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A network is essential to make collaborations happen. Contemporary art is an instrument that Europe can use to connect different national realities and bring them really together. Both museums work with contemporary art and aim to value young artists. Mangion and I immediately agreed to give life to an exhibition with young selected artists. They have been invited to produce new works and to collaborate for a project. It took a lot of time to plan and coordinate every detail of the project.

Young artists are very focused on what they want to express through their art. We pushed them to think about the idea of building an exhibition together on site.

The collaboration with Éric Mangion and Villa Arson has been really successful in this sense. What are the main responsibilities of a curator and of an art institution in Italy nowadays? Vincent Honoré Puoi raccontarci come è nato Kunst Meran? Nel passato molti personaggi celebri hanno vissuto a Merano, da Kafka, a Mahler, a Ezra Pound la cui figlia vive ancora nel castello di Brunnenburg.

Anche Peggy Guggenheim ha organizzato mostre a Merano nel corso degli anni Cinquanta. Kunst Meran Merano Arte è un museo molto particolare nel contesto italiano, quasi unico nel suo genere.

I nostri fondi provengono sia dalla sfera privata sia da quella pubblica, ma va sottolineato che la gestione del museo è indipendente da ogni influenza politica. Si tratta di una condizione eccezionale in Italia. In Germania esistono spazi comparabili a Merano Arte da questo punto di vista.

PIANO mira a creare una rete di spazi espositivi che lavorano insieme, attraverso forme di scambio e interazione. La presenza di un networl è fondamentale perché le collaborazioni abbiano luogo. Mangion e io abbiamo immediatamente concordato di dare vita a una mostra con giovani artisti selezionati, che sono stati invitati a produrre opere inedite e a collaborare tra loro per un progetto nuovo. La collaborazione con Éric Mangion e Villa Arson è stata un grande successo in questo senso.

Nel periodo di incertezza economica e confusione tra valori culturali e di mercato in cui viviamo, le istituzioni artistiche in Italia hanno una fondamentale responsabilità con cui fare i conti: Metal, mixed media, sound installation, X x 87 cm 3. Clemens von Wedemeyer makes experimental and short fiction films that combine different influences and modes of writing. During the film, the film critic and historian Mino Argentieri recounts, in a documentary-style voice-over, the uprising of thousands of extras who interrupted the filming of Ben Hur , a monument of cinema given the scale of its production.

The procession was enacted by protestors who are currently occupying the Teatro Valle Occupato, the oldest theater in the Roman capital, which has become a symbol of cultural resistance following the withdrawal of public funding. Clemens Von Wedemeyer è regista di film sperimentali e di cortometraggi di finzione, che mescolano diverse influenze e tipologie di scrittura. Gli interpreti, infatti, sono i militanti che oggi occupano il Teatro Valle Occupato, il più antico teatro della Capitale e simbolo della resistenza culturale dopo il disimpegno delle partnership pubbliche.

Les interprètes sont en fait les militants occupant actuellement le Teatro Valle Occupato, le plus ancien de la capitale romaine et devenu symbole de la résistance culturelle suite au désengagement des partenaires publics.

Leonardo Bigazzi is a curator based in Florence, Italy. Beside collaborating to the selection of films for the main program, in the past edition of the Festival he has been responsible for special projects with the artists Omer Fast, Melik Ohanian and Hiroshi Sugimoto. Since he works at the Gucci Museum in Florence as a consultant for the contemporary art exhibitions organized in collaboration with the François Pinault Collection.

Oltre a collaborare alla selezione dei film e degli incontri del programma, ha seguito nelle passate edizioni la produzione di progetti speciali con gli artisti Omer Fast, Melik Ohanian e Hiroshi Sugimoto. In qualità di consulente collabora dal con il Gucci Museo a Firenze per le mostre di arte contemporanea organizzate in collaborazione con la François Pinault Collection.

Il collabore régulièrement à la sélection des films et a été responsable lors de la précédente édition des projets spéciaux avec les artistes Omer Fast, Melik Ohanian et Hiroshi Sugimoto. Museo Marino Marini Project: His interest in appropriation and use of cinema dates from this period. His practice includes film, video, photography, architecture, and light, and reflects on personal, historical, and political aspects of his own past, developed in the specific contexts in which he produces his work and in collaboration with the individuals involved in each project.

The guiding thread throughout the film is the main character, Paul, who appears in each episode; the narrative framework follows a storyline and, at the same time, embraces the fragmentary nature of its production. An extract of the episode is shown as part of an installation that also includes references to other works by the artist. Il filo conduttore è il personaggio principale, di nome Paul, che compare in ogni capitolo.

La trama segue una storia che ingloba il carattere frammentario della sua produzione. Le fil conducteur est le personnage principal, Paul, qui apparaît dans chacune des parties ; la trame narrative suit une histoire tout en englobant le caractère fragmentaire de sa production.

Un extrait de la séquence intègre une installation qui réunit des références à divers travaux. Rä di Martino works with video and imagery related to the cinema, exploring the mechanisms that determine the dividing line between fact and fiction.

In her videos, photography, and most recently installations, her attention is devoted to the power of the image, the way it is constructed, the things that excite our collective imagination, and the remains of the sets used to create the make-believe worlds of film and theater. The camera homes in on a succession of different elements in each shot, revealing architectural models created by Friedman using reclaimed and recycled materials.

Queste architetture effimere e non realizzate trovano corrispondenza nei lavori di Rä di Martino sulle scenografie e sui set cinematografici abbandonati.

Il titolo del video si riferisce alla frase finale che Friedman pronuncia rivolto alla telecamera, e nella quale sottolinea il processo di uso e riuso di materiali e mezzi espressivi. Her installations and videos express a certain contrast between space and time, and through them she wonders about the meaning of using materials in relation to their conceptual manipulation.

She explores the nature of our perception, the basis of our medial, historic and individual experience as well as changes between fiction and reality. She has won several international awards: In she was shortlisted for the Premio Cairo. Her major solo exhibitions are: Series of successive instants, Galerie Nächst St. She has taken part in important group shows at: Sonia Leimer nasce a Merano nel Tra le recenti mostre personali: Ha partecipato a varie mostre collettive: Vive e lavora a Vienna.

Née à Merano en , vit et travaille à Vienne. Michael Dean, hnnnhhnnn-hnnnhnnnnh Analogue Series , , book, ink, 16 x 23 x 9 cm. Courtesy the artist, Herald St. London, Supportico Lopez Berlin. Lawrence Weiner was a key figure in the advent of conceptual art in America in the s.

Like other exponents of the genre, he explored and challenged traditional ideas of art, attempting to dematerialize works of art. His main medium is language: His works come in different forms: The piece consisted of a fabric label to attach to clothes-wearable art. The label bears a quote in Italian and German from the Gospel According to Matthew, while the colors used red and white recall both the Italian flag and the South Tyrol coat of arms.

Servendosi delle parole, e di molteplici materiali a cui esse rimandano, Weiner crea per esempio sculture aperte e immateriali. I suoi lavori si presentano in diverse forme: La scritta sul tessuto è la citazione, in italiano e tedesco, di un versetto del Vangelo di Matteo, mentre i colori utilizzati bianco e rosso richiamano sia la bandiera italiana sia lo stemma altoatesino.

Maria Alicata is a curator and art historian based in Rome. She runs the public art program Nuovi Committenti for the Adriano Olivetti Foundation in Rome, and also curates art commissions for private companies and public institutions. Since , she is a founding member of the non-profit curatorial platform 1: È tra i fondatori della piattaforma curatoriale no profit 1: Analyzing specific moments in recent political history, they demonstrate the opacity of memory, together with the strategies employed to wipe out truths or create new ones.

They focus too on sexuality and female identity interpreted as the products of real and imaginary experiences imposed by society and the ambient culture. Their work has been presented at the biennials in Venice , Tel Aviv and Dublin La démocratie est illusion Focus: For secret eyes only. Le loro opere esplorano i concetti di storia e di memoria al confine tra amnesia e cancellazione, tra ricostruzione e rimosso. Hanno vinto il Premio dei giovani artisti italiani del Castello di Rivoli nel The series consists of tall trees on which the artists carved lists of dates and places to represent the sequence of tragic events that run in Italian history.

I meet the artists in the gardens of the Castle of Rivoli, where the three trees, which they worked on for the exhibition La storia che non ho vissuto [History I did not live through] in , are planted. The connection with the tragic reality that each tree tells — from the terrible events occurred in Italy from up to the killing of Pasolini, and then the series of murders at the hands of the Red Brigades in Italy — often happens gradually, as if history revealed itself slowly, and only to those who really care for it.

They consist of trees which have been carved but are living, hence still enduring seasonal changes and the normal growth and life of trees, suggesting a relationship with history in constant evolution and change. It is this relationship that we address and which involves, as you noted, the development of a certain kind of relationship with the people who come into contact with the works — something that entails a gradual unveiling.

Last year there was a further evolution, I would say. Research on Italian history of the seventies led us to explore the countless international geopolitical connections related to the Western bloc strategies during the Cold War. Following these connections, we often came across the strong influence and the role of intelligence agencies in defending the State and interfering with the domestic politics and the agenda of countries belonging in the Atlantic Pact.

This way of acting behind the scenes of democracy — bypassing the eyes of citizens with cunning cover-up tricks and manipulating information — has many similarities with the way illusionists, through their stage machines, speed of action and clever talk enact their trickeries. So the result of your interest for the two activities is the large installation Hiding the Elephant , which you presented in Brest?

Yes, with the title intended in the literal sense. The work refers to the extraordinary performance which the illusionist Harry Houdini held in at the Hippodrome in New York, where he made an elephant disappear in front of a crowd of thousands. Our work consists of two-dimensional head silhouettes suspended in midair. Each has its twin, carrying on one side a digital portrait and on the other a mirror surface.

Like in a magic trick, these face silhouettes hang at different heights, and when moving produce different shadow and light effects on the walls. One has to stop in the exhibition room for a while to make contact with this work.

Once in a while, the area around the work is filled with dense smoke which conceals the faces, making them hazy and unrecognizable. Then the smoke gradually vanishes, revealing the faces clearly. In this exhibition the idea of illusion also includes the way in which the different works engage with each other. Using mirror as the material of choice for many of the works makes the show relational and open to the constant change of context.

La démocratie is always changing depending on weather and daylight. The face silhouettes of Hiding the Elephant revolve on themselves, and lit by direct light they cast shadows and send reflections all over the room, sometimes blinding visitors for a few seconds, creating an effect of movement and life in the installation itself.

The reflections also find their way into the other room, casting shadows on the Fragments video and on the Medusa Mirrors The Boîtes Magiques [Magic Boxes] are in turn reflected in the smoke-stained mirrors, creating the illusion that the colored smoke is seeping through the boxes while it is instead actually smeared on the surface of the Medusa Mirrors. Where does the quote come from? This is the first work of the series, and was born as a watercolor, to be then transformed into an installation, and finally into the title of the Brest and Genoa exhibitions.

La démocratie est illusion [Democracy is an illusion] , located at the entrance of the exhibition, challenges the visitor and introduces the installation Hiding the Elephant. The reflecting surface of the letters produces an optical effect, making them appear like windows into another dimension, as if there were a twin room on the other side of the wall, forcing the viewer to look carefully and not to be deceived by appearances.

What we like to explore is the similarity in the practice of deception and illusion in representing reality between stage magic and intelligence agency procedures. By making his trick realistic, the magician deceives the spectator and makes him blind to the stage, producing a sense of childlike wonder and disbelief.

The relationship between stage magic and intelligence agency procedures is that the public wants to be other-directed, it does not want to find out about the trick. La démocratie est illusion Protagonists: La serie consiste in alberi di alto fusto sui quali le artiste incidono nella forma di elenchi di date e luoghi la tragica sequenza di sangue che corre nella storia italiana. Incontro le artiste nel giardino del Castello di Rivoli, dove sono piantati i tre alberi che hanno sviluppato nel , in occasione della mostra La storia che non ho vissuto.

Marcella Beccaria Spesso mi ritrovo ad osservare come i visitatori si comportano davanti a queste opere. La ricerca sulla storia italiana degli anni Settanta ci ha portato a esaminare la molteplicità di connessioni geopolitiche internazionali connesse alle strategie del blocco occidentale durante la guerra fredda. Si, con il titolo inteso in senso letterale: Come in un trucco magico, queste silhouettes di volti sono sospese a diverse altezze e si muovono producendo differenti effetti di proiezione di ombre e luci sulle pareti.

Il disvelamento avviene dopo pochi minuti di attesa, nei quali pian piano il fumo si dirada, mostrando chiaramente i visi. Si, è come se le opere fossero in continuo dialogo fra loro e cambiassero con il passare degli spettatori e del tempo.

La scelta di utilizzare lo specchio come materiale di molti dei lavori rende la mostra relazionale e suscettibile al continuo cambiamento del contesto. La démocratie si modifica continuamente a seconda delle condizioni atmosferiche e della luce del giorno.

A Brest il percorso della mostra inizia con una dichiarazione forte, La démocratie est illusion , che avete sviluppato con grandi lettere specchianti, in grafia quasi gotica. Da dove viene la citazione? Si tratta del primo lavoro della serie e nasce come acquerello, successivamente viene trasformato in una installazione e nel titolo della mostra di Brest e Genova.

Sfida lo spettatore a guardare attentamente e a non farsi ingannare dalle apparenze. Rendendo il trucco realistico, il mago inganna lo spettatore e lo rende cieco di fronte al palco, restituendo una sensazione di stupore infantile e incredulità. La relazione tra la magia e le pratiche dei servizi segreti sta nel fatto che il pubblico vuole essere etero-diretto, non vuole scoprire il trucco. Courtesy Catsello di Rivoli 2. The themes that he is working on are linked to nomadism as the dangerous alternative to belligerent stillness , to archeology and anthropology as the disciplines that study the hidden past, and perhaps contribute to a re-writing of history itself , and to environmental psychology of both the fictional characters as well as the spectators themselves.

The screenplays are more similar to lists of ideas, instructions and short tales, and are discussed together with actors and further adapted to the surrounding landscapes and architectures. The finished work is the result of an open process of mediation in which the author considers himself as a catalyzing agent. Né en , vit et travaille à Ravenna. Sa production est constituée principalement de vidéos, les photographies, les sculptures et les peintures étant le résultat du procédé de production filmique.

Andrea Bruciati Hi Daniele, could you tell me about the spirit with which you are going about this experience? Daniele Pezzi First, the residence I was selected for is somewhat atypical: I will spend 45 days staying at three art centers located in the region of Midi-Pyrénées.

In each of these in order of time: These characteristics and associated limitations represent the challenge that I have to face and the stimulus to imagine possible solutions. In the project, I want to continue to study unexpected solutions for the fusion between reality and fiction: I shall follow a process that I have been developing in the last few years, through a series of videos designed and produced while constantly on the move.

A variable condition in which it is impossible to work according to a screenplay or a rigid schedule; it is not possible to predict the weather, the difficulties of accessibility of a given location, the physical limitations etc. Unlike previous projects, which unfolded gradually during the course of the work, this time I was forced to define in advance a range of possibilities and potentialities from which to draw to make the most of the short time available.

Specifically, what is it about? In every location of the residence I will select one or more volunteering actors professional and amateur with whom to activate a process of definition of the character that they will interpret. The result of these meetings will be characters sprouting naturally from a compromise between my idea, the personality of the interpreter and the limitations of the context in which we will take action. A sort of almost plastic metamorphosis on the one hand, and a Zelig-style changing character on the other.

As the scenery, the temperature, the architecture change, so does the character, psychologically varying its mood and dramatics but also physically because played by different actors.

The character becomes a flexible and pliable being that each time becomes other than itself; while retaining a few elements of resemblance, such as clothes style, physical aspect, etc. What result would you ultimately like to reach from this relentless transformation flow? The film that will result from this process will be divided in areas: The backdrop to this staging will be reality, the one that I will find in that region of France, expressed in a documentary fashion.

The way in which the real and unexpected event will inevitably influence the project, will form the backbone, will determine the urge. We will start logistically from the peaks of the Pyrenees, in search of the routes of smugglers and illegal immigrants to arrive at Saint-Gaudens, overcoming mountains that have always represented natural boundaries and limits. Toulouse was in fact the city where the Veneto-born Silvio Trentin opened the library which soon became the reference point of the anti-fascist movements in Europe: A sort of documentary, or you are looking for a different film language?

The film is certainly not intended to come to an end in the classic sense — quite the opposite. The result of the construction, which I will work on in the months after my coming back, will be the most effective arrangement of a wealth of material collected in a period of intense work and discovery, with a number of concerns and questions that will guide the entire process. The goal, in fact, is to manage to build a solid narrative and emotional experience in which the character and its alterations can be reflected deeply in the viewer.

Andrea Bruciati Ciao Daniele, puoi raccontarmi lo spirito con cui ti accingi ad intraprendere questa esperienza? Daniele Pezzi Per prima cosa la residenza per cui sono stato selezionato è in qualche modo atipica: In ognuno di questi in ordine di successione: Queste caratteristiche e le limitazioni che ne derivano rappresentano la sfida che mi trovo di fronte e la propulsione a immaginare possibili soluzioni. Nel progetto voglio continuare a studiare le soluzioni inaspettate della fusione tra reale e fiction: Uno stato variabile in cui è impossibile lavorare basandosi su una sceneggiatura o uno schema rigido di progetto; non è infatti possibile prevedere le condizioni meteo, le difficoltà di accessibilità di un determinato luogo, i limiti fisici ecc.

Nello specifico di cosa si tratta? Il personaggio diventa quindi un essere elastico e malleabile che diventa di volta in volta altro da sé; pur mantenendo alcuni elementi di somiglianza, come lo stile degli abiti, la costituzione fisica, ecc. Se questo personaggio dovesse trovare un modello assomiglierebbe al protagonista di Petrolio di Pasolini, che si ritrova a essere alternativamente uomo o donna, come effetto di un trauma che sarebbe impossibile raccontare diversamente.

Quale risultato ultimativo vuoi perseguire da questo incessante flusso in trasformazione? Il film che risulterà da questo processo sarà suddiviso per ambienti: Si partirà logisticamente dalle cime dei Pirenei, cercando i tragitti dei contrabbandieri e dei clandestini per arrivare a Saint-Gaudens, superando montagne che da sempre sono confini e limiti naturali. Una sorta di documentario o sei alla ricerca di un linguaggio cinematografico differente?

Il film non sarà sicuramente inteso per essere concluso in senso classico, al contrario. Daniele Pezzi, Tutulma , , video still HD. Courtesy of the artist other pictures: Slaven Tolj is one of the leading exponents of the art scene in Croatia. His radical minimalist practice, which includes performance, photography, actions, and ready-mades, explores social situations and historic events.

In the s, Tolj focused on the situation in his country, namely the break-up of Yugoslavia and in particular the siege of Dubrovnik, his home town. In his solo show Low Season , hosted by the Dubrovnik Museum of Modern Art in , Slaven Tolj recreated a stylized version of the city inside the museum, linking the areas of the building with various neighborhoods of Dubrovnik. The title of the exhibition refers to the tourist season and is a clear indication that the project was mainly destined for the local population.

The show also featured the work Map of the City of Dubrovnik , a city plan reworked by the artist. After the conflict, a map showing where the city was bombed after the siege in was placed by the road going into the city. Tolj used the same map, but in his version the key refers to the bars, fast food outlets, souvenir shops, etc.

It is a vision of a city that is being emptied and turned into a holiday destination: Slaven Tolj è uno dei più importanti esponenti della scena artistica croata. La sua pratica radicale e minimalista, che comprende performance, fotografie, azioni e oggetti ready-made, si focalizza su fatti sociali ed eventi storici.

Tolj ha usato la stessa mappa, ma nella sua versione la legenda evidenzia i bar, i fast-food, i negozi di souvenir ecc. Si ha quindi la visione di una Dubrovnik progressivamente assediata da spazi di ricezione turistica: In mostra sono presenti due piantine: Interested in giving art a more dynamic role in everyday life and society, Brehmer analyzes in his works the growing presence of the media and media language in Western consumerist society.

His oeuvre spans painting, graphics, books, films, musical arrangements, and installations. The two crossed flags form a portrait of German society, its social changes and political tendencies. The colors are proportioned to convey various statistics on the distribution of wealth in the country.

The left-hand flag interprets data from , dividing German families into three income brackets represented by the national colors: The right-hand flag uses the same colors to represent the increase in per capita earnings between and according to occupation: The fact that the two flags are crossed over represents the inextricable link between social class and distribution of wealth. Le sue ricerche trovano forma in lavori pittorici e grafici, in pubblicazioni, film, arrangiamenti musicali e installazioni.

I colori e la superficie delle bandiere veicolano una serie di informazioni statistiche sulla distribuzione del reddito in Germania. Nella bandiera di sinistra, che fa riferimento al , le famiglie tedesche sono suddivise in base al loro reddito in tre fasce, identificate dai tre colori nazionali: La bandiera di destra, utilizzando gli stessi tre colori, indica la crescita del reddito pro capite tra ileilinbasealtipodi attività svolta: Stefania Meazza is a critic and an independent curator.

She is correspondent for the Italian contemporary art magazine Juliet since and she also collaborates with the French magazine Zérodeux. She lives and works in Toulouse, where she is professor of Research Methodology at the Institut supérieur des arts. Stefania Meazza è critica e curatrice indipendente.

Stefania Meazza est critique et commissaire indépendante. Since , Benoît Maire has been writing a manual of aesthetics, a compilation of objects and texts that cover some of the major issues in contemporary aesthetics.

Beginning with the insurmountable conflict between saying and seeing, Maire works in the interstices where art and philosophy come together to serve practical purposes and where the forms expand in space and surpass each other. For the film Spiaggia Beach , the artist continues research he began for the exhibition Spiaggia di menzogne Beach of Lies , which he presented at the Fondazione Giuliani from October 4 to December 14, The film thus makes use of various sculptural elements and tools he had previously exhibited.

In the film, man is both the subject and object of his inquiry into the origins of cause and effect. Nel Benoît Maire ha iniziato a scrivere un manuale di estetica, in cui le immagini, gli oggetti e i testi prendono forma. Attraverso la messa in scena di quattro personaggi colti in situazioni quotidiane, e tramite il ritmo di una narrazione costruita a partire da brani di testi di filosofi come Ludwig Wittgenstein, Quentin Meillasoux, Alain Badiou o Jacques Lacan, Benoît Maire indaga una nuova cosmogonia, ispirata dalla teoria humiana della genesi delle idee.

Spiaggia sperimenta un sistema delle passioni che descrive la loro meccanica, per spiegare la causalità delle azioni dei personaggi e stabilire come le passioni conferiscano un senso esistenziale al mondo empirico, limitato nello spazio e nel tempo. His work comes from different kinds of influences, which at first sight recall art tendencies such that of minimal and pop art. He has been the recipient of many awards, including that of Raiffeisen Foundation, Bolzano in , of California Institute of the Arts in and His recent solo exhibitions include: His works have been shown at several group exhibitions: Schwazer nasce nel a Vipiteno.

Il suo lavoro richiama principalmente la minimal e la pop art, allo stesso tempo esplora in maniera singolare questioni filosofiche e temi sociali associandovi sviluppi formali del tutto specifici.

Nel e vince il premio del California Institute of the Arts. Vive e lavora a Los Angeles. Né en à Vipiteno, vit et travaille à Los Angeles. Parallèlement, il explore de manière singulière les questions philosophiques et sociales en impliquant des développements formels tout à fait spécifiques. En et , il a remporté le prix du California Institute of the Arts. Il a participé a plusieurs expositions collectives: Costanza Paissan Your artistic research focuses on issues related to pop culture, geopolitics, capitalism, industrial economy and craft production in the global world.

These ideas are transferred into pieces whose forms are essential, often tinged with irony and lightheartedness, poised between mass production and slow craftsmanship, mechanicity and organicity.

I am thinking, for example, of the work The Rape of Europe , in which the threads of the Jacquard weaving recall the myth of Arachne but also the evolution of textile production in the history of the world economy. Could you tell us about the process through which you transform your thoughts into form?

Leander Schwazer I have a special penchant for time in general. Exploring dormant stories in everyday objects is my obsession. I use techniques like détournement , alterations, the reversing or flipping of things: I guess this is a reason for my interest in cracks and fractures: Art walks on a thin path between past and future. In spring , your work was exhibited at the Museion in Bolzano, in the exhibition Bikini.

Where does this work fit in your research? Bikini was a meditation on certain connections between popular culture and war. Compared to the power of war machines, any artistic discipline looks weak. In a way, it becomes necessary to use as many as possible. However, it is impossible to predict the course of history. Only when seen from the future, the past becomes such. In addition to being an exhibition space, Villa Arson is also a place of education, in which dialogue with other artists is normal practice.

Can you tell us about your experience? I was happy to be in close contact with Sonia Leimer over the last year. Although we were working independently, I consider the setting we worked with at Villa Arson as a collaboration.

The space will be one of crisis, misunderstandings, big and small stories, subjectivity and objectivity. I am happy to present another montage piece from my longtime exploration of junk, how it is produced and circulates. Fra Mauro wrote a fascinating story of junks Asian ships rounding the Cape of Good Hope, arriving in Europe and then sailing back. Today my email inbox asked me what I wanted to do with my junk mail — electronic messages received from unknown senders.

But of course history does not repeat itself. Queste idee sono trasferite in lavori formalmente essenziali, spesso venati di sottile ironia e di leggerezza, sempre in bilico tra produzione seriale e lenta manualità, meccanismo e organicità.

O alle schede perforate di Kapital , che trasferiscono il testo del Capitale di Marx in un meccanismo musicale. Puoi spiegare attraverso quale processo metti in forma le tue riflessioni? Leander Schwazer Quello che mi interessa in maniera particolare è il tempo in generale. Esplorare le storie dormienti negli oggetti quotidiani è la mia ossessione. Mi servo di tecniche come il détournement , le alterazioni, il ribaltamento o il rovesciamento delle cose: Penso che sia questa la ragione del mio interesse nei confronti delle crepe e delle fratture: Nella primavera il tuo lavoro è stato esposto al Museion di Bolzano, nella mostra Bikini.

Come si inserisce questo lavoro nella tua ricerca? Bikini è una meditazione sui collegamenti tra la cultura popolare e la Guerra.. A confronto con la potenza delle macchine da guerra tutte le discipline artistiche appaiono deboli.

In ogni caso, è impossibile predire il corso della storia. Essa diventa passato solo se vista dal futuro. Villa Arson, oltre a essere uno spazio espositivo, è anche un luogo di formazione, in cui il dialogo con altri artisti rappresenta la quotidianità. Puoi raccontare la tua esperienza? Anthonygok Questo indirizzo e-mail è protetto dallo spam bot.

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