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Arno on the Arno (Arno sull'Arno, 2016)

Arno Minkkinen | RIVA Project

Arno on the Arno (Arno sull'Arno, 2016),
Arno Minkkinen | RIVA Project
Arno on the Arno (Arno sull'Arno, 2016)

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Along the -fermata- (2019-2020)

Kirsten Stromberg | Progetto RIVA

Along the -fermata- (Attraverso la -corona-, 2019-2020),
Kirsten Stromberg
Progetto RIVA
Along the -fermata- (2019-2020)

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The RIVA project | Exhibition introduction

The RIVA project, promoted by the Associazione MUS.E, under the artistic direction of Valentina Gensini, in collaboration with the Municipality of Florence, the Region of Tuscany, in co-project with the Sensi contemporanei program and MiC (Ministry of Culture, Italy) was created with the aim of enhancing the banks of the Arno River, in the heart of Florence and in the metropolitan area.
Waiting to visit the exhibition, through the words of the curator, we review how, following the idea of rediscovering the environmental and cultural heritage of the river, the RIVA Project has developed until today.

Valentina Gensini, direttore artistico MAD Murate Art District, curatrice
The RIVA project | Exhibition introduction

Available in:

RIVA Project 2021

The exhibit begins on the ground floor with the photographic works displayed in the Ketty La Rocca Hall; it unfolds across the other rooms on the same floor unwinding on the three levels of MAD up to the cells of the former hard regime prison.
It continues in the outdoor spaces of the Complex, from the exterior walls of Piazza delle Murate to the loggias, with soundscapes, monumental photographs, and a garden in progress, up to the space of the Semiottagono in Piazza Madonna della Neve, where Yuval Avital’s compositions devoted to the river create an immersive atmosphere that guides visitors inside the gaze on the Arno o ered by three acclaimed international photographers.
A tale through images, installations, and sounds that proceeds along the river banks, where a series of information panels will accompany visitors along a sound journey aimed at regaining possession of the history of the river and its banks thanks to the careful work carried out by Radio Papesse; a tale that can also be listened to at the exhibition in a dedicated hall.

RIVA Project 2021

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Along the -fermata- (2019-2020) | Kirsten Stromberg

RIVA Project 2021

Along the -fermata- (2019-2020) is a synesthetic installation of visual art and musical scores; the fruit of a research on relational ecology of plants growing along the banks of the Arno River. Freely drawing by hand the signs emerging from the spaces left by common reed, ribwort plantain, and pondweed found along the river banks, Stromberg graphically transposed the empty and filled spaces resulting from their growth, or when they sway in the wind, or from their interaction. This led to musical scores performed by Renato Grieco (double bass), Francesco Pellegrino (saxophone and clarinet), and Francesco Toninelli (percussions/vibes).

These scores are neither classic compositions, nor pure improvisations; these scores and their refined translation into sound are a true homage to the transitory nature of vegetation growing along the river and highlight the human-plant interaction as a musical potential.

Along the -fermata- (2019-2020) is a synesthetic installation of visual art and musical scores; the fruit of a research on relational ecology of plants growing along the banks of the Arno River. Freely drawing by hand the signs emerging from the spaces left by common reed, ribwort plantain, and pondweed found along the river banks, Stromberg graphically transposed the empty and filled spaces resulting from their growth, or when they sway in the wind, or from their interaction. This led to musical scores performed by Renato Grieco (double bass), Francesco Pellegrino (saxophone and clarinet), and Francesco Toninelli (percussions/vibes).

These scores are neither classic compositions, nor pure improvisations; these scores and their refined translation into sound are a true homage to the transitory nature of vegetation growing along the river and highlight the human-plant interaction as a musical potential.

Along the -fermata- (2019-2020) | Kirsten Stromberg

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La Riva: along the fermata | Pondweed Variations Contrabbasso

La Riva: along the 𝄐
Artist residency by Kirsten Stromberg - RIVA Project
Artist/Composer: Kirsten Stromberg
Performers: Francesco Toninelli, Renato Grieco, Francesco Pellegrino

Pondweed Variations Contrabasso
La Riva: along the fermata | Pondweed Variations Contrabbasso

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La Riva: along the fermata | Ribwort Plantain Interlude

La Riva: along the 𝄐
Artist residency by Kirsten Stromberg - RIVA Project
Artist/Composer: Kirsten Stromberg
Performers: Francesco Toninelli, Renato Grieco, Francesco Pellegrino

Ribwort Plantain Interlude
La Riva: along the fermata | Ribwort Plantain Interlude

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La Riva: along the fermata | Ribwort Sonata

La Riva: along the 𝄐
Artist residency by Kirsten Stromberg - RIVA Project
Artist/Composer: Kirsten Stromberg
Performers: Francesco Toninelli, Renato Grieco, Francesco Pellegrino

Ribwort Sonata
La Riva: along the fermata | Ribwort Sonata

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Living Lab (2021) | designed by LWCircus and created by Giacomo Salizzoni

RIVA Project 2021

Living Lab (2021), designed by LWCircus and created by Giacomo Salizzoni, is an ecological corridor made of jasmine plants (Rincospermum), enriched by a peripatetic bed of aromatic herbs typical of the Tuscan landscape, which enhance the loggia of MAD, paving the way to a polyfunctional space for lectures and workshops addressed to locals. The installation, which will be further enriched and developed for the duration of the exhibit, aims to underline the possible coexistence of urban and natural landscapes, which blend into a single environment capable of generating ecological awareness and culture thanks to inclusive workshops and encounters with artists, designers, landscape architects, scientists, architects.

In collaboration with the 17th Venice International Architecture Exhibition.

Living Lab (2021), designed by LWCircus and created by Giacomo Salizzoni, is an ecological corridor made of jasmine plants (Rincospermum), enriched by a peripatetic bed of aromatic herbs typical of the Tuscan landscape, which enhance the loggia of MAD, paving the way to a polyfunctional space for lectures and workshops addressed to locals. The installation, which will be further enriched and developed for the duration of the exhibit, aims to underline the possible coexistence of urban and natural landscapes, which blend into a single environment capable of generating ecological awareness and culture thanks to inclusive workshops and encounters with artists, designers, landscape architects, scientists, architects.

In collaboration with the 17th Venice International Architecture Exhibition.

Living Lab (2021) | designed by LWCircus and created by Giacomo Salizzoni

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Folk Tales (2020)

RIVA Project 2021

Folk Tales (2020) is an archive of collective memories built by locals through the sharing of interviews, recollections and documents, creating a museum of the intangible assets linked to their city. Here,
we present the chapter devoted to the Arno River, made up of memories collected from the Florentine community and gathered in video-recordings at MAD, and of spontaneous recollections posted on the web site.

Do you want to share your recollections? Sit against a white wall and record your story, placing your mobile phone horizontally on a stable support, then send your recording to info.mad@musefirenze.it.
We will share it on ildiariopopolare.it.



Folk Tales (2020) is an archive of collective memories built by locals through the sharing of interviews, recollections and documents, creating a museum of the intangible assets linked to their city. Here,
we present the chapter devoted to the Arno River, made up of memories collected from the Florentine community and gathered in video-recordings at MAD, and of spontaneous recollections posted on the web site.

Do you want to share your recollections? Sit against a white wall and record your story, placing your mobile phone horizontally on a stable support, then send your recording to info.mad@musefirenze.it.
We will share it on ildiariopopolare.it.

Folk Tales (2020)

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Lights to serve the night (2017) | Adrian Paci

RIVA Project 2021

I imagined a landscape, a boat floating on the river, a presence that is, somehow, natural for a river. I wanted to add a gesture, a noisy fracture: a generator that nurtures strings of underwater fibre optic lights with its power; a bundle of optical fibres nestled in the mysterious, muddy depths of the Arno that try to bring light to the image of the river bottom.”

Lights to serve the night (2017) testifies to Adrian Paci’s long creative stay in Florence:
as a response to the invitation of the RIVA Project, the Albanian artist initially produced a performance along the river, then a video installation with the same name.
The floating skeleton of a boat trailing filaments of light that illuminate the surrounding environment recalls the performance experience that is poetically narrated in the video.
A paddler glides his small boat along the Arno; with slow, rhythmical movements, he also stirs the luminous wires plunged into the water of the river, searching for new lights a


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I imagined a landscape, a boat floating on the river, a presence that is, somehow, natural for a river. I wanted to add a gesture, a noisy fracture: a generator that nurtures strings of underwater fibre optic lights with its power; a bundle of optical fibres nestled in the mysterious, muddy depths of the Arno that try to bring light to the image of the river bottom.”

Lights to serve the night (2017) testifies to Adrian Paci’s long creative stay in Florence:
as a response to the invitation of the RIVA Project, the Albanian artist initially produced a performance along the river, then a video installation with the same name.
The floating skeleton of a boat trailing filaments of light that illuminate the surrounding environment recalls the performance experience that is poetically narrated in the video.
A paddler glides his small boat along the Arno; with slow, rhythmical movements, he also stirs the luminous wires plunged into the water of the river, searching for new lights and hidden meanings. The luminous trail illuminates the murky, mysterious bed of the Arno as if it were a poetic archaeological exploration of the river, revealing little and concealing much.
The silent rowing is broken by the noise of a generator that activates optical fibres; a noise that,
as in others of his works, is reminiscent of the generators that lit the houses in Albania, recreating a sort
of emotional soundscape.
“Lights to serve the night is an attempt to establish a dialogue between surfaces and depths, between light and dark; a dialogue ignited by man, who does not expect to resolve it, to reveal it, to bring everything
to knowledge.”
This work was produced by the RIVA Project and was exhibited for the first time at the Museo Novecento in the exhibit devoted to Paci, which also involved the Murate. It was later presented at the National Gallery of Arts in Tirana in 2019 for the first solo organised for Adrian Paci in his country before returning to Florence
on this occasion.

Lights to serve the night (2017) | Adrian Paci

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Arno on the Arno (2016) | Arno Minkkinen

RIVA Project 2021

The research of Finnish-American photographer Arno Minkkinen focused on the landscape marked by anthropogenic presence, in particular the relationship between the human presence and natural elements, which was investigated by Minkkinen by adding elements of surrealist irony, where the human body is the subject and object of perception, in analogy to what philosopher Maurice Merleau Ponty expressed. Working specifically on the self-portrait, Arno on the Arno (2016) takes on the features of a personal challenge: Arno versus Arno, as he himself likes to say, underlining his homonymy with the river. A “game of chess that you win and lose at the same time, whose final result can only be known ex post”.

The research of Finnish-American photographer Arno Minkkinen focused on the landscape marked by anthropogenic presence, in particular the relationship between the human presence and natural elements, which was investigated by Minkkinen by adding elements of surrealist irony, where the human body is the subject and object of perception, in analogy to what philosopher Maurice Merleau Ponty expressed. Working specifically on the self-portrait, Arno on the Arno (2016) takes on the features of a personal challenge: Arno versus Arno, as he himself likes to say, underlining his homonymy with the river. A “game of chess that you win and lose at the same time, whose final result can only be known ex post”.

Arno on the Arno (2016) | Arno Minkkinen

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Fishermen (2016) , Ponte Vecchio - Marangoni (2016) | Massimo Vitali

RIVA Project 2021

Massimo Vitali’s lens privileges crowded places, mostly the seashores brimming with people in bathing suits. The diptych commissioned by the RIVA Project (2016) is no exception: Vitali’s focus on the Arno yields images of two places distant from one another with a common denominator, the gathering of humans. The river is a place of aggregation, both for Fishermen, locals in a moment of relaxation, engaged in pleasant fishing competitions along the banks near the Cascine Park, and for Ponte Vecchio – Marangoni, with crowds of tourists lingering on the most famous bridge in the world. It is a frame that tells of an iconic landmark from an inner and improbable perspective, distant

from traditional iconography featuring the bridge and its goldsmith shops in the city landscape.

In collaboration with Fondazione Studio Marangoni

Massimo Vitali’s lens privileges crowded places, mostly the seashores brimming with people in bathing suits. The diptych commissioned by the RIVA Project (2016) is no exception: Vitali’s focus on the Arno yields images of two places distant from one another with a common denominator, the gathering of humans. The river is a place of aggregation, both for Fishermen, locals in a moment of relaxation, engaged in pleasant fishing competitions along the banks near the Cascine Park, and for Ponte Vecchio – Marangoni, with crowds of tourists lingering on the most famous bridge in the world. It is a frame that tells of an iconic landmark from an inner and improbable perspective, distant

from traditional iconography featuring the bridge and its goldsmith shops in the city landscape.

In collaboration with Fondazione Studio Marangoni

Fishermen (2016) , Ponte Vecchio - Marangoni (2016) | Massimo Vitali

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Arno flow, Arno bridge, Arno love, Arno flood, Arno restore (2016) | Jay Wolke

RIVA Project 2021

Instead of using traditional photography techniques, the American photographer Jay Wolke relied on a small portable high-resolution scanner to explore varied surfaces and plots, which he then assembled and post-produced in a kaleidoscopic synthesis. By inverting the relationship between micro and macro, the author conveyed his investigation of the small elements on an innovative and monumental format, which translated small details into large and long vertical banners. Wolke used a combinatorial system to hold together the various souls of the Arno River, ranging from postcards for sale on noted tourist bridges to lichens on the cement of the river banks, icons linked to the imagery and the history of the river, plants and flowers growing spontaneously along the banks. Five key words were chosen by the author to pinpoint the various subjects displayed in the five works: Arno flow, Arno bridge, Arno love, Arno flood, Arno restore (2016).

Instead of using traditional photography techniques, the American photographer Jay Wolke relied on a small portable high-resolution scanner to explore varied surfaces and plots, which he then assembled and post-produced in a kaleidoscopic synthesis. By inverting the relationship between micro and macro, the author conveyed his investigation of the small elements on an innovative and monumental format, which translated small details into large and long vertical banners. Wolke used a combinatorial system to hold together the various souls of the Arno River, ranging from postcards for sale on noted tourist bridges to lichens on the cement of the river banks, icons linked to the imagery and the history of the river, plants and flowers growing spontaneously along the banks. Five key words were chosen by the author to pinpoint the various subjects displayed in the five works: Arno flow, Arno bridge, Arno love, Arno flood, Arno restore (2016).

Arno flow, Arno bridge, Arno love, Arno flood, Arno restore (2016) | Jay Wolke

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Autumn Lights on the Arno (2016) | Bernard Fort

RIVA Project 2021

Autumn Lights on the Arno (2016) is an immersive sound installation conceived and created by the acclaimed French composer for the urban environment of the Le Murate Complex on the occasion of the 50th anniversary of the Florence flood. This sound portrait of the river develops along two separate registers that give life to the soundscape of the Arno: an acoustic dimension, figurative and realistic, in which faraway voices and chirping birds from the river banks emerge from the continuous and steady white noise of the city; and an acousmatic dimension, a poised image, discreet, and devoted to the chant of water. This work stemmed from a field recording workshop produced in partnership with Tempo Reale that involved young local sound artists.

Autumn Lights on the Arno (2016) is an immersive sound installation conceived and created by the acclaimed French composer for the urban environment of the Le Murate Complex on the occasion of the 50th anniversary of the Florence flood. This sound portrait of the river develops along two separate registers that give life to the soundscape of the Arno: an acoustic dimension, figurative and realistic, in which faraway voices and chirping birds from the river banks emerge from the continuous and steady white noise of the city; and an acousmatic dimension, a poised image, discreet, and devoted to the chant of water. This work stemmed from a field recording workshop produced in partnership with Tempo Reale that involved young local sound artists.

Autumn Lights on the Arno (2016) | Bernard Fort

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I Guess the River Never Knew (2018) | Alisa Martynova

RIVA Project 2021

In I Guess the River Never Knew, the relationship with the river is represented by the physical barrier of one’s home, which sets the inhabitants away from their natural environment and all the same o ers an open window that, like a diaphragm, introjects the fluvial landscape as if it were a domestic dimension, making up for this distance.

In I Guess the River Never Knew, the relationship with the river is represented by the physical barrier of one’s home, which sets the inhabitants away from their natural environment and all the same o ers an open window that, like a diaphragm, introjects the fluvial landscape as if it were a domestic dimension, making up for this distance.

I Guess the River Never Knew (2018) | Alisa Martynova

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Flow ( 2018) | Giulia Dari

RIVA Project 2021

A digital processing of old archive photos of the Town of Pontassieve linked to the 1966 flood gave rise to Flow, where past and present overlap in a space and time dimension: a careful survey led the photographer around the streets portrayed right after the flood, where she was confronted with places and viewpoints that are returned to the viewer through an alienating dialogue entrusting the dramatic 1966 flood to black and white images with inlays of present-day colour pictures.

A digital processing of old archive photos of the Town of Pontassieve linked to the 1966 flood gave rise to Flow, where past and present overlap in a space and time dimension: a careful survey led the photographer around the streets portrayed right after the flood, where she was confronted with places and viewpoints that are returned to the viewer through an alienating dialogue entrusting the dramatic 1966 flood to black and white images with inlays of present-day colour pictures.

Flow ( 2018) | Giulia Dari

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Adelmo (2018) | Alice Machado

RIVA Project 2021

Adelmo’s portrait stems from the desire to bring together the moments of a lifetime into a single image. This work is in fact made up of thousands of small photographs that tell of the places, the activities, the loved ones of Mister Adelmo, an inhabitant of the borough of San Francesco who intertwined his existence with the Sieve waterwa

Adelmo’s portrait stems from the desire to bring together the moments of a lifetime into a single image. This work is in fact made up of thousands of small photographs that tell of the places, the activities, the loved ones of Mister Adelmo, an inhabitant of the borough of San Francesco who intertwined his existence with the Sieve waterwa

Adelmo (2018) | Alice Machado

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The Third Bank of the River (2018) | Federica Gonnelli

RIVA Project 2021

The Third Bank of the River features a double exposure photograph, printed on organza and plunged into water. The outcome reveals the river seen as a symbol of a border – a theme addressed by the photographer in several instances – as well as an opportunity o ered by a new place to be experienced and shared, in which one can imagine and build poetic stories of waterways.

The Third Bank of the River features a double exposure photograph, printed on organza and plunged into water. The outcome reveals the river seen as a symbol of a border – a theme addressed by the photographer in several instances – as well as an opportunity o ered by a new place to be experienced and shared, in which one can imagine and build poetic stories of waterways.

The Third Bank of the River (2018) | Federica Gonnelli

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Third Garden (2016), Stones Stories (2018) | Studio++

RIVA Project 2021

Third Garden (2016) is a park stretching over ten thousand square metres of land along the west bank of the Arno River. A green area that was finally returned to the city that can be explored by walking along the many trails drawn amidst the spontaneous vegetation; in memory of the ancient orti dei semplici (botanical gardens). The word “third” brings to mind Gilles Clément’s third landscape, which reminds us that spontaneous vegetation is an extraordinary reserve of biodiversity and evolutionary potential. The park, which can be seen here in an aerial photograph taken by Gabriele Galimberti, can be accessed from Piazza Poggi.

The Stones Stories (2018) site-specific installation stems from the encounters with the people living in the borough of San Francesco (Pelago) and their recollections of the Sieve River: in their imagery, as we hear from the interviews, the river has always been seen from within, in constant touch with water. That is why the new passage of the river fr

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Third Garden (2016) is a park stretching over ten thousand square metres of land along the west bank of the Arno River. A green area that was finally returned to the city that can be explored by walking along the many trails drawn amidst the spontaneous vegetation; in memory of the ancient orti dei semplici (botanical gardens). The word “third” brings to mind Gilles Clément’s third landscape, which reminds us that spontaneous vegetation is an extraordinary reserve of biodiversity and evolutionary potential. The park, which can be seen here in an aerial photograph taken by Gabriele Galimberti, can be accessed from Piazza Poggi.

The Stones Stories (2018) site-specific installation stems from the encounters with the people living in the borough of San Francesco (Pelago) and their recollections of the Sieve River: in their imagery, as we hear from the interviews, the river has always been seen from within, in constant touch with water. That is why the new passage of the river from shore to shore reconnects two communities and makes it possible to experience the river from the centre of its course, possibly lingering on one of the stones surrounded by water.

Third Garden (2016), Stones Stories (2018) | Studio++

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Confluent Encounters (2018) | Giuseppe Toscano

RIVA Project 2021

Confluent Encounters (2018) is an original project conceived in partnership with Fondazione Studio Marangoni. Toscano’s interest focused on the relationship between the fluvial and urban landscapes in the area of San Francesco (Pelago) and Pontassieve, where the Sieve and Arno waterways merge and anonymous anthropogenic details distinguish the scenery. The images, often captured vertically, result in a core sampling of the stratification of the territory and, once hung from the walls of the buildings of the Le Murate Complex, bring to mind the multifaceted relationship between architecture and nature.

Confluent Encounters (2018) is an original project conceived in partnership with Fondazione Studio Marangoni. Toscano’s interest focused on the relationship between the fluvial and urban landscapes in the area of San Francesco (Pelago) and Pontassieve, where the Sieve and Arno waterways merge and anonymous anthropogenic details distinguish the scenery. The images, often captured vertically, result in a core sampling of the stratification of the territory and, once hung from the walls of the buildings of the Le Murate Complex, bring to mind the multifaceted relationship between architecture and nature.

Confluent Encounters (2018) | Giuseppe Toscano

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Path of awareness (2018) | Katrinem

RIVA Project 2021

Path of awareness (2018) was conceived by Berlin artist Katrinem during an artistic residency in Montelupo Fiorentino in collaboration with Tempo Reale. It is a path of mindfulness that explores the individual and personal experience of walking in an open space, paying special attention to the interaction between the sound event connected with the presence of our body (footsteps) and the soundscape (the sound of the surrounding environment): a soundtrack stroll on the interaction between human presence and the landscape around the river. Katrinem’s stroll, measuring the surrounding environment through the presence and the sound of her footsteps, is proposed here in the excerpt shot in the hard regime prison, which was a place of civilian su ering and deprivation of freedom of thought and movement during the years of the antifascist Resistance fight.

Path of awareness (2018) was conceived by Berlin artist Katrinem during an artistic residency in Montelupo Fiorentino in collaboration with Tempo Reale. It is a path of mindfulness that explores the individual and personal experience of walking in an open space, paying special attention to the interaction between the sound event connected with the presence of our body (footsteps) and the soundscape (the sound of the surrounding environment): a soundtrack stroll on the interaction between human presence and the landscape around the river. Katrinem’s stroll, measuring the surrounding environment through the presence and the sound of her footsteps, is proposed here in the excerpt shot in the hard regime prison, which was a place of civilian su ering and deprivation of freedom of thought and movement during the years of the antifascist Resistance fight.

Path of awareness (2018) | Katrinem

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40,000 nails (2018) | Paolo Masi

RIVA Project 2021

40,000 nails (2018) permanently marks the second cell on the third floor of the Le Murate Complex after the long work carried out on commission by the RIVA Project for the QUI solo show (2018). The wall, meant as a geographical map of a iction, took shape gradually, as the work progressed and as the wall reacted, collapsing under the blows of the hammer and the wounds caused by the nails. In this place of seclusion and, at a later stage, of confinement, Masi wanted to reproduce the forced bond of the persons living in those cells, the prisoners of those hostile walls that were anyway the only element of the outer world the convicts could deal with. Hence the contraposition with the river, which is instead in constant flow, whose waters never inhabit the same place.

40,000 nails (2018) permanently marks the second cell on the third floor of the Le Murate Complex after the long work carried out on commission by the RIVA Project for the QUI solo show (2018). The wall, meant as a geographical map of a iction, took shape gradually, as the work progressed and as the wall reacted, collapsing under the blows of the hammer and the wounds caused by the nails. In this place of seclusion and, at a later stage, of confinement, Masi wanted to reproduce the forced bond of the persons living in those cells, the prisoners of those hostile walls that were anyway the only element of the outer world the convicts could deal with. Hence the contraposition with the river, which is instead in constant flow, whose waters never inhabit the same place.

40,000 nails (2018) | Paolo Masi

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Traces on the Territory (2018) | Paolo Masi

RIVA Project 2021

Traces on the Territory includes two series of Polaroid photographs, taken during the author’s artist residency at MAD for the RIVA Project in 2018.
On display here is a significant selection of both cycles, devoted to the Le Murate Complex and the Arno River, respectively. These works – one in colour and one in black and white – unite the two places not only from a conceptual but also from a stylistic point of view.

The Polaroid series, which Masi has produced since the seventies, testify to the artist’s obsessive attention to the sign. In the close-ups, the gaze dissolves the context, focusing solely on the traces, be it human or natural prints, crystallised by the photograph that relays ciphered tales, iconic and precious sequences that embody the deep folds of these places.


Traces on the Territory includes two series of Polaroid photographs, taken during the author’s artist residency at MAD for the RIVA Project in 2018.
On display here is a significant selection of both cycles, devoted to the Le Murate Complex and the Arno River, respectively. These works – one in colour and one in black and white – unite the two places not only from a conceptual but also from a stylistic point of view.

The Polaroid series, which Masi has produced since the seventies, testify to the artist’s obsessive attention to the sign. In the close-ups, the gaze dissolves the context, focusing solely on the traces, be it human or natural prints, crystallised by the photograph that relays ciphered tales, iconic and precious sequences that embody the deep folds of these places.

Traces on the Territory (2018) | Paolo Masi

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Past beyond time (2019) | Zhang Xiang

RIVA Project 2021

Past beyond time (2019) features a surreal landscape: objects crystallised in the mud, in memory of the great flood of Florence in 1966, become an unusual, yet familiar, stage for a post-apocalyptic rebirth. This timeless landscape created by the Chinese artist during a residency at MAD evokes the spirit and behaviour of a community on the occasion of dramatic catastrophic events, which are followed by a rebirth, when life resumes its habits and people are once again able to create and produce. This work was conceived before the onset of the Covid-19 pandemic and today can be re-read as a sign of hope toward a new rebirth.

This work was selected among the creations produced during the China Project artist residencies, in the framework of cultural exchanges held by MAD between Italy and China, in collaboration with the Academy of Fine Arts of Sichuan and Zhong Art International.

Past beyond time (2019) features a surreal landscape: objects crystallised in the mud, in memory of the great flood of Florence in 1966, become an unusual, yet familiar, stage for a post-apocalyptic rebirth. This timeless landscape created by the Chinese artist during a residency at MAD evokes the spirit and behaviour of a community on the occasion of dramatic catastrophic events, which are followed by a rebirth, when life resumes its habits and people are once again able to create and produce. This work was conceived before the onset of the Covid-19 pandemic and today can be re-read as a sign of hope toward a new rebirth.

This work was selected among the creations produced during the China Project artist residencies, in the framework of cultural exchanges held by MAD between Italy and China, in collaboration with the Academy of Fine Arts of Sichuan and Zhong Art International.

Past beyond time (2019) | Zhang Xiang

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