piante #1

Piante #2

Piante #3

(en. Plants/Maps #1)

(en. Plants/Maps #2)

(en. Plants/Maps #3)

Digital Print cm 15x24

2014

Come nelle case delle Bambole, le finestre guardano sempre dentro se stesse (en. Like the House of Dolls, Windows always look inside themselves)

2014

Il Sole che filtra dai tigli, le fa lacrimare un occhio

(en. the sun seeping through the Lindens, let her eye weep)

Composition #1 2014

2014 Italian Embassy in Berlin, interiors

The Architectural model represents Houe VI by Peter Eisenmann

Digital Print cm 15x24

Composition #2 2014

Composition #3 2014

Composition #4 2014

Italian Embassy in Berlin, interiors

Digital Print cm 15x24

Series: Deserto/Alta Marea

(En. Desert/High Tide) 2014

10 Limited Editions/each work.

Deserto/Caffè Latte

(en. Desert/Caffè Latte)

2014

Digital Print cm 15x24

Deserto/Specchio d’Acqua (en. Desert/Stretch of Water)

2014

Digital Print cm 15x24

Deserto/Smarrito nel vuoto (en. Desert/Lost in Emptiness)

2014

Digital Print cm 15x24

(en. Desert/Villeroy&Boch)

Deserto/Villeroy&Boch

(en. Desert/Modern Style)

Deserto/Stile Lyberty

Deserto/Lastra di Cemento

2014

Digital Print cm 15x24

(en. Desert/Paving Stone)

Deserto/Salsa di Soia (en. Desert/Soya Sauce)

2014

Digital Print cm 15x24

Painting Beside Itself 2014 Video DV Installation Windows Display Show #5: Pierfabrizio Paradiso D21-Kunstraum Leipzig Leipzig (DE)

The Landscape

The Nature

The Abstraction

The Portrait

video still

In â&#x20AC;&#x153;Painting beside itselfâ&#x20AC;? Paradiso divides the Everyday into the most important Theme of Painting: the Landscape, the Nature, the Portrait and the Fiction. The filmic collection is composed from a series of daily moments in different urban environments, italian small towns as well as big cities like Milan, Rotterdam and Berlin. Every time Pierfabrizio Paradiso is looking for an image, he tries to reset his usual way of looking. He translates in this case the value, the grammar and the composition of Painting into a tale of the Everyday within a research about the motion picture, or real images in motion. He concentrates on Details and he tries to shift the emphases. This video archive is related with 2 quotes by Georges Perec and Martin Kippenberger, printed on two different PVC-Banners and hanged in another window of D21. The quotes reflect two different positions about the daily life, they express at once a sort of banality and a revaluation of the Everyday and the Art.

The Fiction video still

So the question related to the practices in contemporary art with the dailies takes a new meaning: What defines the everyday? And, are we able today to accept it, as it is? (English translation of an excerpt from the official text by D21-Kunstraum Leipzig)

The Portrait video still

Painting Beside Itself #1 PVC Banner 120 x 150 cm.

Painting Beside Itself #2 PVC Banner 120 x 150 cm.

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Shared Dramaturgy of an unexpected object in the Everyday 2013 Online Project Website

These sentences comment on art, but are not art (Sol Lewitt, Sentences on conceptual Art, 1969, Art and Language)

As in my artistic research, in my Thesis for the MA in Visual Arts and Curatorial Studies I explored the links between Art and the Everyday. What I’m asking to myself in my research is whether it would be possible to suppose a new set of “unexpected” display and a new series of practices for the Theroy of Art and, in general, for the Culture, which could encourage to revise the spaces of the Everyday life, of the Banal and of the Repetition. The spaces of “l’infraordinaier” as defined by Georges Perec. We don’t need something extraordinary, we just need to rediscover it. Spectacularizing the Reality we prohibited to ourselves the privilege to retrieve the banality. All that is ordinary, usual, customary and familiar is tagged tin the realm of banality, instead all that leaves us astonished is normally oustide our habits and it is alienating and alienated. This seems to have become the only yardstick to value the Reality that we deceive to conquer. Rethinking the World in itself, even in its banality and in its repetition, this two parallel universes which are the so called “High Culture” and the so called “low culture” collapse inevitably in my experiences, in order to mingle together in a dynamic of exchange. That ‘s what Jacques Rancière describes in “The Ignorant Master” with the experience of Joseph Jacotot, a university professor at Louvain in 1818, who theorized as the transmission of knowledge is an exchange in which we can not assume one who knows and one who doesn’t know, but each involved part gives something to the other, horizontally. Consequently, my thesis constitute an “unexpected” display (or unintended), which doesn’t formalize in the shape of a book as the following vertical relationship “I write because I know and you read because you don’t know”, but it’s a multi-authorial object in my everyday life, which could be placed in any place

and could be used by anyone, by chance, and because of this, standing in the flow of the world, it opens itself to a following debate and to a further unexpected discussion. Outside any sketchiness. This research refuses therefore the shape of the book as final result and the structure of the thesis concerns with the collection of a series of open comments by people I met by chance in my life during the last 4 year. I asked them to comment a quote I took from my whole bibliography of research, related to the Everyday. Every quote is different and chosen expressly for that person. The comments are open. This means no bonds exist, no guidelines. Simply everyone will be able to answer as they prefer. For convenience, the contents will be expressed in Italian and English. I decided to keep the quotes and the comments in their original language (if it was Italian or English) to avoid the misunderstandings of the translation and not to loose the shades of meanings from words which are not mine and to respect the sources and the intents of my research. Thank you.

http://www.dramaturgyofeveryday.com

Wunderkammer To read again is an hard job for those who are not used to forget

2013 Mixed Media Installation

A first step towards coincidences and meetings - part V curated by SLT/Andrea Orlandini b-a-d temporaneo Pietrasanta LU Italy

A cabinet of curiosities was an encyclopedic collection in Renaissance Europe of types of objects whose categorial boundaries were yet to be defined. They were also known by various names such as “Cabinet of Wonder”, and in German “Kunstkammer“( i.e. art-room) or “Wunderkammer” (i.e. wonder-room). (source: Wikipedia EN

When you are not used to have a fixed home, it’s quite difficult to hold and, most of all, to recover a personal treasure chest of memory. It happens often to me, when I’m going back my parents’ home, to recover the usual things that let you travel through the time: your favorite tshirt, a souvenir from a travel for your parents (so they know you thought about them), old birthday presents, the bottle of a drink in limited edition. Once I found also old letters, and postcards. Now less and less. This has been always my Wundkerkammer, the museum of myself. Objects I love holding to be able to recompose the underlevels of my memory, when you hit them on. Like when you cross an old street, which only to you can reveal those stories, that you already know because they are cherished inside you. Wunderkammers are considered the first step of the concept of the actual Museum. Huge collections of “extraordinary objects”, collected for the pure taste of holding them, which belonged to a private sphere of a single person, in order to be developed in a collective heritage for everyone. Collecting implies the replacement of a shielded object, very often a loved one, in an open object which offers itself to the world, emanating new possible shared values. D. wrote about our story, it was 2008. An e-mail. No physical tangible form I could collect in my wonder room. This no-form appears by chance in the flow of my everyday. He wrote me about his doubts about our differences. about the worlds that detach us, according to him. About closed and open contexts. About the “Art World” and the “World”. About the boundaries between the so called “High Culture” and “Low Culture”. But we can’t identify how this relation of heights works and is compared with what. To shift my extraordinary object/no-object in a physical form, through the machineries of Art, implies for me a further little piece of my Wunderkammer as a shared value, through the same system that years ago separated me and D. Now it brings us back together.

Installation view

Dragging up my simple things that tell my stories, it’s inside me I discovered my Wunderkammer. But who doesn’t reread the past, forces himself to reread always the same story. And it’s like never break up.

Wunderkammer - The Birds 2013 Framed Photo glazed print, chestnut frame, cm. 30x45

Wunderkammer - The Email 2013 Email, silver glitter powder, chestnut frame cm 21 x 27

To read again is an hard job for those who are not used to forget 2013 Mixed Media (pottery fragments, silver glitter powder, print on paper) in-site sized.

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Ascoltare ed Ascoltarsi, così un monologo può assumere l’impronta di un colloquio e l’alter ego è l’io sepolto che affiora aggredito dai ricordi che però non riescono ad annullare il suo grido Introduzione a “Il Limo di Eva” di Anna Vincitorio

(en. Listen to someone and listen to yourself, so a monlogue could be assumed as a convesation and the alter ego is the concealed I, who filters throuhg as assaulted by the memory, which can’t block its cry. Pierfabrizio Paradiso introduces “Il Limo di Eva” by Anna Vincitorio

2012 Performance in one act A first step towards coincidences and meetings - Part III curated by SomethingLikeThis -artinitiatives

This Performance is an occasion to introduce and present “Il Limo di Eva”, a novel by Anna Vincitorio. The dramaturgy face the issue about the research of one’s own identity, not only as self-consciousness, but also as representation and reoccupation of one’s own body. The artist put in relation, as a intertwined weft, the novel by Anna Vincitorio with some extracts from “Tonio Kröger” by Thomas Mann, which dialogue to one another about the issue of the exile from the society, the position of the artist and about who has a catty-corner glance at the order of the world, getting its essence and rethinking the device body as a furthermore possible space of speech. (taken from the italian version of the press release “A first step towards coincidences and meeting part III”, SLT art initatives - Firenze)

with Vito Montesano Silvia Pennazzi Roberto Scanu Emanuela Stanganelli

with the participation of Diego Bertelli Lucilla Del Picchia Bianca Pinzi Antonello Sanna

Direction and Drama Pierfabrizio Paradiso

Photo Nicolò Burgassi

A DVD Box in vegetal carton is available. Within: - Booklet with pics and critic text - Video DV performing the work by SLT - Audio CD with the voiceover of the work

Wild Tigers I have known with Japanes Nightingales #1 2012 Banner PVC, cm 100 x 58

Wild Tigers I have known with Japanes Nightingales #2 2012 Banner PVC, cm 100 x 66

Giuseppealiaslucia 2012 Mixed Media (Cage for nighingales, book, silver lace)

The Nightingale 2012 Banner PVC, cm 70 x 100

The Everydays

a series of 20 daily life quotes 2012 Digital Print on Fine Art Paper on dibond support cm 100 x 66,5 each

Di Ogni Fessura del Mondo, noi siamo i custodi. (en. Of every crack of the world, we are the keeper)

Costante di Fidia. (en. means of Phidias - Golden Ratio), T: The ratio of the sum of the quanties to the larger quantity is equal to the

Altrove. (en. Elsewhere)

Asfalto. (en. Macadam) T: the whole city makes no noise in the surrounds. Itâ&#x20AC;&#x2122;s silent and soft when you step it on.

ratio of the larger quantity to the smaller one)

Famiglia. (en. Family) T: The society, reproducing itself and keeping on being perpetuated.

Formula Risolutiva della Coesione. (en. Quadratic Formular of Cohesion) T: Only a secret that one couldnâ&#x20AC;&#x2122;t betray or is afraid

Latter-day Capitalism

Marguerite Duras. T: The sown footsteps took root. Furthermore has no meaning.

to abandon, or which he canâ&#x20AC;&#x2122;t express with words, and it seems to belong to the categories of madness, may prevent an unavoidable falling.

Lei Ă¨ una donna che corre. (en. sheâ&#x20AC;&#x2122;s a running woman) T: sheâ&#x20AC;&#x2122;s a running woman. Two steps rightward, or leftward, are enough,

Principio. (en. The Beginning) T: What we were is coming back as unique beginning, and as a furthermore starting point.

Life/Lived.

modernopostomoderno (en. moderpostmodern)

and the whole picture change.

Punto di Equilibrio. (en.Point of Stasis) T: a fixed point, under the evolution of the system.

And suddenly, something will happen.

Those lovely promises in a panic society

Tutti lasciano solo chi si perde. (en. Everybody leaves only who gets lost)

Weather Forecast

Paradigma T: Similarities / Differences

Dâ&#x20AC;&#x2122;inverno, la coscienza somiglia a unâ&#x20AC;&#x2122;acquaforte. (en. In winter, the consciousness seems an etching)

The Stage, the Reality and the Fiction as characters.

Die Entität, welche verhindert, dass sich alle Objekte im Universum miteinander berühren, ist der Raum. Dramaturgie einer Private Sphäre (en. The entity that prevents all objects in the universefrom touching with each other is the space. Dramaturgy of a Private Space)

2012 Springhouse Dresden curated by Anna Bründl and Sven Christian Schuck in partnership with HELLERAU - Europäisches Zentrum der Künste Dresden

HOME AS INTIMATE STAGE The arrangement of objects in our home is the reflection of ourselves through that space, an intimate stage where we are at the same time actors and spectators of our routine. The furniture, the objects and the way they are arranged, the kind of books we choose to let be visible, those that are hidden, all of these strategies of representation evoke the representation of ourselves through our environment. Reading a lived-in space is like a tale, in which you must learn its composite grammar. Like a staging whose borders between reality, representation and fiction are blurred. I was fascinated by the construction of one of the rooms of the house in Springhouse where I entered casually and I started an analysis of the objects that made this space up, through my camera as a sample. By chance I got to chat with the guy who was living within this space, Marc, and I tried to translate the interconnections between him and his surroundings. So I realized the dramaturgy of a space that stages three different levels: the objective description of the space and its relationship with Marc’s personal experiences; a stream of consciousness through this space and my personal experiences; Juliette’s speaking through the reflections by Jean Luc Godard on the relationship between objects and human beings in modern society. The dramaturgy is inscribed in a form which corresponds to a scale section of a mezzanine within Marcus’s room , above which he’s used to sleep. The section represents the space suspended between the intimate sphere of the bed and the whole space. The dramaturgy is just a starting point for the work as performance: by simply handing the banner to Marcus during the Springhouse opening to settle it anywhere he liked, the staging of a space begins and it will be perform and represented by viewers/ readers, simply by reading it aloud. Installation view Banner PVC cm. 118,9 x 84,1 and Performance

Reiร den Himmel und befreie mich, So werden wir wertvoll. (en. Tear the sky up and free me. So we will be precious)

2012 in the frame of 48 Stunde Neukรถlln 14. Kunst-und Kultur Festival Endstation Paradies Kรถrnerpark Berlin

Since October 2011, I’m experiencing my life in Neukoelln, where lots of planets every day collapse each other: the worlds of cultures. Neukoelln is what nowadays is represented as “Melting Pot” of cultures. The main issue of how to communicate became every day a crucial issue, every time you looked someone different according to the language you’re speaking, and you felt a little Alien with yourself. Aliens are supposed not to exist. Science proved the contrary, probably Most of the time we are already Aliens among us.

Some moments of the Performance

The terminus Paradise, maybe. Andrey Finkelstein, Director of the Institute of Applied Astronomy, claimed the scientific reasoning behind his controversial statement that in 20 years humanity will discover aliens and they are likely to look much like humans. He claimed: The form will definitely be well-known to us. In my opinion, and I believe experts generally agree on this, life and intelligence, should they exist elsewhere at all, should be highly human-like.

I spent a whole day inside the Kornerpark as myself, as an alien We don’t need to wait for those from the On air balloons I started writing my outer space. According to theme of the whole experience as story since I arfestival, my work questions the form of Difference within a community which plays rived in Berlin until today and 4 editions on a common ground in everyday life, the of cripted documentations from NASA possible ways of communication within it about the existence of aliens has been to rise the sky up and discover a new one, spread nearby. The balloons have been that will be for anyone the same. for real. left free inside the park.

Larry Gersten took NASA to court to release information about communication from et’s. Namely the Dr. Campaigne and Dr. Lambros D. Callimahos decryption of 29 messages that had been received from “outer space”. He won and NASA have to publish on their website apparently. The DocId 305233 is a series of example of how ET forms could set a message for us, through the mathematic languages and Geometry or binary code. The main aspects he underlined are: A POSSIBLE END of a Species: 1) self destruction, 2) genetic danger, 3) overproduction of information, 4) restricted capacity of the individual’s brain which can lead to excessive specialization with consequent dangers of degeneration; 5)a crisis precipitated by the creation of artificial intelligent beings. THE VERY FIRST WAY OF COMMUNICATION between two different species 1) With Signals, such as: numbers. impulses, circle pythagorean Theorem 2) Through the sense of sight, very common among intelligent living forms. Number is the most universal concept for establishing communication between intelligent beings, mathematic forms as first steps in communication. +, -, and = are universal concepts.

The DOCID 3052333 The cosmic equivalent of Rosetta is not necessary 4 digital prints on paper fixed on Dibond support.

Lincos: Design of a Language for a Cosmic Intercourse Lincos=lingua cosmica The comprehension of the message is important and easy to understand. Communication symbolism especially designed not to hide meaning. The cosmic equivalent of the Rosetta Stone is not necessary.

The WOW signal

every year about the universe. For Jerry Ehman, the big puzzle is: Why only one signal? If an alien intelligence is trying to send a message somewhere, wouldn’t it make sense to send the message a few times? The signal landed once on Aug. 15, 1977. It never repeated. “That’s key in the scientific method,” says Columbia’s Scharf. “You want to see a repeat.” That way, other scientists can confirm the finding. And yet, the “Wow!” signal is the only reliably recorded sound apparently received from deep space that has the quality of an intentional signal. Jerry Ehman has never claimed he’d heard from E.T. Where the signal came from is still an open question for him. All Jerry Ehman will say is that having eliminated (as best he can) every other explanation, a message from E.T. is one possibility he can’t dismiss.

When Jerry Ehman wrote that three-letter word, “wow,” he was a professor at Ohio State University volunteering with SETI, the Search for Extra Terrestrial Intelligence. Every few days, a messenger would bike over from “The Big Ear,” Ohio State’s giant radio telescope in Delaware, Ohio, and hand Jerry computer records of sounds coming in from deep space. If something surprising popped up, he was to notify the other SETI folks. What he saw that day was like an answered prayer. Eighteen years earlier, two Cornell physicists, Philip Morrison and Giuseppe Cocconi, had tried to imagine how an intelligent alien civilization might try to signal Earth. We should look, they said, for a radio transmission. Radio waves are cheap to produce, don’t require much energy and travel vast distances across space. The account about the WOW Signal is in: Cocconi and Morrison guessed that the aliens would choose a frequency that Michael Brooks, 13 Things that don’t make sense, Chapter 7, 2008, Doubleday would mean something to creatures who know math and chemistry. Hydrogen is the most common element in the universe. Zap a hydrogen atom and it will resonate at a particular rate: 1420 megahertz (MHz). So look, they said, for a signal coming in at 1420 MHz. And look for something loud, something that would catch our attention. And on Aug. 15, in it came, exactly as predicted. What Jerry saw was, yes, a radio signal and, yes, a radio signal very, very close to 1420 MHz (it was 1420.4556, just a smidge from where it was expected). It lasted 2 to 2 1/2 minutes. It was loud. And the transmission had the shape that Cocconi and Morrison had predicted. If you look at this printout, you will see this sequence of letters and numbers: 6EQUJ5. The letters and numbers are, essentially, a measure of the intensity of the electromagnetic signal as it hit the receiver. Low power was recorded with numbers 0 to 9; as power got higher, the computer used letters: 10 was A, 11 was B and so on. So by the time you get to the last letters of the alphabet, you are getting a very powerful signal. That’s why when Jerry saw this letter U on his printout (U is the 21st letter of the alphabet) he knew something was up. “I had never seen any signal that strong before,” Jerry says. “U,” in a logarithmic way, means about 30 times louder than the ordinary noise of deep space. That’s kind of a “Hello!” level. And that explains Jerry’s reaction. “That’s the nice thing about the word ‘wow.’ I was, uh ... I was astonished,” he says. As surprised as he was, Jerry was also puzzled. Where did the signal come from? SETI scientists traced it back to the constellation Sagittarius, just to the northwest of the globular cluster M55. But when they looked for the source, there was nothing there, no planet, no star. Still, the shape of the signal, its narrow AM/FM-like focus, not to mention its surprisingly tantalizing frequency suggested intentionality. Maybe whoever or whatever sent the signal had moved on? Or maybe not. Maybe there was no signal. Jerry and his colleagues checked all The Wow Signal the alternative explanations they could think of. Was it a satellite transmission (no), a military signal (no), an aircraft signal (no), a broadcast beam (no), an ac- Digital Print on paper on dibond support cidental beam ricocheting off space debris (no)? Could it have been something natural? A pulsating star? That’s where things began to unravel. Astronomers keep discovering new noisemakers in space: colliding black holes, glitching pulsars, gamma ray bursts. Columbia University astronomer Caleb Scharf says it is very hard to exhaust the possibilities when we are learning more

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Please, Trust in Us! We will never hurt you.

Archive for visual culture in a new era

2011 in the frame of Le Mois Italien L.A.A Laboratoire d’Art d’Aujourd’hui Grenoble

Which are today the new places for aesthetic contemplation? Museums are going to be more and more as Giant Bookshops, Super Restaurants and Fashion CafĂ¨s, and sometimes the exhibition display is not necessary anymore. I could recognize this kind of aesthetic attitude during my experience as Promoter Brand Specialist to gain more money besides my activity as artist. Inside the new model for the place of aesthetic contemplation: the Department Stores. Museums and the languages of aesthetic criticism are more and more assumed by the Department Stores, which can resume the fascination of the object, the illusion of possess and the consequent illusion of democracy in enjoyment of beauty. Everyone is feeling to achieve the meanings of Beauty there: the structure of mass-media communication let us perceive that we need someone, who helps us to desire and recognize what is really beautiful. And what is necessary to be satisfied in our aesthetic needs. During my experience I had to do training briefings, psychological tests, to face selection by Agencies. The focus of multinational companies was on the sentence: the Promoter, more than the seller, is â&#x20AC;&#x153;the human incarnation of a Businessâ&#x20AC;?. For 8 hours per day, two days per week or more according to the season, Promoters forget their real human life to humanize the companies. Sometimes, something different can happen. My works would try, on one hand, to show the aesthetic fascination of merchandise over the people; on the other hand it would tend to underline the possibility of going out the iron structures of capitalism system. Where everything is planned to work as it has to, we tried just shifting and playing with its own gears, in order to discover new possibilities for a critic glance to the inner sense of Beauty. The E-book catalogue is available on Amazon.

An exhibition view

Collection of Functional Structures to remove your mind and humanize the Perception of Beauty in Multinational Business. Installation, Mixed Media (Desk, uniforms, gadgets, original and reprinted documents)

The displays show all the documentations I collected during my experience as Promoter Brand Specialist in Department Stores. Most of all, they are email, sell-out reports, screen shot of forms on websites, questionnaires, uniforms, merchandising gadgets and anything I had to use to become a promoter.

If You have any Question, this is a good moment to pose them, ok? Well, see you later then. Video DV

The ongoing images inside a corridor of a Department Store Auchan have been recorded with a hidden camera under my desk for the promotion for a sim-card. It focuses on the effort of trying to build an aesthetic representation inside submissive system to gain some money. This is also an effort not to forget who you are in your own life and not let the companies loose your identity too. During the Video, the voice-over has been recorded during my Training Briefing for the know-how of selling shavers. The final speech is a dialogue between a costumer and a group of promoters during the work inside the Department Store. The costumer asked how to become a promoter and the necessary know-how.

How to Seduce a Costumer: in few second trying to understand what he desires and acting in consequence. Series of 31 Pictures 2 Posters

This series represents my colleagues during my experience in MediaWorld, Milan. My aim is showing the real process of humanization that companies would get to sell their products. I asked them to play with the chance of representing their own products, instead of themselves being represented by them. We staged absurd situations, forgetting for a while a role, which doesn’t belong to them at all most of the time. We all tried to recover our sense of Beauty, instead of complying with the laws of Capitalism where Beauty is a mere tool to produce business. The posters represent a portrait of a young couple of fiancée, both of them promoter in Auchan Dept. Store. I asked them to pose, referring to Piero Della Francesca’s Double Portrait of Dukes of Urbino,: They have too their realm on the background, on the contrary they’re acing directly their people/customers.

The Sleeping Beauty, so long reclining in her dainty bed, had risen up with a devouring desire 2011 Performance Green Desire/Desiderio Verde Isola Art Center Milan

The Instinct. Revealing ourselves or being hidden. To enter, to exit: draw a trajectory. Claiming the movement in order to recover the space through the body. The dancer’s body is a contemporary ipercorpo. This Body is on motion, considered in its constant dialectics between the state of equilibrium and disequilibrium, between fall and refloating in its swinging from side to side. It’s a body in which the contemporary Reality of the Man is inscribed. In the drawings of bodily spaces and geometries in the air and on land, the whole man is expressed. His human emotions let us derail in this progressive movement, from a portion of the urban space of everyday life, towards a dreamlike dimension. The daily space turns into a space of possible desires through its creatures. They’re trying to decline a new awakening through an invitation of reading the grammar of the urban space as an open language, in which everything is always possible. The awakening of the body as awareness of our own space: Sleeping, dreaming and awakening as the process of a new desire, which becomes visible. The body wakes up, moves itself and occupies the space as a reflection about decolonizing the public space in order to let it be a place where sharing and meeting are still possible. “Sonno”, “Sogno” e “Risveglio” are composed and performed by Eniac (Fabio Battistetti) Chiara Milesi e Marta Moiraghi are dancers for the company ArtéDanza, directed by Alma Baldini. The Title is a quote byDoris Humphrey, taken from her book “The Art of making Dances” (1958)

Quando io penso solo a me stesso, chi sono gli altri? Quando gli altri pensano solo a se stessi, chi sono io?

(When Iâ&#x20AC;&#x2122;m thinking only to myself, who are the others? When the others are thinking only to themselves, who am I?) 2011 with Elvio Annese and Marina Flavia Rossi LOASI curated by Isola Art Center Milan

Installation view

When I’m meeting anyone, I’m always used to think how it is to enter into his life and trying to understand, through his stories, how our worlds could twist and could exchange our own interpretations of our time. That’s what happened when I met Marina and Elvio. This exhibition, LOASI, considered any work of art as “camoflage” in the Isola district. So I asked them to be “artists” in my place, my camouflage. In our conversations during a tea by Marina or a dinner in the little restaurant in the “Piazzetta”, we told each other how we’re living, but also how we lived and what possibly lies ahead. As a timeline. And so I, Marina and Elvio offered our intervention: the history of the Isola district in Milan. Our timeline wants to read the history of a place through the everyday life of whoever belonged to it, to its history through stories. Our daily personal lives are twisted no way with a community life, so we can take apart a big History from Little one. There is only a common History. A special thanks for all the people who gave us a piece of their history when we met one another. To be able to tell a larger one, belonging to Everybody. On wednesday 15th february 2011, Municipality Police removed the banner. Here an Italian article about the fact by Luca Gibillini (http://www.lucagibillini.it/2012/02/se-la-burocrazia-e-piu-potente-della-cultura/) And by Antonio Cipriani (http://www.padpad.eu/Detail_News_Display?ID=5656&typeb=0&Puo-piu-la-burocrazia-ottusa-dell-arte-civile) At the time Luca Corbellari, vice president of the Culture commission for the Municipality of Milan, is interested in replacing the banner, after the councellor’s query in estimating the banner, as a document of historical and cultural value for the Isola District.

“La Musica è’ forse l’esempio più’ unico di ciò che avrebbe potuto essere la Comunicazione delle anime” (Marcel Proust, La Prisonnière)

“La Musica nell’anima e’ l’amica più intima” (Giovanni Pierazzi)

(The Music is maybe the only example as the souls could communicate each others, Marcel Proust, La Prisonnière The Music in my soul is my best inner friend, Giovanni Pierazzi) 2011 Audio CD and Performance curated by Elena Manotni Effetto Venturi a project by Mario Airò Peep Hole Milan

Cd Booklet

Going deeper the history of a specific place in my everyday life, a street I was used to cross mostly everyday, I ran into a tired old poet, or better, with the memory of him: with his shopping cart full of books and poems by him, which were offered to people going along throuhg via Tommaso Pini. A university professor decided suddenly to be homeless, to go out the social mainstream. for 8 eyear. One morning in 2003 people found his corpse burn out. His last poem; The music in the soul is my best inner friend” A peripherally and discreet street with a small park and two schools a long, crossed by a huge way to the centre. Giovanni’s life was discreet too, a poetic dissent through an old typewriter which adressed itself to a discrete place as his owner. I asked to pepole of the district to tell me the title of their most favourite song, dedicating it to Giovanni’s memory. With whom knew him, I talked about him; with whom didn’t know him, I told them his story. An ongoing monumet was there. I collected all the song and I publish a CD. I tried to reconcile the memory of Giovanni with his and ours common environments and to recover it not as a dead person but as a function fort the place itself, like he was: a poetic device that can derail the daily way toward a more dreamlike one. pfp

The titles chosen by the people to recover Giovanni’s memory. The Cd has been played during the talk “Effetto Venturi” leaded by Mario Airò as background music.

What ancestor speaks in me? I can’t live simultaneously in my head and in my body. That’s why I can’t be just one person. I can feel within myself countless things at once. There are no great masters left. That’s the real evil of our time. The heart’s path is covered in shadow. We must listen to the voices that seem useless in brains full of long sewage pipes of school wall, tarmac and welfare papers. The buzzing of insects must enter. We must fill the eyes and ears of all of us with things that are the beginning of a great dream. Someone must shout that we’ll build the pyramids. It doesn’t matter if we don’t. We must fuel that wish and stretch the corners of the soul like an endless sheet. If you want the world to go forward, we must hold hands. We must mix the so-called healthy with the so-called sick. You healthy ones! What does your health mean? The eyes of all mankind are looking at the pit into which we are plunging. Freedom is useless if you don’t have the courage to look us in the eye, to eat, drink and sleep with us! It’s the so-called healthy who have brought the world to the verge of ruin. Man, listen! In you water, fire and then ashes, and the bones in the ashes. The bones and the ashes! Where am I when I’m not in reality or in my imagination? Here’s my new pact: it must be sunny at night and snowy in August. Great things end. Small things endure. Society must become united again instead of so disjointed. Just look at nature and you’ll see that life is simple. We must go back to where we were, to the point where we took the wrong turn. We must go back to the main foundations of life without dirtying the water. What kind of world is this if a madman tells you you must be ashamed of yourselves! (Domenico’s Speech from Film “Nostalghia” by A. Tarkovskij)

28 novembre 2003 28 novembre 2010 Performance per il giorno della morte di Giovanni Pierazzi con il contributo musicale dei Milano Centrale feat. Naima Faraò

I sentimenti, le idee, le emozioni e i pensieri che fanno delirare una lingua maggiore , sedimentandosi nei luoghi della tradizione, schiudono lâ&#x20AC;&#x2122;involucro delle culture

(Feelings, ideas, emotions and thoughts that let the main language be delirious, when they settle in the places of Tradition, open up the shell of the cultures). 2011 Installation/Performance TripArt Abbazia di Santa Maria del Vetrano Abbazia di San Michele Montescaglioso (MT) curated by Ferdinando Mazzatelli

english translation of Manifesto

Open Intervention to anyone who wish to leave their own thoughts, ideas, feelings and emotions in their own dialect on the walls of the rooms of the Abbey of SantaMaria del Vetrano, Montescaglioso. This action is free. May be oral or written with chalk on the walls. To make Culture often means rediscovering places and all those values that have defined lifes of whom inhabited, observed, rediscovered and reconsidered them Like this where we are now. Even the language is something essential in living a place, if this is meant as device for interaction among people, who let it raise from the notion of space to a scene. A space or locus needs only a geometric plane in order to survive, a scene is so only when it brings with itself a further plane, that one of the encounter and interaction among people.

Rediscovering the past, the vernacular allows you to recover the roots of our own culture and to keep it alive in the flow of present time, even when these sites are left alone. For a period or forever.

2 couples of digital prints (pic+text), attached in the spaces of Abbazia as Invitation for an open intervention.

Trip Art, organised by Ferdinando Mazzitelli, consists of a group of young people, who recovered an ancient and abandoned Masseria in the countryside of Basilicata, in south Italy. Ferdinando invited some artists across the whole Italy and abroad to send an artwork as â&#x20AC;&#x153;offerâ&#x20AC;? to reactivate an ancient traditional place as a new place for cultures and young engagements.

More Things are happening than those we can figure out. 2011 Performance and VideoDoc A Project hosted by Eva Frapicciniâ&#x20AC;&#x2122;s Residence in her project Studio by Nac Foundation, Rotterdam, NL.

On Saturday morning something in my To-do List has been planned. A chair and a desk inside a shop window facing the street are settled. Only a written sheet of paper above. None did it, none has been invited but something happened. The current Invitation is a non-invitation. Itâ&#x20AC;&#x2122;s late. Sometimes the main thing has not to be searched inside the frames. Unfortunately or not, more things are happening than those we can figure out. The VideoDocumentation shows two hours of recording what happens outside, reconsidering the role of stage as place and actors/ spectators as people.

Please Trust in us! We will never hurt you. #1 Performance with real promoter brand specialist 2011 Open #3 curated by Marco Baravalle and Camilla Pin S.a.L.E Docks Venezia

Within a space intended as an art display, I invited some promoter brand specialist that I knew during my experience, to do simply a promotion. They’re going to promote the chance to become an artist/author of an artwork to the audience. Using the techniques of marketing communications, they will ask in exchange a fee (from € 1.00 to € 3.00) and to fill a form. The money will be the wage for the promoters. The questions in the form are a series of psycho-attitudinal tests, which I collected during my jobs. They are implied by agencies during the training for promoter. The art work, the promorters will introduce at the end of the performance, consists in a painted canvas It shows the statistical results of the all the answers as a diagramThe title of the canvas is the following quote from “The Cave” by JosèSaramago: Could you just tell me why sales have dropped so sharply? Yes, I think it was the launch of some imitation crockery made out of plastic, it’s so good that it looks like the real thing, with the added advantage that it’s much lighter and much cheaper, but that’s no reason for people to stop buying mine, earthenware’s earthenware, it’s authentic, it’s natural, tell that to the customers, look, I don’t want to worry you, but I think that from now on your earthenware products will be of interest to collectors only, and there are fewer and fewer of them nowadays. The difference is that earthenware is like people, you have to manage it carefully. Also the plastic, but fewer.1

The artist in the label will be indicated with the headword “Various Authors”

This is only a preview performance of the overall project, “Please, trust in us. We will never hurt you”. It includes all the research within a year I spent in shopping centers as Promoter Brand Specialist.

Jose Saramago, La Caverna, 2000, Einaudi, Torino

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Interrogare lâ&#x20AC;&#x2122;Abituale. Dormiamo la nostra vita di un sonno senza sogni. (Questioning the Everyday. Weâ&#x20AC;&#x2122;re sleeping our life in a dreamless sleep)

2010 Mixed Media (Case, 20 DVD) Site Specific Installation, Milano

I discovered an anonymous bar through a person I met in the street, and invited me to have a drink there. I started to join the community there and every day I tooked pictures in continuos shot of minimal gestures and episodes. Every time I came home, I held a diary with all the dialogues and the issues I discussed with the people in the bar. At the end I set a showcase inside the bar where 20 dvds are available to be seen by the customers through the projector. Whitin the Dvds I showed the sequences of these pictures about the minimal gestures of people used to attend the bar. Below, I added some texts as a speech which starts from their tales and then it develops into issues of philosophy, politc and social reflections.

invitation to reflect about the Everyday a special DVD of VideoTexts by Marcella Anglani - Art Critic Anna Stuart Tovini - Artist and co-founder of UnDo.net Andrea Ferri - Artist Elvira Vannini - Critic and Independent Curator Paolo Meneghetti - Critic in contemporary Aesthetics Eleonora Farina - Critic and Independent Curator

Deragliare il Quotidiano verso ogni storia possibile. (Everyday derailed toward any possible story). 2010 Istant picture in wooden box

Guardare il Cielo. Dal 2 al 30 Maggio sulle panchine dei piacevoli incontri (Stare at the Sky. From 2 to 30 of May on the benches for lovely meetings) 2010 Istant picture in wooden box

These Polaroids are resulting from my request to involve a group of people at the bar in a staged photo, settled by street Sinhalese ambulant vendor. Involving people in their routine in somethin unexpected, shifiting my role toan unexpected someone else is an attempt in creating new possibilities of glance at the ordinary and daily life.

awaytogrow 2010 with Maria Papadimitriou Performance and Installation Greek Pavillion at Giardini 12th Architecture International Exhibtion La Biennale di Venezia

The whole project is available on:

http://awaytogrow.wordpress.com

All that I could say, then, with respect to farming on a large scale â&#x20AC;&#x201D; I have always cultivated a garden â&#x20AC;&#x201D; was, that I had had my seeds ready. Many think that seeds improve with age. I have no doubt that time discriminates between the good and the bad; and when at last I shall plant, I shall be less likely to be disappointed. But I would say to my fellows, once for all, As long as possible live free and uncommitted. It makes but little difference whether you are committed to a farm or the county jail. (Henry David Thoreau, Walden or Life in the Woods, 1995, Dover Pubblications)

WHITE OUT Lâ&#x20AC;&#x2122;eccesso di VisibilitĂ che acceca la Visione. (White Out. The excess of Visibility which blinds the Vision)

2010 Installation with Performance (6 Spotlights, Pedestal, Tabel) Areaodeon Arte Contemporanea Monza

The world as we know it is going to disappear St. Paul of Tarsus Whiteout is a weather condition in which visibility and contrast are severely reduced by snow or sand. The horizon disappears completely and there are no reference points at all, leaving the individual with a distorted orientation. Whiteout has been defined as: A condition of diffuse light when no shadows are cast, due to a continuous white cloud layer appearing to merge with the white snow surface. No surface irregularities of the snow are visible, but a dark object may be clearly seen. There is no visible horizon.1 The orientation is no longer possible. The World is so obvious as to cancel.

Through this metaphor, I wondered if itâ&#x20AC;&#x2122;s still possible to underline a role of image in Art in the contemporary society, overwhelmed by visual production. In this context, boundaries among fields of visual production become increasingly blurred, so how can we find our way in the aesthetics experience? Are the exhibition, the Museum or the Galleries the space of aestehtics yet? What drives us to go to these places? Which are our expectations? Are we going to the right place? Or have we to have a look further? These are the questions I asked myself several times, and now I would like to pose them to the audience. Now, in a moment in which the huge possibility of seeing anything is likely to deny the authentic experience of watching.

1) image info: White out on the EkstrĂśm Shelf Ice, Weddell Sea, Antarctica Author: Hannes Grobe/AWI

The Crossing of Antarctica by Sir Vivian Fuchs and Sir Edmund Hillary (Glossary, page 296) Cassell, London, 1958

« La vetrina della collezione di sabbia era la meno appariscente ma pure la più misteriosa, quella che sembrava aver più cose da dire, pur attraverso l’opaco silenzio imprigionato nel vetro delle ampolle. »1

(The showcase of the collection of sand was the least glitzy but also the most mysterious, it looked like having more to say, despite the imprisoned silence inside the opaque glass of ampoules).

2010 Archive Cabinet, Website (offline) Ar.Ri.Vi Archivio Ricerca Visiva Milan 1

Italo Calvino, “Collezione di Sabbia”, 1984, Milano

I asked myself many times a few questions: “What is an Archive?”, “What are we considering as archive in our daily lives? “Where are they hiding?”, “How can they take shape today, in our historical and social context?” An archive by definition is “a collection of historical records, or the physical place they are located. Archives contain primary source documents that have accumulated over the course of an individual or organization’s lifetime, and are kept to show the function of an organization. In general, archives consist of records that have been selected for permanent or long-term preservation on grounds of their enduring cultural, historical, or evidentiary value”.1 Also: “The archive [...] arises spontaneously as sedimentation of practical, administrative and legal documentary. It is therefore constituted by a complex of documents, bound together by a mutually original link, which is necessary and determines each document.”2 For this reasons they affects and are influenced one anothers “. The site that provides to contain this accumulation is called Archive. Within Ar.Ri.Vi. I met this old wooden cabinet. It had some drawers and above them some classificatory label were placed. “That’s an Archive”, I thought. An old piece of furniture from a cellar, in which musical scores, records and whatnot were stored. It was Something that,maybe, went beyond the music or any archival and classificatory criteria. We are not able to know it at all. Probably, the practice of Archiving is something that belongs to us unconsciously. In every corner of our life or our memory is an archive is hidden. What is changing are their forms and how they can manifest themselves today. Sometimes they reason, classify and order in our place. Sometimes we govern them, sometimes we suffer them. I decided so that I would take possession of this old archive through the instruments of my actual time, i.e. the spirit of my time and what belongs to me: his physical imposingness and structure becomes lighter through the digitization of itself as a website. It will allow to access to its drawers within I will put what I decide to store, following its labels and letting me guide by them through the web. To be in dialogue with the forms of the past through our present tools to build new ways of recovering memory for the future. This is my new definition of the Archive now. 1 2

“A Glossary of Archival and Records Terminology”. Society of American Archivists. (Wikipedia En.) Elio Lodolini, Archivistica. Principi e problemi, Milano, 2002, p. 21

(Muse)um 2010 Video DV Twister Visitin Artists promoted by GAM, Gallarate FreeUndo Ass.

“Museum have to work in close collaboration with the communities from which their collections originate as well as they serve” (ICOM Code of Ethics for Museum, 4 November 1986) ICOM defines Museums as a place to serve society and its development, a generator of interconnections with space and time, imprinted on the present time. Every type of museum relates to its specific activity and a temporality, such as a museum for Ancient Art, History, an ethnographic museum. The relationship with a physical space for this museums is within their same space necessarily. The relationship with the audience inevitably arises with attending the collection that the museum concerned. The Museum of Contemporary Art faces instead a relation with a time “in progress”. Therefore it can not be thought with a “conservative” attitude, because the moment “in act” is something that we can not hold in a static process. The question is about whether a Museum of Contemporary Art can be considered as a Mirror of the Art of Now and as a place for a real contemporary, precisely because the act of preserve has within a contradiction with the moment “in act “, which inevitably has already passed. and not contemporary anymore. Moreover, contemporary art spreads its enjoyment outside home. Now the aesthetic experience is living a state of democratization that gives more importance to the living experience during the process than to Art as closed object. There is no doubt about the importance of the role and the function of museums, as defined by ICOM, but I would just try to really wonder if these devices still work in the contemporary and for the contemporary.

Durante le aperture straordinarie di Dicembre, dei promoter all’ingresso della Galleria Commerciale distribuiranno flyers e volantini del progetto Twister, promuovendone la visita e la fruizione sulla base delle tecniche della comunicazione commerciale e della vendita.

The interiors of museums got a radical transformation: modern museums can increase their income with the profits derivable from restaurants, bookstores and gadgets: this transformed their environmental context and their potentiality. Museum Shops and their franchising spread in the cite, such as the Metropolitan Museum in New York in Midtown and Soho.

view of what is offered.

Twister project has as premise the creation of a network to link all the Museums in a physical territory with its emotional territory, the inhabitants.

“In the contemporary city a model for the city of diversity, vital and spontaneous, is set against the model for a sterile city, concerning plans and order: the activists opposed to the ordered city, planned by various “disurbanists” and Utopians, like Ebenezer Howard and Le Corbusier, a chaotic and community-based city. Today the city is a chaotic nets arranged by traffic experts and health professionals, who let manufacturers and speculators the task of filling the gaps: this is the city of the efficiency for profit. Without any communication with citizens, the real soul of the city. “ or of the Museum.

But does it work? The intention to create a relation among the works and the present time quite vanishes to leave the place to the necessity of filling the display. Always, with something. The real activation with a land is achieved only when you are ready to risk losing control of what you have created. It’s like swinging from a monologue to a dialogue, letting anyone else to lead a part of the game. So you achieve a real and sincere exchange between sender and recipient, as part of an ongoing communication. For an institution, this sounds a little unthinkable. But not impossible. The audience is another fundamental feature of museums, that must keep artworks for future generations. So the opportunity for everyone to appreciate them and know them is taken for granted thanks to the Museum. But what happens when an artwork is not an object, because it is pure experience? In its selection criterias, Twister project lets me think that Museums still hold a wide gap between production of an object and the production of processes. So only a partial

In my proposal I decided to play with the creation of a hypothetical Diffused Museum, to be mapped into our physical and emotional territory of daily life. To truly perceive how to recover some aesthetic experience within the dimension of the Real and the Everyday. John Rikwert wrote:

20 09

Hal Sitting/ Half Showing: Recycled Pavillion for Brianteo Design 2009 Installation Mixed Media and Video Screening ExplorArt09 - Design Avanzato coordinated by Vahida Ramujkic Areaodeon Arte Contemporanea Monza

The Pavilion, whose title is inspired by Dan Grahamâ&#x20AC;&#x2122;s works, is made with industrial grid windows, wasted polypropylene material for the production of chairs, plywood and plastic, scraps of fabric for production of coatings for sofas. It contains the following videos:

Encyclopedia for Brianteo Design 2009 DV

The video shows a survey by visiting some areas of Industrial Design in Brianza, especially furnitures manufactures. I focuses the processes of production, underlining the meaning of making and the aesthetic values in the processes, rather than only the in the final object.

Oggetti Molto Particolari 2009 DV

I asked some of the participants at the workshop to talk about an object, which they never separate from and to explain the reasons why.

Vangelo Secondo Ettore 2009 DV

According to Ettore, a tinsmith nearby Monza, every form includes a mystical vision within there is a potentiality and new way for perception. Also the secrets of Religion.

Grenzlabor Laboratorio Confine Border Lab 2009 curated by Trama21 in the frame of [un]defined09 Merano Arts Festival Meran/Merano

Trama21 proposes GrenzLabor/LaboratorioConfine/BorderLab, a self managed workshop, which focused the concept of borders. Meran is identified with a plurality of cultures, customs and languages that generate a multiplicity of boundaries that are more than territorial ones. They flow into a complex system of differences, within multiple communities are living side by side. The boundary could be identified as linguistic, culturalor individual They are as invisible crossing lines but you can feel their intensity of perception very strong. Focusing the survey on a direct perception of the territory of Meran, we will try to enact a laboratory that will be generate by all of the diverse participants, of a melting pot of people from South Tyrol Merano and from outside. We chose to select the participants from any contexts. Since the creation of internal boundaries arise naturally in interpersonal relationships, we are supposed to consider them as methodological input in order to let everyone think about his own personal boundaries and work reflections out of them. The internal boundaries of a group as main ground let develop a methodology which could work in a wider context such as the city of Merano transferring the same values and meanings. The starting point is a question: Whatâ&#x20AC;&#x2122;s your line? The many answers from the participants within and from stranger people will be also tools in order to understand the shared value of Border. A border not only as a barrier or boundary but also as a necessity or constraint, according to the needs of a specific context.

Coordinators Trama21 for Grenzlabor Andrea Ferri, Laura Maccanti, Linda Jasmin Mayer, Pierfabrizio Paradiso

Instead of guesting an exhibition, our rooms will become a physical/ dynamic calendar. It will self-generate with a progressive development of the workshop: the structure of the space as a long corridor with many compartments, where no door allows not to have closed space. It will create a sort of physical temporal flux where itâ&#x20AC;&#x2122;s possible going back and forward through the rooms/daytimes. All boundaries of time are abolished: par-

ticipants could think and reflect going forward and backward about what happened during these two weeks of investigation. What will be visible to the viewers within the space is the ongoing works of of participants. The space does not offer an exhibition during the festival but intends to offer itself as an osmotic space of research with the outside. The “out” is the very active field: we could say no viewer exist; because, as soon as you’re crossing the threshold of GrenzLabor,you will automatically become participants. Debates and Discussions on the concept border will be held during the workshop by artists, curators and experts in various disciplines. Some of them: Johnathan Lahey Dronsfield, Germana Jaulin Innerhofer, Nico Doxx, Moataz Nasr, Giancarlo Norese, Leopold Steurer and others. The refurbished kitchen represents a further amplification of the project: the meal as a time gap keeps on developing some investigation and reflection, crashing once again the boundary of plans. Each lunch and every dinner will be prepared by a guest or a participant who will propose a new issue every evening to be discussed during the meals.

20 08

Contemporary Fermenting Room 2008 curated by Daniele Franchi and Bianca Pinzi Villa La Magia Arte Contemporanea Quarrata PT

I was asked to evaluate the ancient east Tinaia of the villa medicea La Magia, in the town of Quarrata. The redolent atmosphere of this place has suggested me to extrapolate its sensibility through my work, maintaining its own characters intact, and making it still able to dialogue with the contemporary. Iâ&#x20AC;&#x2122;ve tried therefore to supply an instrument which would allow this place to communicate, through its tradition, values and crisis of our age, catching the subtle spirit that every place carries within its era: dense of the emotional experience of someone who has lived through it. Thus, this work intends to redefine and interpret the functions of the place, by re-thinking it in the contemporary tense. Considering the historical role and function of the Tinaia, my work focuses its attention over the Wine as common denominator, and as symbolic element of re-interpretation of the Tinaia in the present time: from the place where substance underwent to a process of transformation and catharsis (from the impurity of the must to the purity of the Wine), and here it was stored, to the place where the same functions could be translated into social-cultural values, Wine is not longer just a Beverage, but becomes a vehicle in the reunion between cultures and problems of contemporary society. Wine returns as the symbol of identity in this place, which re-appropriates its own role through adapting to the context of our society.

An exhibition view

WWW.W WorldWide-WordWine

Installation Variable dimensions according to the Location

The alliteration condenses the theme of the work: the metaphor of Wine as universal spokesman about the ideas of encountering and conviviality able to demolish social, cultural and religious differences, in a multi-ethnic integrated system, which appropriates the signs of internet address bar. The different bottles, that come from the local restaurants, are assembled to compose the four Ws: on them rest the results of the web search for the word wine on Google international, creating a link between shared conviviality of the everyday life of the village and the wine as a tool of democratic aggregation.

I Dodici Passi/Twelve Steps Installation, Variable dimensions according to the Location

The starting point of this work is the “Twelve Steps”, the rules that the anonymous alcoholics must attain in order to complete the liberation from the vice of alcohol. The twelve canvasses soaked in wine represent the paths of catharsis, which the spectator sees materializing to a path of completion, being conscious of the problems related to wine. This does not only represent a symbol of the vice, but it also absolves the purifying function of classical traditions within the libation that is offered to the divine. The Tinaia becomes a new place for purification, no longer for the must, but for the individual as well as for the alcoholic whom redeems himself from the vice through the wine itself. The written text on the ground, which accompanies the spectator in the labyrinth paths from the convivial songs of the Alceus, which follows the function of the Wine in the classical symposium:   “Time is Short, beloved child, get the large multicolored cups, that the son of Semele and Zeus, gave wine to men, to forget the pain.”

(Con)versando Video Installation, Variable dimensions according to the Location

This work places a video projection over the final bay of the Tinaia, which shows portraits of people from diverse nationalities performing a toast towards the public. In this work, wine functions as the bridge of opportunity that joins diversities, through a friendly gesture that acts as a demolisher of individual borders, as a sign of openness and good omen. In front of the video are 3 barrels above which rest a geopolitical map divided in 3 parts of the 5 continents: on them is placed a chalice of wine filled according to the level of the continents well being.

Nina Nana o More Bir 2008 Video DV BJCEM 08 allâ&#x20AC;&#x2122;interno di 12nauticalmilesisolario Bari

WAIT FOR ME TILL I CAME Daniele Franchi and Bianca Pinzi

For the laboratory BARI PORTA A LEVANTE, proposed by 12nauticalmilesISOLARIO, Pierfabrizio decides toseek in the folds of the famous incident that occurred in 1991.

above a still from the video next to the girls who sung the albanian lullaby

12nauticalmilesisolario a project by Francesca Cogni e Donatello De Mattia with the contribution of Provincia di Milano Fondazione Cariplo

The way the artist chooses to confront with social reality is intense. From the work we can extrapolate a voice that does not rate and does not teach, but simply focuses something too often disregarded. Far from any position of vehement protest, Pierfabrizio instead sought to isolate and characterize signals, which will be left to the viewer. He gives him a freedom of judgement, respecting his own personal minds. At the time, the artist was nine years old. He guessed to put those facts in the shoes of child in his own age, at two different times. The first one, the landing, the first sight of Bari. The second one, a memory that flows up after nearly 20 years, although the pain of his epilogue, with the poignant sweetness of the Albanian lullaby: a true narrative medium . What happens to the involved people belongs, according to the naïvety of a child, to something natural. The sliding frames suspended the dramaor a few minutes. The child watches, observes and listens to the voice of his mother. He’s traveling, he is simply travelling. The city under the sun flows through the glass of the bus. It is no coincidence that the view is filtered by the port with the signal PROHIBITION OF ACCESS. The cartel, which was getting more “arrogant”, seems to announcing not only the suffering that awaits the refugees in the collecting center within Stadio della Vittoria, but also the difficult integration with Italians. In the the irrelevance of the passing there is the epiphany. A bus trip turns into the Journey. The work is inside a precarious instance, seeking for balance between among several sides, without necessarily explaining them. (excerpt from the whol text)

20 07

Una Piazza. Luogo di Incontro. Luogo di Passaggio. Nessun Luogo 2007 Digital Print Cities From Below Flying Cities-Derive Urbane Lab a cura di Marco Scotini Fondazione Teseco per lâ&#x20AC;&#x2122;Arte Pisa

La risposta credo possa arrivare dall’annullamento di tale luogo: Citando il “Quadrato Bianco su Fondo Bianco” di Malevic come teoria suprematista della Non-Rappresentazione e consequenziale annullamento della forma attraverso la forma stessa, l’operazione sullo spazio consiste nel raggiungere l’annullamento di esso ponendo una superficie “pittorica” totalmente bianca che impedisce l’interazione con lo spazio fisico e materico della piazza. La geometrizzazione della forma non dà origine a una forma geometrica regolare in quanto essa è il risultato della sottrazione dei flussi di individui che interagiscono con lo spazio per ottenere l’area di risulta che evidenzia quali sono realmente i limiti delle linee di interazione con la Piazza. Quello che resta della piazza, in seguito all’operazione, è la sua funzione di interazione sociale.

ciò che sembra vuoto è in realtà uno spazio bianco su cui c’è sempre molto da scrivere E’ difficile spesso percepire quella che è l’essenza di un luogo e ciò che esso può evocare e comunicare al di là dei suoi significati primari di congiunzione e funzione logistica. Da sempre la Piazza ha rappresentato nell’immaginario collettivo, e nel mio specialmente, il luogo delle interazioni sociali e di raccoglimento della comunità: basti pensare all’Agorà della Polis greca che si caricava non solo di una funzione sociale, ma anche di un valore ulteriore, quasi mistico. I molti giovani radunati nelle piazze mi hanno suggerito l’idea di essere in attesa di un qualcos’altro e di vivere quella che è la realtà di un luogo come un non-luogo: la piazza è percepita solo come momento temporaneo, un attendere il nuovo luogo deputato dell’interazione sociale. Il Pub, la Discoteca o il Locale. La piazza, nonostante appaia come luogo di interazione, non viene percepita come tale e mi chiedo allora cosa possa essere: un luogo di incontro? Un luogo di passaggio?

Sono convinto che la potenza del vuoto stia nel riuscire a far riflettere. La mancanza è in realtà satura di pensieri che non conoscevamo o non volevamo ascoltare: se vuoi far capire a qualcuno il peso di qualcosa, lo devi privare di essa e ,nell’assenza, si riflette su ciò che significava la sua presenza.. Ogni essere umano funziona così, con più o meno resistenze, ma tutti in qualche modo siamo toccati da un cambiamento che ci sottrae qualcosa, specie se è qualcosa di quotidiano e comune. Il nostro campo percettivo è fatto di “cose” e “vuoti tra le cose”: per cose si intende ciò che non si è mai visto muoversi: delle case, i monti, il sole. Se ci mettessimo a vedere come cose gli intervalli fra di esse, l’aspetto del mondo muterebbe sensibilmente. pfpP

Greetings from Belgrade 2007 Installation Outside Project 07 On Invisibilty Center Stari Grad for people with mental and phisical disabilities Belgrade Serbia

According to my philosophy of work about emotional places, the workshop with people with mental disabilities tries to underline their emotional approach to the city of Belgrade and put them out of the invisibility, in which they are established. I chose to give them a blank postcard, asking to draw on it something from their city very close to their feelings that they like showing someone who is abroad. The idea of a postcard, that is something that must show and give visibility to something else, is intented to be as an istrument to create an interconnection among children with disabilities, the environment and the common people. At the end the postcards go to compose the wrtings Love BG on the face outside the center, that is the common sentence that we find on postcards: they love belgrade, Iâ&#x20AC;&#x2122;m questioning if Belgrade loves them too. At the end of the exhibition the postcards will be sent to Belgrade City Hall, as a demostration of existence.

(fe)male 2007 Video DV Outside Project 07 On Invisibilty Former Turkish Bath Belgrade Serbia

The Idea I want to express through this work is about invisiblity of human attitude, that is the existence of both male and female ways of expressing oneself. According to the platonic mith about the creation of man (cfr. Symposium), each human being has a male and female component in its inner “I”. The video shows the transformation of a male face in a female one, through a make up, focus on the eye as symbol of interior visibility and of the act of looking. This would like to show the coexistence of this two inner “I”, which become visible to outside. The interaction of two body expression thecnique, contemporary dance and mimic method, expresses metaphorically the interior aspect of human essence and underlines the differences but also the harmonic dialogue that happens inside of us between male and female.

Shooted at the Former Turkish Bath in the circumcision room. The video has been donated as ADV promo video to the Lesbian Association LABRIS, who exists under false name to avoid homophobic violence.

Special thanks to Tanja Ostojic as supporter of the project Michela Mancinelli, actress in Mimic Theatre.

Our particular concern will be to extract what is positive, living, new, the worthwhile needs and fulfilments; from the negative elements, the alienations.1

Henry Lefebvre, Critique of Everyday Life, vol III. From Modernity to Modernism (Towards a Metaphilosophy of Daily Life), 1971, Haper and Row