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Angelica Pesarini

Professor of Sociology at New York University in Florence

Angelica Pesarini is Professor of Sociology at New York University in Florence where she teaches “Black Italia”, a course dedicated to the analysis of the intersections of race, gender and citizenship in Italy. She holds a Ph.d. in Sociology and Gender Studies in England and worked as a professor of Gender, Race and Sexuality at Lancaster University before returning to Italy in 2017. Pesarini’s research focuses on the performativity of race in colonial and post-colonial Italy and the racialisation of contemporary Italian political discourse. Pesarini has previously investigated the relationships between gender identity and economic activities in some Roma communities living in Rome, analyzing risk strategies, survival and opportunity in the context of male child prostitution in Rome. She has published several academic essays and participated in various collective publications.

Angelica Pesarini is Professor of Sociology at New York University in Florence where she teaches “Black Italia”, a course dedicated to the analysis of the intersections of race, gender and citizenship in Italy. She holds a Ph.d. in Sociology and Gender Studies in England and worked as a professor of Gender, Race and Sexuality at Lancaster University before returning to Italy in 2017. Pesarini’s research focuses on the performativity of race in colonial and post-colonial Italy and the racialisation of contemporary Italian political discourse. Pesarini has previously investigated the relationships between gender identity and economic activities in some Roma communities living in Rome, analyzing risk strategies, survival and opportunity in the context of male child prostitution in Rome. She has published several academic essays and participated in various collective publications.

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Black Archive Alliance

Volum III

Launched in 2018 Black Archive Alliance is a research and training project that aims to highlight investigations rooted in documents that reflect the realities and histories of African populations, and of the African diaspora and their representation in public and private archives and collections in the Italian context.

The first edition created a virtual map of this archival presence in the city of Florence with a catalog that aims to support future research and provide alternative perspectives. The second edition was also carried out in Florence by international students from various disciplines and institutions, tutored by a group of local researchers and scholars. The third edition, presented as part of BHMF 2021 in this exhibition, was born from a collaboration between five Afro- descendant researchers working in different fields and the artists of the first edition of YGBI Research Residency. Working in pairs, through an experimental approach based on dialogue and exchange, th

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Launched in 2018 Black Archive Alliance is a research and training project that aims to highlight investigations rooted in documents that reflect the realities and histories of African populations, and of the African diaspora and their representation in public and private archives and collections in the Italian context.

The first edition created a virtual map of this archival presence in the city of Florence with a catalog that aims to support future research and provide alternative perspectives. The second edition was also carried out in Florence by international students from various disciplines and institutions, tutored by a group of local researchers and scholars. The third edition, presented as part of BHMF 2021 in this exhibition, was born from a collaboration between five Afro- descendant researchers working in different fields and the artists of the first edition of YGBI Research Residency. Working in pairs, through an experimental approach based on dialogue and exchange, they have explored tangible and intangible archives rooted in Italy. Providing contextualization and a wider reflection on the art works produced by the YGBI members, the project is intended to reflect on alternative ways of activating and presenting archive-based research, beyond the academic realm.

The full texts produced by the researchers will be featured in the latest Archive Journal publication, developed in collaboration with Archive Books and launched 24 February at 5pm. As part of this exhibition opening, we are presenting our collaboration with Postcolonial Italy, which introduces their mapping project inserted within our space and exhibition.

Curated by BHMF with Alessandra Ferrini
In collaboration with Archive Books, Museo MA*GA and Villa Romana
MAD Murate Art District _Emeroteca
Researchers: Simao Amista, Jessica Sartiani, Angelica Pesarini, Jordan Anderson, Patrick Joel Tatcheda Yonkeu

Black Archive Alliance

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Justin Randolph Thompson

co-founder and director Black History Month Florence

Justin Randolph Thompson is a new media artist, cultural facilitator and educator born in Peekskill, NY in ’79. Living between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of African and African Diasporic cultures in the context of Italy founded in 2016.
Thompson is a recipient of a Louise Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin, two Foundation for Contemporary Arts Emergency Grants, A Jerome Fellowship from Franconia Sculpture Park and an Emerging Artist Fellowship from Socrates Sculpture Park. His life and work seek to deepen the discussions around socio-cultural stratification and hierarchical organization by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

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Justin Randolph Thompson is a new media artist, cultural facilitator and educator born in Peekskill, NY in ’79. Living between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of African and African Diasporic cultures in the context of Italy founded in 2016.
Thompson is a recipient of a Louise Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin, two Foundation for Contemporary Arts Emergency Grants, A Jerome Fellowship from Franconia Sculpture Park and an Emerging Artist Fellowship from Socrates Sculpture Park. His life and work seek to deepen the discussions around socio-cultural stratification and hierarchical organization by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

 

 

Simao Amista

Anthropologist and doctor

Simao Amista is an anthropologist and doctor of Italian-Afro-Brazilian descent. A scholar of African and Afro-descendent religions and spiritual philosophies, he has been working for years in the field of hospitality and education.

Simao Amista is an anthropologist and doctor of Italian-Afro-Brazilian descent. A scholar of African and Afro-descendent religions and spiritual philosophies, he has been working for years in the field of hospitality and education.

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Patrick Joël Tatcheda Yonkeu

Giornalista di moda e cultura e direttore creativo

Patrick Joël Tatcheda Yonkeu was born in Cameroon in 1985, lives and works in Bologna. He moved to Italy in 2009 where he obtained a scholarship for the Academy of Fine Arts in Bologna and obtained a Master’s degree in Visual Arts in 2016 with a research project on the theme of Zen in the arts. His interest in metaphysics remains the basis of his practice, which concerns the relationship between human beings and nature and our place in the universe, and he searches for forms of spirituality more suitable for our times. His research is based on the idea of existence as a harmonious flow whose balance must be preserved and often refers to themes of life and death, the visible and the invisible and energy in its infinite forms. He deepens this research through numerous collaborations between Africa and Italy and by creating seminars on intercultural painting with schools and associations in Emilia-Romagna.

Born and raised in Kingston Jamaica, Jordan Anderson is a fashion and cultur

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Patrick Joël Tatcheda Yonkeu was born in Cameroon in 1985, lives and works in Bologna. He moved to Italy in 2009 where he obtained a scholarship for the Academy of Fine Arts in Bologna and obtained a Master’s degree in Visual Arts in 2016 with a research project on the theme of Zen in the arts. His interest in metaphysics remains the basis of his practice, which concerns the relationship between human beings and nature and our place in the universe, and he searches for forms of spirituality more suitable for our times. His research is based on the idea of existence as a harmonious flow whose balance must be preserved and often refers to themes of life and death, the visible and the invisible and energy in its infinite forms. He deepens this research through numerous collaborations between Africa and Italy and by creating seminars on intercultural painting with schools and associations in Emilia-Romagna.

Born and raised in Kingston Jamaica, Jordan Anderson is a fashion and culture journalist & creative director who is currently based in Milan. His work often magnifies & explores political themes in and outside the fashion industry including race, gender, sexuality, identity & cultural ethics. He contributes to a variety of publications including Document Journal, Teen Vogue, Vogue Italia, The Face and is currently online editor & editor-at-large for Twin Magazine and nss magazine respectively.

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Jessica Sartiani

Coffee trainer and coffee expert

Jessica Sartiani is a Florentine coffee trainer and coffee expert. With an Italian father and a mother who is half Filipino and half African-American, it is from her origins that her journey as a woman of coffee starts. As someone trained, operative and attentive to the recent sub-cultures of coffee, she started her work in one of the pioneer coffee shops of this selected product, Ditta Artigianale, ten years ago, studying and discovering all the work that precedes the service in the coffee shop, giving importance to the producing countries. Her experience evolved with the opening of the first Speciality coffee in Italy, dealing with the training of baristas and customers. She has participated in various competitions such as the Brewers cup, to improve her contact with the public and enrich her background, and has been part of training projects in Honduras, Lithuania and several local coffee start-ups.

Jessica Sartiani is a Florentine coffee trainer and coffee expert. With an Italian father and a mother who is half Filipino and half African-American, it is from her origins that her journey as a woman of coffee starts. As someone trained, operative and attentive to the recent sub-cultures of coffee, she started her work in one of the pioneer coffee shops of this selected product, Ditta Artigianale, ten years ago, studying and discovering all the work that precedes the service in the coffee shop, giving importance to the producing countries. Her experience evolved with the opening of the first Speciality coffee in Italy, dealing with the training of baristas and customers. She has participated in various competitions such as the Brewers cup, to improve her contact with the public and enrich her background, and has been part of training projects in Honduras, Lithuania and several local coffee start-ups.

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Alexis Peskine

Artist

Alexis Peskine’s signature works are large-scale mixed media ‘portraits’ of the African diaspora, which are rendered by hammering nails of different gauge, with pin-point accuracy, into wood stained with coffee and mud. By applying gold leaf to the nails he creates breathtaking composite images. He depicts figures that portray strength and perseverance, with energy reminiscent of the spiritually charged Minkisi ‘power figures’ of the Congo Basin. He also produces striking photography and video works.

After a 2016 showing at 1-54 Contemporary African Art Fair, London, Peskine had his first solo exhibition at October Gallery in 2017, with major exposure at international art fairs with the Gallery in the following years. Alongside this in 2016, Institut Francais, Dakar, Senegal held Raft of Medusa: Le retour de la vague, a solo exhibition of Peskine’s works. In 2018, his works were featured in the exhibition In Their Own Form at the Museum of Contemporary Photography, Chicago

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Alexis Peskine’s signature works are large-scale mixed media ‘portraits’ of the African diaspora, which are rendered by hammering nails of different gauge, with pin-point accuracy, into wood stained with coffee and mud. By applying gold leaf to the nails he creates breathtaking composite images. He depicts figures that portray strength and perseverance, with energy reminiscent of the spiritually charged Minkisi ‘power figures’ of the Congo Basin. He also produces striking photography and video works.

After a 2016 showing at 1-54 Contemporary African Art Fair, London, Peskine had his first solo exhibition at October Gallery in 2017, with major exposure at international art fairs with the Gallery in the following years. Alongside this in 2016, Institut Francais, Dakar, Senegal held Raft of Medusa: Le retour de la vague, a solo exhibition of Peskine’s works. In 2018, his works were featured in the exhibition In Their Own Form at the Museum of Contemporary Photography, Chicago and Africa House’s Second Generation exhibition in New York. He has been the recipient of many prestigious prizes including a Fulbright scholarship and Hennessy Black Masters Art Competition award. In the past decade, Peskine has worked with inner-city youth in France, Senegal and Brazil to create a number of monumental pieces, the largest of which was produced in France in 2012. Major museums and collectors including Peggy Cooper Cafritz; Laurence Graff OBE; the New Britain Museum of American Art, New Britain, USA; The Harvard Art Fogg Museum, Cambridge, USA; Pizzuti Collection of the Columbus Museum of Art, Columbus, USA; and Museum of Contemporary Photography (MoCP), Chicago, USA, have collected Peskine’s works.

Residenza Alexis Peskine

A cura di BHMF in collaborazione con BHMBo, Murate Art District, Numeroventi, Villa Romana e October Gallery

In preparazione alla 6a edizione del Black History Month Florence | Residenza Alexis Peskine

A cura di BHMF in collaborazione con BHMBo, MAD, Numeroventi, Villa Romana e October Gallery

In preparazione alla 6a edizione del Black History Month Florence, la residenza e la mostra di Alexis Peskine sono organizzate da BHMF in collaborazione con Murate Art District, Numeroventi, Villa Romana, October Gallery e Black History Month Bologna.

Il progetto supporta l’artista nello sviluppo di una nuova serie di opere in dialogo con la storia afroitaliana. Peskine utilizzerà uno studio presso Murate Art District dal 4 gennaio al 4 febbraio 2020. Le opere risultanti saranno esposte in una mostra a Villa Romana nell’ambito della 6a edizione del Black History Month Florence.

Le opere più emblematiche di Alexis Peskine sono ritratti monumentali a tecnica mista, della diaspora africana, resi attraverso il martellamento di chiodi di diversa misura, con precisione millimetrica, su legno macchiato di caffè e fango. Applicando la foglia d’oro ai chiodi, l’artista crea immagini composite. Ritrae figure di forza e perseveranza, la cui energia ricorda le “figure

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In preparazione alla 6a edizione del Black History Month Florence, la residenza e la mostra di Alexis Peskine sono organizzate da BHMF in collaborazione con Murate Art District, Numeroventi, Villa Romana, October Gallery e Black History Month Bologna.

Il progetto supporta l’artista nello sviluppo di una nuova serie di opere in dialogo con la storia afroitaliana. Peskine utilizzerà uno studio presso Murate Art District dal 4 gennaio al 4 febbraio 2020. Le opere risultanti saranno esposte in una mostra a Villa Romana nell’ambito della 6a edizione del Black History Month Florence.

Le opere più emblematiche di Alexis Peskine sono ritratti monumentali a tecnica mista, della diaspora africana, resi attraverso il martellamento di chiodi di diversa misura, con precisione millimetrica, su legno macchiato di caffè e fango. Applicando la foglia d’oro ai chiodi, l’artista crea immagini composite. Ritrae figure di forza e perseveranza, la cui energia ricorda le “figure di potere” di Minkisi del bacino del Congo, con la loro carica spirituale.
Anche le sue opere video e fotografiche sono sorprendenti.

In preparazione alla 6a edizione del Black History Month Florence | Residenza Alexis Peskine

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Bendetta Manfriani

Artista visiva e cantante | Residenza d'Artista e Progetti

Bendetta Manfriani
Artista visiva e cantante
Bendetta Manfriani

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Benedetta Manfriani su Mediterranea # Habitus/Ethos

Mediterranea # Habitus/Ethos
Installazione multimediale e performativa di Benedetta Manfriani
Sound design Agnese Banti
Performers Coro CONfusion.

Benedetta Manfriani Mediterranea # Habitus/Ethos
Artista visiva e cantante | Residenza d'artista e Progetti
Benedetta Manfriani su Mediterranea # Habitus/Ethos

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Benedetta Manfriani su Togli il tuo piede dalle nostre gole

Artista visiva e cantante | Residenza d'artista e Progetti

Benedetta Manfriani su Togli il tuo piede dalle nostre gole
Artista visiva e cantante | Residenza d'artista e Progetti
Benedetta Manfriani su Togli il tuo piede dalle nostre gole

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L'arte prende casa nelle scuole

Residenza d'artista nelle scuole

Le aule (non utilizzate) diventano atelier e gli artisti offrono laboratori gratuiti ai ragazzi
Il progetto ideato da MAD Murate Art District in collaborazione con l’Assessorato all’istruzione del Comune di Firenze e Regione Toscana, è partito per l’anno scolastico 2018/2019 all’Istituto comprensivo Oltrarno e all’Istituto comprensivo Poliziano. I primi due artisti coinvolti sono stati Rossella Liccione e Francesco Pellegrino

A novembre 2018 ha inaugurato un importante progetto pilota di collaborazione tra artisti del territorio e gli istituti scolastici fiorentini partendo da un progetto della Associazione MUS.E con l’Istituto Comprensivo Oltrarno (Dirigente prof.ssa Paola Salmoiraghi), promosso dal Comune di Firenze (Direzione Istruzione).

L’iniziativa ha visto le strutture scolastiche mettere a disposizione un’aula non utilizzata per accogliere un artista contemporaneo che lavora quotidianamente a scuola. L’artista ospitato, ha offerto un laboratorio gratuito


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Le aule (non utilizzate) diventano atelier e gli artisti offrono laboratori gratuiti ai ragazzi
Il progetto ideato da MAD Murate Art District in collaborazione con l’Assessorato all’istruzione del Comune di Firenze e Regione Toscana, è partito per l’anno scolastico 2018/2019 all’Istituto comprensivo Oltrarno e all’Istituto comprensivo Poliziano. I primi due artisti coinvolti sono stati Rossella Liccione e Francesco Pellegrino

A novembre 2018 ha inaugurato un importante progetto pilota di collaborazione tra artisti del territorio e gli istituti scolastici fiorentini partendo da un progetto della Associazione MUS.E con l’Istituto Comprensivo Oltrarno (Dirigente prof.ssa Paola Salmoiraghi), promosso dal Comune di Firenze (Direzione Istruzione).

L’iniziativa ha visto le strutture scolastiche mettere a disposizione un’aula non utilizzata per accogliere un artista contemporaneo che lavora quotidianamente a scuola. L’artista ospitato, ha offerto un laboratorio gratuito per gli studenti dell’Istituto coinvolgendo di settimana in settimana classi diverse. Il progetto intendeva creare una situazione virtuosa di scambio tra scuole e artisti. Le strutture scolastiche che hanno messo a disposizione aule non utilizzate come studi d’artista, hanno accolto l’artista selezionato ad abitare quotidianamente la scuola e offrire un laboratorio settimanale gratuito per gli studenti.

La condivisione di spazi e ambienti ha creato una relazione tra artista e “abitanti della scuola” siano essi alunni, personale docente, di segreteria o collaboratori scolastici, dando vita ad una piccola comunità sperimentale aperta ad esperienze laboratoriali altamente innovative. Tali esperienze laboratoriali sono state guidate, seguite e monitorate da Mus.e, che ha supportato e incoraggiato progetti inediti e sperimentali.

Durante l’anno scolastico 2019/2020 il progetto è stato implementato portando a cinque il numero delle scuole coinvolte. MAD ha proposto cinque diverse residenze:

Rossella Liccione presso l’Istituto Comprensivo Poliziano
Francesco Pellegrino presso l’Istituto Comprensivo Oltrarno
Fosca presso l’Istituto Comprensivo Pirandello
Casey Kaufmann e Alessandro Cassigoli presso L’Istituto Comprensivo Vespucci
Torrick Ablack, in arte Toxic presso la Scuola Secondaria di primo grado “Dino Compagni”

Il progetto è stato realizzato in collaborazione con l’Assessorato all’Istruzione del Comune di Firenze e Regione Toscana nell’ambito di Toscanaincontemporanea 2018 e Toscanaincontemporanea 2019, con il sostegno di Fondazione Cassa di Risparmio Firenze.

L'arte prende casa nelle scuole

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Toxic

Street artist

Nato nel Bronx nel 1965 da famiglia caraibica. Come molti altri ragazzi di quel quartiere turbolento, cercava di esprimere la sua rabbia giovanile attraverso una forma spontanea di affermazione d’identità: disegnando graffiti sui malconci muri di case tutte uguali, plumbee ed anonime o sui vagoni malandati e squallidi della metropolitana. Insieme ad alcuni dei suoi “colleghi” di maggior talento, viene notato e nel momento in cui so lancia il Graffitismo come forma d’arte a pieno titolo, Toxic è nel gruppo dei migliori. Compagno di strada di leggende dell’arte contemporanea come Basquiat, Haring, Rammelzee, A One ed altri, Toxic ha partecipato alla crescita di questa corrente artistica underground che dalle strade più povere della metropoli americana è poi approfata in alcune gallerie famose, transitando anche per la Factory di Andy Warhol, e in innumerevoli mostre museali. Toxic ha continuato a lavorare su tele (e muri), trasferendosi in Europa (Francia e Italia). Protago

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Nato nel Bronx nel 1965 da famiglia caraibica. Come molti altri ragazzi di quel quartiere turbolento, cercava di esprimere la sua rabbia giovanile attraverso una forma spontanea di affermazione d’identità: disegnando graffiti sui malconci muri di case tutte uguali, plumbee ed anonime o sui vagoni malandati e squallidi della metropolitana. Insieme ad alcuni dei suoi “colleghi” di maggior talento, viene notato e nel momento in cui so lancia il Graffitismo come forma d’arte a pieno titolo, Toxic è nel gruppo dei migliori. Compagno di strada di leggende dell’arte contemporanea come Basquiat, Haring, Rammelzee, A One ed altri, Toxic ha partecipato alla crescita di questa corrente artistica underground che dalle strade più povere della metropoli americana è poi approfata in alcune gallerie famose, transitando anche per la Factory di Andy Warhol, e in innumerevoli mostre museali. Toxic ha continuato a lavorare su tele (e muri), trasferendosi in Europa (Francia e Italia). Protagonista ormai di numerose mostre, attualmente Toxic vive e dipinge in Toscana.

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L'arte prende casa nelle scuole | Toxic

Residenza d'artista nelle scuole di Toxic

Firenze, da culla del Rinascimento a promotrice della street art, conferma nel tempo la sua vocazione all’arte in ogni sua forma ed espressione, offrendo anche una mappa on line in continuo aggiornamento. La Scuola Dino Compagni con l’opera di Toxic è stata parte di questo grande museo a cielo aperto.
La street art è rappresentazione della società contemporanea, è un linguaggio fatto di simboli e significati non sempre svelati ma che arriva diretta allo sguardo di chi la incontra, è’ racconto contemporaneo, storytelling in tempo reale. Un polo didattico e culturale completo, che si può immaginare come un microcosmo perfetto, nel quale ogni elemento costituisce parte integrante e fondamentale del tutto. Questa è la visione di Toxic espressa in VERITAS attraverso la rappresentazione dei 4 elementi acqua, fuoco, aria, terra, che costituiscono la composizione di ogni sostanza esistente. “è la prima scuola in città pensata e costruita con gli spazi e la funzionalità di un

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Firenze, da culla del Rinascimento a promotrice della street art, conferma nel tempo la sua vocazione all’arte in ogni sua forma ed espressione, offrendo anche una mappa on line in continuo aggiornamento. La Scuola Dino Compagni con l’opera di Toxic è stata parte di questo grande museo a cielo aperto.
La street art è rappresentazione della società contemporanea, è un linguaggio fatto di simboli e significati non sempre svelati ma che arriva diretta allo sguardo di chi la incontra, è’ racconto contemporaneo, storytelling in tempo reale. Un polo didattico e culturale completo, che si può immaginare come un microcosmo perfetto, nel quale ogni elemento costituisce parte integrante e fondamentale del tutto. Questa è la visione di Toxic espressa in VERITAS attraverso la rappresentazione dei 4 elementi acqua, fuoco, aria, terra, che costituiscono la composizione di ogni sostanza esistente. “è la prima scuola in città pensata e costruita con gli spazi e la funzionalità di un centro civico avanzato”.
La scuola secondo Plutarco non deve riempire le menti come un vaso, ma accendere il fuoco per il gusto della ricerca e l’amore della VERITÀ come potente mezzo per rendere l’uomo libero. Questo è stato il messaggio scelto da Toxic per la sua opera, VERITAS, che ha occupato circa 400 metri quadri di parete esterna della Dino Compagni.
Da sempre Toxic con la sua arte contribuisce attivamente a progetti di beneficenza e di valorizzazione artistica di spazi urbani come la nuova scuola di Campo di Marte.

L'arte prende casa nelle scuole | Toxic

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Rossella Liccione

Artista visivo

Rossella Liccione vive ed opera a Firenze presso il suo laboratorio artistico, collaborando con l’Accademia di Belle Arti di Firenze, affiancando i docenti nella Scuola di decorazione, dove ha conseguito il diploma Accademico di I livello in decorazione e successiva specializzazione di II livello in “Arti Visive e Discipline dello Spettacolo” ed un Master in Textile. L’Artista elabora un linguaggio di geometrie irregolari che sfruttano la luce e la trasparenza per esaltare l’intensità del colore.

Rossella Liccione vive ed opera a Firenze presso il suo laboratorio artistico, collaborando con l’Accademia di Belle Arti di Firenze, affiancando i docenti nella Scuola di decorazione, dove ha conseguito il diploma Accademico di I livello in decorazione e successiva specializzazione di II livello in “Arti Visive e Discipline dello Spettacolo” ed un Master in Textile. L’Artista elabora un linguaggio di geometrie irregolari che sfruttano la luce e la trasparenza per esaltare l’intensità del colore.

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L'arte prende casa nelle scuole | Rossella Liccione

Residenza d'artista nelle scuole di Rossella Liccione

Rossella Liccione durante la propria residenza d’artista a scuola ha lavorato con i ragazzi ed i docenti dell’Istituto Comprensivo Oltrarno durante l’anno scolastico 2018/2019 e presso l’Istituto Comprensivo Poliziano durante l’anno scolastico 2019/2020.

‘Emozione = Identità, è stato il titolo scelto per questo progetto di residenza d’artista. Vi è il tentativo, in questa esperienza, di riappropriarsi del proprio io, ovvero, io allievo emozionandomi comunico le diverse sensazioni, attraverso i colori le forme e le infinite combinazioni, interagendo con un materiale palpabile, facile da lavorare, come il pvc. Attraverso questo processo creativo, emerge il singolo “allievo” con le sue caratteristiche, la sua creatività, così da riconoscersi ed identificarsi attraverso tale espressione, per poter essere “se stessi” in mezzo al gruppo, per condividere il proprio elaborato, ed essere parte integrando del lavoro di squadra. I canali scelti per q

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Rossella Liccione durante la propria residenza d’artista a scuola ha lavorato con i ragazzi ed i docenti dell’Istituto Comprensivo Oltrarno durante l’anno scolastico 2018/2019 e presso l’Istituto Comprensivo Poliziano durante l’anno scolastico 2019/2020.

‘Emozione = Identità, è stato il titolo scelto per questo progetto di residenza d’artista. Vi è il tentativo, in questa esperienza, di riappropriarsi del proprio io, ovvero, io allievo emozionandomi comunico le diverse sensazioni, attraverso i colori le forme e le infinite combinazioni, interagendo con un materiale palpabile, facile da lavorare, come il pvc. Attraverso questo processo creativo, emerge il singolo “allievo” con le sue caratteristiche, la sua creatività, così da riconoscersi ed identificarsi attraverso tale espressione, per poter essere “se stessi” in mezzo al gruppo, per condividere il proprio elaborato, ed essere parte integrando del lavoro di squadra. I canali scelti per questa esperienza sono stati “i sensi”, punto focale di tutto il processo creativo, indipendenti dalle materie coinvolte per svolgere i laboratori con i ragazzi della scuola Machiavelli. La particolarità dell’esperienza è stata quella di lavorare con le diverse materie, così da allargare i punti di vista e comprendere che da una singola esperienza di emozioni, pensieri, il lavoro unico e personale di ogni allievo, apre a nuovi mondi. Un semplice elaborato di forme e colori può diventare una melodia, può esprimersi attraverso la poesia, combinare con le regole della matematica, esprimersi con un’altra lingua, etc…etc…. La sperimentazione di coinvolgere le diverse materie scolastiche, nell’attività creativa, ha dato risultati molto positivi. Semplicemente meraviglioso, lo stupore dei ragazzi nel vedere, che ciò di cui avevo esposto verbalmente all’inizio, di questa straordinaria esperienza, è stato possibile realizzarlo, e soprattutto che i principali attori erano loro. L’esperienza laboratoriale è cominciata ascoltando la musica, con gli occhi chiusi, per potersi emozionare, ed esprimere tale sensazione attraverso i colori e le sue combinazioni, creando svariate forme con il pvc, dando un nome o un titolo a ciascun elaborato. L’esperienza “si conclude” con la performance della “Campana della Vita”, gioco performativo, svolto nel giardino della scuola, dove ogni singolo allievo indossava degli auricolari, con gli occhi chiusi, e ascoltando la musica, doveva attraversare sette quadrati di diverso materiale, simulando il gioco della campana. In questo processo si attivano e prendono vita tutti i sensi: dall’udito al tatto alla vista, e inconsciamente, quando siamo in uno stato di pace interiore e serenità e gratificazione si attivano anche “l’olfatto e il gusto”, l’immaginazione, crea sogni, e ci porta in uno stato di sazietà, e dove l’aria che respiriamo ha il profumo della bellezza e dell’armonia’. Rossella Liccione

L'arte prende casa nelle scuole | Rossella Liccione

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Sporcarsi le mani per fare un lavoro pulito

Black History Month Florence 2020

An exhibition that examines the implementation of social obligations towards dirty work, the shortcomings of cultural assimilation, the silencing of histories and the politics of respectability.

The artists in the exhibition each draw upon experiences of a periods of permanence in Italy that pushes them to engage the cities of Rome, Umbertide, Milan and Florence as sites for cultural production with the need to engage history while not falling victim to it.

Activist Pape Diaw, in a 2013 interview spoke of “…sporcarsi le mani per fare un lavoro pulito “, literally getting our hands dirty to do a clean job. This contradiction is at the core of a social context where dirty work is engaged in to maintain a status governed by the politics of respectability and social policing.

The exhibition, curated by Black History Month Florence, as part of the 5th edition of BHMF, in collaboration with Villa Romana (Florence), Civitella Ranieri Foundation (Umbertide) and Galleria Continua (San Gim

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An exhibition that examines the implementation of social obligations towards dirty work, the shortcomings of cultural assimilation, the silencing of histories and the politics of respectability.

The artists in the exhibition each draw upon experiences of a periods of permanence in Italy that pushes them to engage the cities of Rome, Umbertide, Milan and Florence as sites for cultural production with the need to engage history while not falling victim to it.

Activist Pape Diaw, in a 2013 interview spoke of “…sporcarsi le mani per fare un lavoro pulito “, literally getting our hands dirty to do a clean job. This contradiction is at the core of a social context where dirty work is engaged in to maintain a status governed by the politics of respectability and social policing.

The exhibition, curated by Black History Month Florence, as part of the 5th edition of BHMF, in collaboration with Villa Romana (Florence), Civitella Ranieri Foundation (Umbertide) and Galleria Continua (San Gimignano), presents the work of 6 international artists who have used the Italian context as a place of artistic production. A series of transversal works leads to a reworking of stereotyped notions of Made in Italy that tend to exclude Afro-descendents, revealing colonial attitudes and inviting and breaking preconceptions.

An insistence on personal narratives as an override to the flattened projections of Blackness, the construction of bridges between a colonial past and a neo-colonial contemporary reality and the ethereality of monumentality all infuse these works with a meditation on the past as a marker of what’s to come.

Together they form a harmonic melody that is discordant with the prescribed, centralized, consumed narrative but finds just enough alignment to relay its power to enrich the age-old tune

Sporcarsi le mani per fare un lavoro pulito

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Sporcarsi le mani per fare un lavoro pulito

Black History Month Florence 2020

Sporcarsi le mani per fare un lavoro pulito

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M’barek Bouhchichi

Visual artist

Born in 1975, Akka, Morocco, he lives and works in Tahanaout next to Marrakech where he teaches art. Using painting, sculpture, drawing or even video, M’barek Bouhchichi develops his work through a tentative language grounded on the exploration of the limits between our internal discourse and its extension towards the outer world, the actual, the other. He places his works at the crossroad between the aesthetic and the social, exploring associated fields as possibilities for self-definition.

Recently, his work has been exhibited as a solo show Les mains noires (Kulte, Rabat, Morocco, 2016), as collective exhibition Documents bilingues (MUCEM, Marseille, France, 2017), as well as Le Maroc contemporain (Institut du Monde Arabe, Paris, France, 2014), Between walls (Le 18, Marrakech, Morocco, 2017).

Born in 1975, Akka, Morocco, he lives and works in Tahanaout next to Marrakech where he teaches art. Using painting, sculpture, drawing or even video, M’barek Bouhchichi develops his work through a tentative language grounded on the exploration of the limits between our internal discourse and its extension towards the outer world, the actual, the other. He places his works at the crossroad between the aesthetic and the social, exploring associated fields as possibilities for self-definition.

Recently, his work has been exhibited as a solo show Les mains noires (Kulte, Rabat, Morocco, 2016), as collective exhibition Documents bilingues (MUCEM, Marseille, France, 2017), as well as Le Maroc contemporain (Institut du Monde Arabe, Paris, France, 2014), Between walls (Le 18, Marrakech, Morocco, 2017).

M’barek Bouhchichi

Terre - Sporcarsi le mani per fare un lavoro pulito

M’barek Bouhchichi

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Adji Dieye

Photographer

Adji Dieye is an ItaloSenegalese photographer born in Milan in 1991. She graduated in New Technologies for Art at the Academy of Fine Arts of Brera in Milan. Over the past years she has been traveling between Milan and Dakar, focusing her research on the influence of advertisement in the African visual culture. Her work explores different facets of West African societies; the influence of advertising in the construction of a national identity and the syncretic spirituality that remains central to African communities.

Adji Dieye’s artistic practice pushes the boundaries of photography in an attempt to investigate the archetypes that constitute African visual cultures. In her research, the continent is never considered an end in itself; instead, it represents a bridge towards further investigations into broader social and geopolitical realities.

Adji Dieye is an ItaloSenegalese photographer born in Milan in 1991. She graduated in New Technologies for Art at the Academy of Fine Arts of Brera in Milan. Over the past years she has been traveling between Milan and Dakar, focusing her research on the influence of advertisement in the African visual culture. Her work explores different facets of West African societies; the influence of advertising in the construction of a national identity and the syncretic spirituality that remains central to African communities.

Adji Dieye’s artistic practice pushes the boundaries of photography in an attempt to investigate the archetypes that constitute African visual cultures. In her research, the continent is never considered an end in itself; instead, it represents a bridge towards further investigations into broader social and geopolitical realities.

Adji Dieye

Red fever - Sporcarsi le mani per fare un lavoro pulito

Sasha Huber

Photographer, video artist, performer

Sasha Huber (CH/FI) is a visual artist of Swiss-Haitian heritage, born in Zurich, Switzerland in 1975. She lives and works in Helsinki, Finland. Huber’s work is primarily concerned with the politics of memory and belonging, particularly in relation to colonial residue left in the environment. Sensitive to the subtle threads connecting history and the present, she uses and responds to archival material within a layered creative practice that encompasses performance-based interventions, video, photography, and collaborations. Huber is also claiming the compressed-air staple gun, aware of its symbolic significance as a weapon, while offering the potential to renegotiate unequal power dynamics. She is known for her artistic research contribution to the Demounting Louis Agassiz campaign, aiming at dismantling the glaciologist’s lesser-known but contentious racist heritage. This long-term project (since 2008) has been concerned with unearthing and redressing the little-known history

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Sasha Huber (CH/FI) is a visual artist of Swiss-Haitian heritage, born in Zurich, Switzerland in 1975. She lives and works in Helsinki, Finland. Huber’s work is primarily concerned with the politics of memory and belonging, particularly in relation to colonial residue left in the environment. Sensitive to the subtle threads connecting history and the present, she uses and responds to archival material within a layered creative practice that encompasses performance-based interventions, video, photography, and collaborations. Huber is also claiming the compressed-air staple gun, aware of its symbolic significance as a weapon, while offering the potential to renegotiate unequal power dynamics. She is known for her artistic research contribution to the Demounting Louis Agassiz campaign, aiming at dismantling the glaciologist’s lesser-known but contentious racist heritage. This long-term project (since 2008) has been concerned with unearthing and redressing the little-known history and cultural legacies of the Swiss-born naturalist and glaciologist Louis Agassiz (1807-1873), an influential proponent of “scientific” racism who advocated for segregation and “racial hygiene”. Huber has had solo exhibitions such as at the Hasselblad Foundation (Project Room) in Gothenburg and participated in numerous international exhibitions, including the 56th la Biennale di Venezia in 2015 (collateral exhibition: Frontier Reimagined), the 19th Biennale of Sydney in 2014, and in the 29th Biennial of São Paulo in 2010.

Sasha Huber

The Firsts-Edmonia Lewis - Sporcarsi le mani per fare un lavoro pulito

Delio Jasse

Photographer

Delio Jasse was born in 1980 in Luanda, Angola and lives and works in Milan. In his photographic work, he often interweaves found images with clues from past lives (found passport photos, family albums) to draw links between photography – in particular the concept of the ‘latent image’ – and memory.

Jasse is also known for experimenting with analogue photographic printing processes, including cyanotype, platinum and early printing processes such as ‘Van Dyke Brown’, as well as developing his own printing techniques.

Recent exhibitions include: MAXXI, Rome (2018); Villa Romana, Florence (2018); Biennale dell’immagine, Lugano (solo, 2017); Walther Collection, Neu-Ulm (2017); SAVVY Contemporary, Berlin (2017); Bamako Encounters, Bamako (2017); Lagos Biennial, Lagos (2017); Tiwani Contemporary, London (solo, 2016); Walther Collection Project Space, NY (2016); Dak’art Biennale international exhibition (2016); and the Angolan Pavilion, 56th Venice

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Delio Jasse was born in 1980 in Luanda, Angola and lives and works in Milan. In his photographic work, he often interweaves found images with clues from past lives (found passport photos, family albums) to draw links between photography – in particular the concept of the ‘latent image’ – and memory.

Jasse is also known for experimenting with analogue photographic printing processes, including cyanotype, platinum and early printing processes such as ‘Van Dyke Brown’, as well as developing his own printing techniques.

Recent exhibitions include: MAXXI, Rome (2018); Villa Romana, Florence (2018); Biennale dell’immagine, Lugano (solo, 2017); Walther Collection, Neu-Ulm (2017); SAVVY Contemporary, Berlin (2017); Bamako Encounters, Bamako (2017); Lagos Biennial, Lagos (2017); Tiwani Contemporary, London (solo, 2016); Walther Collection Project Space, NY (2016); Dak’art Biennale international exhibition (2016); and the Angolan Pavilion, 56th Venice Biennale (2015). He was one of three finalists in the BES Photo Prize (2014) and won the Iwalewa Art Award in 2015.

Delio Jasse

Pontus - Sporcarsi le mani per fare un lavoro pulito

Amelia Umuhire

Video artist, director

Amelia Umuhire, born 1991 in Kigali Rwanda, lives as an artist and filmmaker in Berlin. In 2015 she wrote and filmed her first web series, Polyglot, in which she follows young deracinated London- and Berlin-based Rwandese artists with her camera. The series has been shown at numerous festivals, including the Festival D’Angers, the Tribeca Film Festival and the Geneva International Film Festival, where it was named Best International Web Series in 2015. Her short film Mugabo is an experimental short film set in Kigali. It explores the question of how to return to one´s homeland and how to deal with the past. In 2017 it was awarded Best Experimental Film at the Blackstar Film Festival and is currently touring festivals in North America and amongst others screened at MOCA Los Angeles, the MCA Chicago, the Ann Arbor Film Festival and the Smithsonian African American Film Festival. In 2018 Amelia Umuhire produced the radio feature Vaterland for the German radio station Deutschlandfun

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Amelia Umuhire, born 1991 in Kigali Rwanda, lives as an artist and filmmaker in Berlin. In 2015 she wrote and filmed her first web series, Polyglot, in which she follows young deracinated London- and Berlin-based Rwandese artists with her camera. The series has been shown at numerous festivals, including the Festival D’Angers, the Tribeca Film Festival and the Geneva International Film Festival, where it was named Best International Web Series in 2015. Her short film Mugabo is an experimental short film set in Kigali. It explores the question of how to return to one´s homeland and how to deal with the past. In 2017 it was awarded Best Experimental Film at the Blackstar Film Festival and is currently touring festivals in North America and amongst others screened at MOCA Los Angeles, the MCA Chicago, the Ann Arbor Film Festival and the Smithsonian African American Film Festival. In 2018 Amelia Umuhire produced the radio feature Vaterland for the German radio station Deutschlandfunk Kultur. It tells the story of her father Innocent Seminega as a young student, teacher, husband and father until his death at the hands of the Hutu extremists. In February this year Umuhire had her first solo exhibition at Decad Berlin.

Amelia Umuhire

Untitled - Sporcarsi le mani per fare un lavoro pulito

Amelia Umuhire

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Nari Ward

Fotografo, video artista, scultore

Nari Ward (nato nel 1963 a St. Andrew, Giamaica; vive e lavora a New York) è noto per le sue installazioni scultoree composte da materiale di scarto trovato e raccolto nel suo quartiere. Ha riutilizzato oggetti come passeggini, carrelli della spesa, bottiglie, porte, televisori, registratori di cassa e lacci delle scarpe.

Ward ricontestualizza questi oggetti trovati in giustapposizioni stimolanti che creano significati metaforici complessi per affrontare questioni sociali e politiche che circondano la razza, la povertà e la cultura del consumo. Lascia intenzionalmente aperto il significato del suo lavoro, consentendo allo spettatore di fornire la propria interpretazione.

Mostre personali del suo lavoro sono state organizzate presso l’Institute of Contemporary Art, Boston (2017); SocratesSculpture Park, New York (2017); The Barnes Foundation, Philadelphia (2016); Pérez Art Museum Miami (2015); Savannah College of Art e Design Museum of Art, Savannah, GA (2015); Museo d’ar

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Nari Ward (nato nel 1963 a St. Andrew, Giamaica; vive e lavora a New York) è noto per le sue installazioni scultoree composte da materiale di scarto trovato e raccolto nel suo quartiere. Ha riutilizzato oggetti come passeggini, carrelli della spesa, bottiglie, porte, televisori, registratori di cassa e lacci delle scarpe.

Ward ricontestualizza questi oggetti trovati in giustapposizioni stimolanti che creano significati metaforici complessi per affrontare questioni sociali e politiche che circondano la razza, la povertà e la cultura del consumo. Lascia intenzionalmente aperto il significato del suo lavoro, consentendo allo spettatore di fornire la propria interpretazione.

Mostre personali del suo lavoro sono state organizzate presso l’Institute of Contemporary Art, Boston (2017); SocratesSculpture Park, New York (2017); The Barnes Foundation, Philadelphia (2016); Pérez Art Museum Miami (2015); Savannah College of Art e Design Museum of Art, Savannah, GA (2015); Museo d’arte della Louisiana State University, Baton Rouge, LA (2014); The Fabric Workshop and Museum, Philadelphia (2011); Massachusetts Museum of Contemporary Art, North Adams, MA (2011); Isabella Stewart Gardner Museum, Boston (2002); e Walker Art Center, Minneapolis, MN (2001, 2000).

Nari Ward

Immigrist Male Figure Wall Tryptich - Sporcarsi le mani per fare un lavoro pulito

Justin Randolph Thompson su BHMF 2020

Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2020

Justin Randolph Thompson
Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2020
Justin Randolph Thompson su BHMF 2020

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Sporcarsi le mani per fare un lavoro pulito BHMF 2020

Janine Gaëlle Dieudji su M'Barek Bouhchichi

Janine Gaëlle Dieudji su M'Barek Bouhchichi
Sporcarsi le mani per fare un lavoro pulito BHMF 2020

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Sporcarsi le mani per fare un lavoro pulito BHMF 2019

Janine Gaelle Dieudji about Adji Dieye

Janine Gaelle Dieudji su Adji Dieye
Sporcarsi le mani per fare un lavoro pulito BHMF 2019

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China Project 2019

China Project 2019 - Progetto RIVA

Il progetto di residenze di artisti cinesi in Italia si è rinnovato nel 2019 con due nuovi artisti selezionati per un periodo di residenza che è andato dal 7 ottobre al 1 novembre 2019 e che rientrava nel Progetto RIVA curato e diretto da Valentina Gensini, in collaborazione con Zhong Art International, realizzato in co-progettazione e con il contributo di Sensi Contemporanei nell’ambito dell’accordo di programma quadro tra Regione Toscana, Mibac Direzione Generale Cinema e Agenzia per la Coesione Territoriale.

I due artisti selezionati nel 2019 sono stati Xiang Zhang e Yanrong Liu.
È stato possibile visitare gli artisti nel loro studio 30 e il 31 ottobre 2019 e seguire così il lavoro che hanno portato avanti durante il loro periodo di residenza, con la possibilità di conversare con loro anche grazie alla collaborazione di Zhong Art International.


Il progetto di residenze di artisti cinesi in Italia si è rinnovato nel 2019 con due nuovi artisti selezionati per un periodo di residenza che è andato dal 7 ottobre al 1 novembre 2019 e che rientrava nel Progetto RIVA curato e diretto da Valentina Gensini, in collaborazione con Zhong Art International, realizzato in co-progettazione e con il contributo di Sensi Contemporanei nell’ambito dell’accordo di programma quadro tra Regione Toscana, Mibac Direzione Generale Cinema e Agenzia per la Coesione Territoriale.

I due artisti selezionati nel 2019 sono stati Xiang Zhang e Yanrong Liu.
È stato possibile visitare gli artisti nel loro studio 30 e il 31 ottobre 2019 e seguire così il lavoro che hanno portato avanti durante il loro periodo di residenza, con la possibilità di conversare con loro anche grazie alla collaborazione di Zhong Art International.

China Project 2019

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Xiang Zhang

Scultore

Zhang Xiang. Nasce nel 1982 a Dazhou, provincia di Si Chuan. Si è diplomato in Scultura all’Accademia di Belle Arti di Sichuan con un Master in Scultura nel 2010, ha studiato come Visiting Scholar al Academy of Art liberty vision of The Hague. Attualmente è docente di Scultura dell’Accademia di Belle Arti di Sichuan, Direttore del cross-media studio, membro della Chongqing Sculpture Society e anche corrispondente speciale della Chinese Sculpture Society. Le sue opere sono state collezionate dal China Sculpture Society, dal Hubei Museum of Art, dal The Gallery Magazine e anche collezionisti privati.

Zhang Xiang. Nasce nel 1982 a Dazhou, provincia di Si Chuan. Si è diplomato in Scultura all’Accademia di Belle Arti di Sichuan con un Master in Scultura nel 2010, ha studiato come Visiting Scholar al Academy of Art liberty vision of The Hague. Attualmente è docente di Scultura dell’Accademia di Belle Arti di Sichuan, Direttore del cross-media studio, membro della Chongqing Sculpture Society e anche corrispondente speciale della Chinese Sculpture Society. Le sue opere sono state collezionate dal China Sculpture Society, dal Hubei Museum of Art, dal The Gallery Magazine e anche collezionisti privati.

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China Project 2019 - Xiang Zhang

China Project 2019 - Progetto RIVA

China Project 2019 - Xiang Zhang

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Yanrong Liu

Pittrice

Nasce nel 1987 a Hangzhou, provincia di Zhejiang. Attualmente lavora e vive a Chongqing e Hangzhou, è docente nel Dipartimento di Grafica, dell’Accademia di Belle Arti di Sichuan. La direzione della sua ricerca artistica si concentra su “tempo e spazio”, con “oggetti” e “luce” come materie principali. Attua modalità di azione artistica diverse dalla mostra attraverso la scrittura e la pittura.  

Nasce nel 1987 a Hangzhou, provincia di Zhejiang. Attualmente lavora e vive a Chongqing e Hangzhou, è docente nel Dipartimento di Grafica, dell’Accademia di Belle Arti di Sichuan. La direzione della sua ricerca artistica si concentra su “tempo e spazio”, con “oggetti” e “luce” come materie principali. Attua modalità di azione artistica diverse dalla mostra attraverso la scrittura e la pittura.  

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China Project 2019 - Yanrong Liu

China Project - Progetto RIVA

China Project 2019 - Yanrong Liu

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Gabriele Dini

Scultore e artista installativo

Nato a Viareggio, Gabriele Dini dopo aver concluso gli studi presso il dipartimento di Nuove Tecnologie dell’Arte dell’Accademia di Belle Arti di Carrara, segue un biennio di specializzazione presso il Royal College of Art di Londra. Tra il 2017 e il 2019 ha partecipato a quattro residenze d’artista, la prima nel 2017 presso il MAC Museum of Contemporary Art, Istituto Italiano di Cultura, in Cile; nel 2018 viene ospitato dal Siena Art Institute, poi la Fondazione Pistoletto di Biella e infine le Murate Art District e il Sichuan Arti Institute nel 2019. Molte le sue esposizioni, tra le quali alcune personali, a palazzo Ridolfi a Firenze nel 2019, con Iconosmash, ad Asciano in provincia di Siena l’anno seguente, presso il Museo Archeologico Palazzo Corboli, con dormancy; infine a Carrara nel 2017, la Tekè Gallery ospita Augmented fragility. Nel 2014 vince il Thames Barrier Award a Londra e nello stesso anno riceve l’Augustus Martin Award presso il Royal College of Art di Londr

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Nato a Viareggio, Gabriele Dini dopo aver concluso gli studi presso il dipartimento di Nuove Tecnologie dell’Arte dell’Accademia di Belle Arti di Carrara, segue un biennio di specializzazione presso il Royal College of Art di Londra. Tra il 2017 e il 2019 ha partecipato a quattro residenze d’artista, la prima nel 2017 presso il MAC Museum of Contemporary Art, Istituto Italiano di Cultura, in Cile; nel 2018 viene ospitato dal Siena Art Institute, poi la Fondazione Pistoletto di Biella e infine le Murate Art District e il Sichuan Arti Institute nel 2019. Molte le sue esposizioni, tra le quali alcune personali, a palazzo Ridolfi a Firenze nel 2019, con Iconosmash, ad Asciano in provincia di Siena l’anno seguente, presso il Museo Archeologico Palazzo Corboli, con dormancy; infine a Carrara nel 2017, la Tekè Gallery ospita Augmented fragility. Nel 2014 vince il Thames Barrier Award a Londra e nello stesso anno riceve l’Augustus Martin Award presso il Royal College of Art di Londra.

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China Project 2019 - Every fragment is a gift

Residenza d'artista in Cina di Gabriele Dini

In antropologia, l’idea che i valori sociali di una civiltà siano imbevuti nei materiali è ben nota e consolidata da ampie ricerche su scambi e regali come parte di rituali del passato. I banchetti etruschi cosi’ come i protocolli descritti nei primi testi cinesi ci aiutano a comprendere come le cose trascendano la loro funzione dall’ utile al simbolico. Cosi’, quando intatti e quando in detriti, i frammenti degli oggetti in ceramica arrivano fino a noi come un dono fatto da mondi che vengono da lontano su cui continuare a intessere storie fatte di associazioni, classificazioni tipologiche, narrative personali, connessioni storiografiche.

Il progetto artistico e’ stato finalizzato alla produzione di una serie di opere ispirate dalla civilta’ etrusca e quella cinese, che si formano su credenze e tradizioni legate alla ceramica, ai suoi processi e al valore del dono.

Nel 2014 e’ stata scoperta in Cina una lavorazione della ceramica finora sconosciuta chiamata ‘Coal-Clay

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In antropologia, l’idea che i valori sociali di una civiltà siano imbevuti nei materiali è ben nota e consolidata da ampie ricerche su scambi e regali come parte di rituali del passato. I banchetti etruschi cosi’ come i protocolli descritti nei primi testi cinesi ci aiutano a comprendere come le cose trascendano la loro funzione dall’ utile al simbolico. Cosi’, quando intatti e quando in detriti, i frammenti degli oggetti in ceramica arrivano fino a noi come un dono fatto da mondi che vengono da lontano su cui continuare a intessere storie fatte di associazioni, classificazioni tipologiche, narrative personali, connessioni storiografiche.

Il progetto artistico e’ stato finalizzato alla produzione di una serie di opere ispirate dalla civilta’ etrusca e quella cinese, che si formano su credenze e tradizioni legate alla ceramica, ai suoi processi e al valore del dono.

Nel 2014 e’ stata scoperta in Cina una lavorazione della ceramica finora sconosciuta chiamata ‘Coal-Clay Composite Ceramics’ che utilizza impasti e metodologie simili a quelle del bucchero etrusco. Ci sono due botteghe a conduzione familiare che tramandano questa tradizione alle generazioni successive: Zeng Qinghong workshop in Yingjing, e Huang Bin Xue in Gaoxian County, entrambi nella provincia di Sichuan.

China Project 2019 - Every fragment is a gift

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Giulio Saverio Rossi

Artista visivo

Nasce a Massa nel 1988, ma vive e lavora a Torino. Nel 2012 si laurea con lode presso l’Accademia di Belle Arti di Venezia, per poi seguire un master in printmaking presso la Fondazione il Bisonte per lo studio dell’arte grafica di Firenze e concludere gli studi nel 2016 con lode presso l’Accademia di Belle Arti di Torino. Ha partecipato a vari progetti di residenza d’artista, tra cui nel 2019 al China Project curato da Le Murate Art District di Firenze. Tra le sue esposizioni, si contano sette personali, nel 2019 presso il Sichuan Fine Arts Institute, Nuova scuola delle nuvole e della nebbia, nello stesso anno si inaugura Studiovisit 2019 presso Casa di Masaccio – Centro per l’arte contemporanea, nel 2018 a Torino con Chiasmo presso Alley Summer. Giorgio Galotti, e nello stesso anno è presente al CAR DRDE di Bologna con Ogni cosa rappresa; nel 2017 espone al K+D poject di Torino, con Bordi/Borders/Bords#1, nel 2015 a Bologna No subject presso LOCALEDUE, e infine è presen

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Nasce a Massa nel 1988, ma vive e lavora a Torino. Nel 2012 si laurea con lode presso l’Accademia di Belle Arti di Venezia, per poi seguire un master in printmaking presso la Fondazione il Bisonte per lo studio dell’arte grafica di Firenze e concludere gli studi nel 2016 con lode presso l’Accademia di Belle Arti di Torino. Ha partecipato a vari progetti di residenza d’artista, tra cui nel 2019 al China Project curato da Le Murate Art District di Firenze. Tra le sue esposizioni, si contano sette personali, nel 2019 presso il Sichuan Fine Arts Institute, Nuova scuola delle nuvole e della nebbia, nello stesso anno si inaugura Studiovisit 2019 presso Casa di Masaccio – Centro per l’arte contemporanea, nel 2018 a Torino con Chiasmo presso Alley Summer. Giorgio Galotti, e nello stesso anno è presente al CAR DRDE di Bologna con Ogni cosa rappresa; nel 2017 espone al K+D poject di Torino, con Bordi/Borders/Bords#1, nel 2015 a Bologna No subject presso LOCALEDUE, e infine è presente al Castello Malaspina di Massa con Thaumàzein. Nel 2019 vince il premio Be the difference with art a Bassano del Grappa, nel 2018 riceve il premio Francesco Fabbri, nel 2017 il premio Combat Prize per la pittura, nel 2016 riceve l’Academy Now e il Combat Prize.

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China Project 2019 - Nuova scuola delle nuvole e della nebbia

Residenza d'artista in Cina di Giulio Saverio Rossi

Il progetto Nuova scuola delle nuvole e della nebbia si sviluppa a partire dalla pratica del disegno, inteso come elemento che si trova alla base sia della tradizione rinascimentale che dell’evoluzione artistica in Cina.

Durante le quattro settimane di residenza si è creato una scuola temporanea dedicata al disegno continuo delle nuvole così come appaiono in cielo. Partendo dai recenti studi che teorizzano la possibilità che le nuvole scompaiano definitivamente dai nostri cieli a causa del riscaldamento globale si è elaborato una continua mappatura delle nuvole, tesa da un lato a raccogliere la forma del transitorio, dall’altro a creare una mappatura visiva non più basata sulla conoscenza del suolo ma sulle nuvole.

Il progetto ha creato un incontro ideale fra le due identità coinvolte nella residenza, la Toscana e La Cina, che trova una propria affermazione all’interno del medium del disegno inteso duplicemente sia come accettazione dell’effimero della forma che del suo t

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Il progetto Nuova scuola delle nuvole e della nebbia si sviluppa a partire dalla pratica del disegno, inteso come elemento che si trova alla base sia della tradizione rinascimentale che dell’evoluzione artistica in Cina.

Durante le quattro settimane di residenza si è creato una scuola temporanea dedicata al disegno continuo delle nuvole così come appaiono in cielo. Partendo dai recenti studi che teorizzano la possibilità che le nuvole scompaiano definitivamente dai nostri cieli a causa del riscaldamento globale si è elaborato una continua mappatura delle nuvole, tesa da un lato a raccogliere la forma del transitorio, dall’altro a creare una mappatura visiva non più basata sulla conoscenza del suolo ma sulle nuvole.

Il progetto ha creato un incontro ideale fra le due identità coinvolte nella residenza, la Toscana e La Cina, che trova una propria affermazione all’interno del medium del disegno inteso duplicemente sia come accettazione dell’effimero della forma che del suo tentativo di fermarla sulla carta tentando, in un gesto simbolico e paradossale, di impedire la scomparsa delle nuvole.

E’ stato chiesto di partecipare sia a persone senza una particolare preparazione artistica, sia ad artisti cinesi emergenti o affermati che si renderanno disponibili su invito diretto a diventare membri della Scuola.

China Project 2019 - Nuova scuola delle nuvole e della nebbia

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Mohammad Alfaraj

Photographer, video artist

Mohammad Alfaraj’s (b. 1993 in Al Hassa, KSA, where he lives and works), practice centers around his exploration of the relationship between forms and concepts, is visible through superimposed stories in his photographic collages, regrouping and contrasting fiction and non-fiction subjects. Alfaraj’s work also often uses natural materials found in his hometown and combines them with children games and stories from people working the land, as an attempt to create states of co-existence between man and nature with an undertone of hope. A socio-environment activist at heart, his short documentary Lost, 2015 (which was awarded first place in the student category at the Saudi Film Festival), captures the latent state of the notion of temporality for the stateless Arabs living as refugees in their place of birth, and the dehumanizing effect this plays. This “un-homely” context portrays the poisonous beauty of nature when lived as a nemesis under political paralysis.

Alfaraj g

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Mohammad Alfaraj’s (b. 1993 in Al Hassa, KSA, where he lives and works), practice centers around his exploration of the relationship between forms and concepts, is visible through superimposed stories in his photographic collages, regrouping and contrasting fiction and non-fiction subjects. Alfaraj’s work also often uses natural materials found in his hometown and combines them with children games and stories from people working the land, as an attempt to create states of co-existence between man and nature with an undertone of hope. A socio-environment activist at heart, his short documentary Lost, 2015 (which was awarded first place in the student category at the Saudi Film Festival), captures the latent state of the notion of temporality for the stateless Arabs living as refugees in their place of birth, and the dehumanizing effect this plays. This “un-homely” context portrays the poisonous beauty of nature when lived as a nemesis under political paralysis.

Alfaraj graduated with a BA in mechanical engineering from KFUPM in 2017. His recent solo show; Still Life and Plastic Dreams, Athr Gallery, Jeddah KSA (2020), and group shows include I Love You Urgently, 21,39 SAC, Jeddah, KSA (2020), Durational Portrait; A brief overview of video art in Saudi Arabia, Athr Gallery, Jeddah, KSA (2020), Sharjah Islamic Festival, Sharjah, UAE (2019). His work has also been shown at the Sharjah Art Foundation; Le Murate Pac, Florence (2019); Athr Gallery, Jeddah (2018); 21,39 Jeddah Arts (2017, 2019); Saudi Film Festival, Dammam (2015) and Dubai International Film Festival (2014). Alfaraj worked as a programmer in both the Saudi Film Festival and the poetry house festival in Dammam.

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The glass between us

Top exhibition of Middle East Now Festival 2019

Mohammad Alfaraj’s first solo exhibition, The Glass Between Us, is an experimentation on sound and image, viewing life through the lens of a child. His new body of work searches for the surprising and the unexpected in daily life, creating a huge mosaic formed by humans and their peers. Presenting works prepared in advance by the artist in Saudi Arabia, alongside new work made with children in Florence during a series of workshops, the exhibition presents a sensory and visual experience that may be simple in form, but depends on a fundamental and important subject around which it tried to create a dialogue.

Middle East Now, MAD Murate Art District and Crossway Foundation Residency in collaboration with PIA Palazzina Indiano Arte della Compagnia Virgilio Sieni.

Mohammad Alfaraj’s first solo exhibition, The Glass Between Us, is an experimentation on sound and image, viewing life through the lens of a child. His new body of work searches for the surprising and the unexpected in daily life, creating a huge mosaic formed by humans and their peers. Presenting works prepared in advance by the artist in Saudi Arabia, alongside new work made with children in Florence during a series of workshops, the exhibition presents a sensory and visual experience that may be simple in form, but depends on a fundamental and important subject around which it tried to create a dialogue.

Middle East Now, MAD Murate Art District and Crossway Foundation Residency in collaboration with PIA Palazzina Indiano Arte della Compagnia Virgilio Sieni.

The glass between us

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The glass between us

Mostra di punta del Middle East Film Festival 2019

The glass between us

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RIVA Project 2019

Promoted by the MUS.E Association under the artistic direction of Valentina Gensini

In 2019, the RIVA Project further explored its international focus through lectures and workshops. Of particular importance was the lecture held at MAD by Michelangelo Pistoletto, in partnership with the Academy of Fine Arts of Florence, as well as the conferences curated by LWCircus, and the cycle of encounters curated by Prof. Antonio Capestro, with the collaboration of CISDU and the University of Florence. The constant maintenance of the Terzo Giardino fluvial park continued, likewise its guided visits organised by the Mus.e. Association. The partnership programme with Zhong Art International was intensified and two professors from the Academy of Fine Arts of Sichuan spent a period of residency at Murate Art District. These events strengthened the process to the final goal: a grand pluriannual exhibit initially scheduled for 2020 and then postponed to 2021 due to the restrictions imposed to contrast the Covid-19 pandemic.

In 2019, the RIVA Project further explored its international focus through lectures and workshops. Of particular importance was the lecture held at MAD by Michelangelo Pistoletto, in partnership with the Academy of Fine Arts of Florence, as well as the conferences curated by LWCircus, and the cycle of encounters curated by Prof. Antonio Capestro, with the collaboration of CISDU and the University of Florence. The constant maintenance of the Terzo Giardino fluvial park continued, likewise its guided visits organised by the Mus.e. Association. The partnership programme with Zhong Art International was intensified and two professors from the Academy of Fine Arts of Sichuan spent a period of residency at Murate Art District. These events strengthened the process to the final goal: a grand pluriannual exhibit initially scheduled for 2020 and then postponed to 2021 due to the restrictions imposed to contrast the Covid-19 pandemic.

RIVA Project 2019

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Karyn Olivier

Installation artist

Olivier is known for large-scale installations which provoke a disruption of public and private spaces. Familiar forms, altered in function and medium, create uncanny meditations on stagnancy, division and the weight of materiality. Her installations explore the poetics of space and the role of the viewers in shaping their own experience and engagement.

Olivier is known for large-scale installations which provoke a disruption of public and private spaces. Familiar forms, altered in function and medium, create uncanny meditations on stagnancy, division and the weight of materiality. Her installations explore the poetics of space and the role of the viewers in shaping their own experience and engagement.

Because time in this place does not obey an order

Because time in this place does not obey an order - Black History Month Florence 2019

Curated by BHMF With the partnership of MAD Murate Art District

In collaboration with: Boomker Sound Studios Syracuse University Florence SRISA Vivaio Il Giardiniere Antonella Bundu Chris Norcross

And we can no longer breathe And we can no longer see But, in the escape compagno In the fear, compagno Like in the fight, compagno I will be forever by your side

Collettivo Victor Jara, Le Murate

These were the words written and sung by the musical collective Victor Jara days after the 1974 revolt at le Murate jails. Protest against unfit living conditions and oppressive forces are frequent in sites which separate, either willingly or by force, social groups from the world that surrounds them. The socio-spiritual nature of what is just and human worth is at the root of contemplation in isolation. These feelings originated from the artist’s encounter with Le Murate. Progetti Arte Contemporanea, they led the project. For the occasion of the fourth edition of Black History Month Florence

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Curated by BHMF With the partnership of MAD Murate Art District

In collaboration with: Boomker Sound Studios Syracuse University Florence SRISA Vivaio Il Giardiniere Antonella Bundu Chris Norcross

And we can no longer breathe And we can no longer see But, in the escape compagno In the fear, compagno Like in the fight, compagno I will be forever by your side

Collettivo Victor Jara, Le Murate

These were the words written and sung by the musical collective Victor Jara days after the 1974 revolt at le Murate jails. Protest against unfit living conditions and oppressive forces are frequent in sites which separate, either willingly or by force, social groups from the world that surrounds them. The socio-spiritual nature of what is just and human worth is at the root of contemplation in isolation. These feelings originated from the artist’s encounter with Le Murate. Progetti Arte Contemporanea, they led the project. For the occasion of the fourth edition of Black History Month Florence current Rome Prize Fellow at the American Academy in Rome Karyn Olivier presents Because Time In This Place Does Not Obey An Order, a series of site specific installations that grapple with the relationship between justice and spirituality. The works engage the history of Le Murate and its transition from a site of spiritual recluse to a carceral space sifting through the continuity and contrast that these histories evoke. Mental health, social critique, isolation, the closeting of history and the conflation of senses set cloistered gardens in dialogue with the steady words of Martin Luther King Jr. writing from a jail cell and reveal traces of life behind closed doors which claims universal rights.

Because time in this place does not obey an order

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Because time in this place does not obey an order

Because time in this place does not obey an order - Black History Month Florence 2019

Because time in this place does not obey an order

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Justin Randolph Thompson | BHMF 2019

Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2019

Justin Randolph Thompson
Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2019
Justin Randolph Thompson | BHMF 2019

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Black Archive Alliance 

Mira a fornire la scintilla fondamentale per la ricerca futura in questo campo per rimediare allo stato di amnesia che isola la presenza diasporica africana nella città e nel paese come fenomeno esclusivamente contemporaneo

Black Archive Alliance
Villa Romana in the context of Cantiere Toscana, in collaboration with BHMF

Objectives
Present archival materials in sites throughout the city broadening the access to the findings Highlight histories that have frequently been omitted from local memory Provide the foundational spark for future research in this field Remedy the state of amnesia that isolates African and African Diasporic presence in the city and country as an exclusively contemporary phenomenon Highlight the research and researchers who have already been doing this work Produce texts and photographic exhibition materials that can later be re-installed as educational resources.

Colonial Postcards and Landscape architecture
MAD Murate Art District (Emeroteca) 5:30 pm Presentation of the project dedicated to Colonial Postcards from Italian editors and Stamps from the Poste Italiane with the research of the Students of Angelica Pesarini’s Black Italia class at New York University Florence togethe



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Black Archive Alliance
Villa Romana in the context of Cantiere Toscana, in collaboration with BHMF

Objectives
Present archival materials in sites throughout the city broadening the access to the findings Highlight histories that have frequently been omitted from local memory Provide the foundational spark for future research in this field Remedy the state of amnesia that isolates African and African Diasporic presence in the city and country as an exclusively contemporary phenomenon Highlight the research and researchers who have already been doing this work Produce texts and photographic exhibition materials that can later be re-installed as educational resources.

Colonial Postcards and Landscape architecture
MAD Murate Art District (Emeroteca) 5:30 pm Presentation of the project dedicated to Colonial Postcards from Italian editors and Stamps from the Poste Italiane with the research of the Students of Angelica Pesarini’s Black Italia class at New York University Florence together with the presentation of an artistic project dedicated to Colonial Botanical Gardens by Michele Dantini.

Landscape architecture. African city parks and botanical gardens by Michele Dantini
For Black Archive Alliance Michele Dantini presents a research rooted in various international archives that investigates African botanical gardens, their colonial conception and their meaning today. The history of African city parks and botanical gardens is interwoven with State political or social vicissitudes, colonization and de-colonization processes, the establishment of new nations, and, in varying ways, with the history of agriculture and the forest. Above all, it is interwoven with a fantasy that is deeply inscribed in the European colonial imagination, that of an African Eden designed for hunting and timeless emotions, and – with the norms, demarcations and prohibitions that led to the creation of natural parks and protected areas – made inaccessible to local populations.

Preparing a Recovery Plan
MAD Murate Art District6 pm
Preparing a Recovery Plan_Artist Screening of artists working with the archive as form and context with videos by: Lerato Shadi, Kevin Jerome Everson e Alessandra Ferrini (with presence of artists)

Sites/Sources/Projects

Biblioteca Marucelliana, Via Camillo Cavour, 43, 50129 Florence;  8.30 am – 6.30 pm
Biblioteca Medicea Laurenziana, Piazza San Lorenzo 9, 50123 Florence; 9.30 am -1.30 pm
British Institute of Florence/ Harold Acton Library, Lungarno Guicciardini 9, 50125 Florence; 10 am – 6 pm
Mediateca Toscana, Via San Gallo 25, 50129 Florence; 10 am – 1 pm / 2 – 7 pm
Centro Studi La Pira, Via dei Pescioni 3, 50123 Florence, 9  am – 7 pm
Fondazione Santa Maria Nuova, Piazza Santa Maria Nuova 1, 50122 Florence; 10 am-1 pm / 3 – 7 pm
SACI/ Worthington Library, Palazzo dei Cartelloni, Via Sant Antonio 11, 50123 Florence; 9 am – 9 pm
Syracuse University Florence/ Syracuse Florence Library, Piazza Fra’ Girolamo Savonarola 15, 50132 Florence; 9 am -1.30 pm / 3 – 8 pm
The other spaces are visitable in their opening hours. We invite the public to pass by the sites to see the shows and collect the pages of the catalogue dedicated to each individual archive free of charge.

Villa Romana, as part of the Cantiere Toscana project, supported by the Region of Tuscany – Toscanaincontemporanea2018 and in collaboration with BHMF, is organizing a series of mini-exhibitions, tours and presentations based on private and public archives, collections and libraries throughout Florence with holdings that reflect the realities and histories of African and African Diasporic people and their representation. This series of shows from the 27th-29th of November creates a virtual map of this archival presence in the city. A resulting catalogue intends to assist future research while providing insight to people who visit the range of spaces dislocated throughout Florence and beyond with which we are in collaboration.

Black Archive Alliance 

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Alessandra Ferrini 

Artist, researcher, educator

Alessandra Ferrini is a London-based artist, researcher and educator. Her practice is rooted in lens-based media, postcolonial theory, memory and critical whiteness studies, historiographical and archival practices. Experimenting with the expansion and hybridization of the documentary film, she interrogates the enduring legacies of colonialism and Fascism with a specific interest in the past and present network of relations between Italy, the Mediterranean region and the African continent. She has exhibited internationally, including at: Casablanca Biennal (2021); Manifesta 13 Paralléles du Sud Marseille (2020); Villa Romana (solo show 2019); Depo Istanbul Biennal Collaterale (2019); Lagos Biennal (2019); Sharjah Foundation Film Platform (2019); Manifesta 12 Film Programme (2018).

www.alessandraferrini.info

Alessandra Ferrini is a London-based artist, researcher and educator. Her practice is rooted in lens-based media, postcolonial theory, memory and critical whiteness studies, historiographical and archival practices. Experimenting with the expansion and hybridization of the documentary film, she interrogates the enduring legacies of colonialism and Fascism with a specific interest in the past and present network of relations between Italy, the Mediterranean region and the African continent. She has exhibited internationally, including at: Casablanca Biennal (2021); Manifesta 13 Paralléles du Sud Marseille (2020); Villa Romana (solo show 2019); Depo Istanbul Biennal Collaterale (2019); Lagos Biennal (2019); Sharjah Foundation Film Platform (2019); Manifesta 12 Film Programme (2018).

www.alessandraferrini.info

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Michele Dantini 

Storico dell’arte contemporanea, critico e saggista

Michele Dantini è uno storico dell’arte contemporanea, critico e saggista, insegna all’Università del Piemonte orientale ed è visiting professor presso università nazionali e internazionali. Laureatosi e perfezionatosi (Ph.D.) in storia della filosofia e storia dell’arte presso la Scuola Normale Superiore di Pisa; Eberhard Karls Universität, Tubinga; The Courtauld Institute, Londra; Ludwig-Maximilians-Universität München, collabora con i principali musei di arte contemporanea italiani ed è responsabile del Master MAED al Castello di Rivoli. Scrive di arte contemporanea, politiche culturali e dell’innovazione, tecnologia, Rete e digitale. Tra le pubblicazioni recenti Geopolitiche dell’arte italiana. Arte e critica d’arte nel contesto internazionale (Milano 2012); Arte contemporanea, ecologia e sfera pubblica (Roma 2012); Humanities e innovazione sociale (Milano 2012); Apple cosmica. Come le narrazioni fantascientifiche modellano il design e il marketing della Me

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Michele Dantini è uno storico dell’arte contemporanea, critico e saggista, insegna all’Università del Piemonte orientale ed è visiting professor presso università nazionali e internazionali. Laureatosi e perfezionatosi (Ph.D.) in storia della filosofia e storia dell’arte presso la Scuola Normale Superiore di Pisa; Eberhard Karls Universität, Tubinga; The Courtauld Institute, Londra; Ludwig-Maximilians-Universität München, collabora con i principali musei di arte contemporanea italiani ed è responsabile del Master MAED al Castello di Rivoli. Scrive di arte contemporanea, politiche culturali e dell’innovazione, tecnologia, Rete e digitale. Tra le pubblicazioni recenti Geopolitiche dell’arte italiana. Arte e critica d’arte nel contesto internazionale (Milano 2012); Arte contemporanea, ecologia e sfera pubblica (Roma 2012); Humanities e innovazione sociale (Milano 2012); Apple cosmica. Come le narrazioni fantascientifiche modellano il design e il marketing della Mela (Milano 2012); Horses and other herbivores (Bezalel Academy of Art and Design, Jerusalem 2010). Coautore dei manifesti TQ “università e ricerca” e “patrimonio storico-artistico e ambientale”, è interessato ai temi della diversità culturale e del cosmopolitismo postcoloniale. Il suo Diario Namibiano (e/o, Milano 2003), inchiesta sulle trasformazioni delle abilità tradizionali in Africa australe all’ingresso nel mercato globale condotta in collaborazione con la National Gallery di Windhoek, è stato finalista del premio Paola Biocca|Società Italo Calvino nel 2002. Suoi reportage e fieldworks sono stati presentati alla Fondazione Merz, Torino; CCCS Strozzina, Firenze; Centro di arte contemporanea Luigi Pecci, Prato; Centre de la Photographie, Ginevra; MAO, Torino. Collabora a L’Huffington, Alfabeta2, Doppiozero, ROARS, Il giornale dell’arte, il manifesto. Lista degli istituzioni/archivi: Agenzia Italiana per la Cooperazione allo Sviluppo, Archivio Enrico Romero, Archivio Leonard Bundu/ David Weiss, Archivio Storico Fratelli Alinari, Biblioteca Marucelliana, Biblioteca Medicea Laurenziana, British Institute of Florence/ Harold Acton Library, Cineteca di Firenze, Collezione Palli, Fondazione La Pira, Fondazione Santa Maria Nuova, Gli Uffizi, Kunsthistorisches Institut Florenz, Le Murate Progetti Arte Contemporanea/ MUS.E, New York University Florence/ Villa La Pietra Poste Italiane, SACI/ Worthington Library, Sahara Desert, Syracuse University Florence/ Syracuse Florence Library

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Lerato Shadi

Visual Artist

Lerato Shadi lives and works in Berlin. She earned a M.A. (Space Strategies) from Kunsthochschule Berlin Weißensee in 2018 and she received a B.A. (Visual Art) from University of Johannesburg in 2006. From 2010 to 2012 Shadi was a member of the ‘Bag Factory artist studios’ in Johannesburg. Her work was featured at the Dak’art Biennale and in the III Moscow International Biennale in 2012. She is a fellow of Sommerakademie 2013 (Zentrum Paul Klee). Shadi was awarded with the mart stam studio grant, Berlin in 2014 and received the Alumni Dignitas Award of the University of Johannesburg in 2016. She presented her solo show Noka Ya Bokamoso at the South African National Arts Festival in Grahamstown in 2016. Shadi participated in The Parliament of Bodies, the Public Programs of documenta 14 and was awarded with the AFRICA’SOUT! residency program (Brooklyn, NY) in 2017. Shadi is fellow of the German Villa Romana Prize in Florence (Italy) for 2018.

Lerato Shadi lives and works in Berlin. She earned a M.A. (Space Strategies) from Kunsthochschule Berlin Weißensee in 2018 and she received a B.A. (Visual Art) from University of Johannesburg in 2006. From 2010 to 2012 Shadi was a member of the ‘Bag Factory artist studios’ in Johannesburg. Her work was featured at the Dak’art Biennale and in the III Moscow International Biennale in 2012. She is a fellow of Sommerakademie 2013 (Zentrum Paul Klee). Shadi was awarded with the mart stam studio grant, Berlin in 2014 and received the Alumni Dignitas Award of the University of Johannesburg in 2016. She presented her solo show Noka Ya Bokamoso at the South African National Arts Festival in Grahamstown in 2016. Shadi participated in The Parliament of Bodies, the Public Programs of documenta 14 and was awarded with the AFRICA’SOUT! residency program (Brooklyn, NY) in 2017. Shadi is fellow of the German Villa Romana Prize in Florence (Italy) for 2018.

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Kevin Jerome Everson

Artist-filmmaker

Kevin Jerome Everson (b.1965, United States) is an artist-filmmaker from Mansfield, Ohio, currently living and working in Charlottesville, Virginia. In his highly prolific career, Everson has made nine feature films and over 130 short films, which have been exhibited internationally at film festivals including Sundance, Toronto, Venice, Rotterdam, Berlin, London, Ann Arbor and Oberhausen. Everson has been the subject of mid-career retrospectives at Modern and Contemporary Art Museum, Seoul, 2017; Viennale,2014; Visions du Reel, Nyon, 2012; The Whitney Museum of American Art, New York, 2011; and Centre Pompidou, Paris, 2009. His work has been featured at the 2008, 2012 and 2017 Whitney Biennials and the 2013 Sharjah Biennial. Everson is currently Professor of Art at the University of Virginia, Charlottesville.

Kevin Jerome Everson (b.1965, United States) is an artist-filmmaker from Mansfield, Ohio, currently living and working in Charlottesville, Virginia. In his highly prolific career, Everson has made nine feature films and over 130 short films, which have been exhibited internationally at film festivals including Sundance, Toronto, Venice, Rotterdam, Berlin, London, Ann Arbor and Oberhausen. Everson has been the subject of mid-career retrospectives at Modern and Contemporary Art Museum, Seoul, 2017; Viennale,2014; Visions du Reel, Nyon, 2012; The Whitney Museum of American Art, New York, 2011; and Centre Pompidou, Paris, 2009. His work has been featured at the 2008, 2012 and 2017 Whitney Biennials and the 2013 Sharjah Biennial. Everson is currently Professor of Art at the University of Virginia, Charlottesville.

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Edoardo Delille

Fotografo

Edoardo Delille è nato a Firenze nel 1974. Dopo gli studi in Giurisprudenza termina il corso triennale di Fotografia alla Fondazione Studio Marangoni di Firenze. Nel 2001 si muove a Milano dove inizia a collaborare con fotografi di moda e pubblicità.  Dopo pochi anni inizia a scattare le prime campagne pubblicitarie e i primi editoriali per la rivista Uomo Vogue. Non abbandona mai la sua passione per il reportage sociale e nel corso degli anni le sue storie   appaiono sulle più importanti riviste di settore (Sunday Times, Wired Uk, Geo Francia, Stern, Le Monde, Marie Claire USA, Neon, IoDonna Corriere, D Repubblica, Sportweek). Lavora da molti anni sul concetto di confine in quasi tutti i paesi del Medio Oriente dove ha vissuto per lunghi periodi, alternando l’attività di storytelling con quella di ritrattista su assignment per riviste internazionali. Lavora per grandi aziende private e pubbliche (Enel, Camera di Commercio di Milano, Istituto Nazionale di Fisica Nucleare)

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Edoardo Delille è nato a Firenze nel 1974. Dopo gli studi in Giurisprudenza termina il corso triennale di Fotografia alla Fondazione Studio Marangoni di Firenze. Nel 2001 si muove a Milano dove inizia a collaborare con fotografi di moda e pubblicità.  Dopo pochi anni inizia a scattare le prime campagne pubblicitarie e i primi editoriali per la rivista Uomo Vogue. Non abbandona mai la sua passione per il reportage sociale e nel corso degli anni le sue storie   appaiono sulle più importanti riviste di settore (Sunday Times, Wired Uk, Geo Francia, Stern, Le Monde, Marie Claire USA, Neon, IoDonna Corriere, D Repubblica, Sportweek). Lavora da molti anni sul concetto di confine in quasi tutti i paesi del Medio Oriente dove ha vissuto per lunghi periodi, alternando l’attività di storytelling con quella di ritrattista su assignment per riviste internazionali. Lavora per grandi aziende private e pubbliche (Enel, Camera di Commercio di Milano, Istituto Nazionale di Fisica Nucleare) realizzando corporate e progetti fotografici dedicati. Membro del collettivo di fotografi Riverboom, negli ultimi anni usa diversi mezzi espressivi (video, stop-motion, uso di droni, collage) per raccontare le sue storie sempre impegnate da un fine sociale. Le foto dei suoi progetti sono state esposte in numerose mostre internazionali e fanno parte di collezioni private.

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Paolo Woods

Fotografo

Nato in Olanda da padre canadese e madre olandese, Paolo Woods cresce in Italia e vive a Parigi e a Haiti. Sfruttando la fotografia come strumento d’investigazione, si dedica a progetti di lunga durata dai quali nasce ogni volta una mostra, un libro e una serie di pubblicazioni nella stampa internazionale. Dopo un’indagine sul mondo del petrolio e un’inchiesta sulle guerre americane in Afghanistan e Iraq, si è interessato alla conquista cinese dell’Africa, esperienza da cui è nato CHINAFRICA, libro co-firmato con il giornalista Serge Michel e tradotto in undici lingue. Nel 2010 ha completato il progetto Walk on my Eyes, un ritratto intimo della società iraniana. Tra il 2010 e il 2014 Woods ha vissuto ad Haiti, esperienza che ha portato sia la pubblicazione (2013) di STATE e PEPE che la mostra prodotta dal Musée de l’Elysée di Losanna. Ha esposto in Francia, Italia, Stati Uniti, China, Spagna, Germania, Austria e Olanda, e i suoi lavori sono conservati in molte collezio

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Nato in Olanda da padre canadese e madre olandese, Paolo Woods cresce in Italia e vive a Parigi e a Haiti. Sfruttando la fotografia come strumento d’investigazione, si dedica a progetti di lunga durata dai quali nasce ogni volta una mostra, un libro e una serie di pubblicazioni nella stampa internazionale. Dopo un’indagine sul mondo del petrolio e un’inchiesta sulle guerre americane in Afghanistan e Iraq, si è interessato alla conquista cinese dell’Africa, esperienza da cui è nato CHINAFRICA, libro co-firmato con il giornalista Serge Michel e tradotto in undici lingue. Nel 2010 ha completato il progetto Walk on my Eyes, un ritratto intimo della società iraniana. Tra il 2010 e il 2014 Woods ha vissuto ad Haiti, esperienza che ha portato sia la pubblicazione (2013) di STATE e PEPE che la mostra prodotta dal Musée de l’Elysée di Losanna. Ha esposto in Francia, Italia, Stati Uniti, China, Spagna, Germania, Austria e Olanda, e i suoi lavori sono conservati in molte collezioni pubbliche e private. Ha ricevuto vari premi fra cui due World Press Photo Awards.

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Incontri Confluenti

Progetto RIVA

Nell’autunno 2017 i fotografi Davide Virdis, Martino Marangoni e Giuseppe Toscano hanno elaborato un progetto originale per San Francesco, Comune di Pelago, e per Pontassieve. Il tema principale di questo lavoro era il rapporto tra il fiume Sieve e la comunità. Questo gruppo di ricerca ha prodotto un lavoro originale sul territorio tra Pelago e Pontassieve presentato durante la festa del patrono a Pelago-Pontassieve il 29 settembre 2018, in una esposizione pubblica delle fotografie prodotte. L’esposizione nello spazio pubblico, sui pannelli di affissione che permeano la dimensione urbana, viene proposta dunque in una dimensione di immediata e spontanea accessibilità. I tre autori hanno inoltre condotto un workshop sul campo con quattro giovani fotografe.

Nell’autunno 2017 i fotografi Davide Virdis, Martino Marangoni e Giuseppe Toscano hanno elaborato un progetto originale per San Francesco, Comune di Pelago, e per Pontassieve. Il tema principale di questo lavoro era il rapporto tra il fiume Sieve e la comunità. Questo gruppo di ricerca ha prodotto un lavoro originale sul territorio tra Pelago e Pontassieve presentato durante la festa del patrono a Pelago-Pontassieve il 29 settembre 2018, in una esposizione pubblica delle fotografie prodotte. L’esposizione nello spazio pubblico, sui pannelli di affissione che permeano la dimensione urbana, viene proposta dunque in una dimensione di immediata e spontanea accessibilità. I tre autori hanno inoltre condotto un workshop sul campo con quattro giovani fotografe.

Incontri Confluenti

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The Time of discretion. Chapter one

Global Identity

The time of Discretion. Chapter one di Lisa Batacchi, curated by Veronica Caciolli closes the cycle GLOBAL IDENTITIES. Postcolonial and cross-cultural Narratives curated by Valentina Gensini. The Time of Discretion is presented as a metaphorical and necessary retrospective on a cycle of works developed specifically on the subject of discretion and intended as its first chapter, over the last two years. The show consists of two works made in the south of China together with the Hmong people and about twenty new works expressly produced for this occasion, including installations, tapestries, videos, photographs, documentary archives and symbolic finds. The Time of Discretion is a transnational project in progress, which opens up complex and extremely sensitive issues that widely extend the boundaries of art. The exhibition intersects experience and representation, dramatically confronting the East and the West, advancing a dense theoretical scenario in relation to the processes of global

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The time of Discretion. Chapter one di Lisa Batacchi, curated by Veronica Caciolli closes the cycle GLOBAL IDENTITIES. Postcolonial and cross-cultural Narratives curated by Valentina Gensini. The Time of Discretion is presented as a metaphorical and necessary retrospective on a cycle of works developed specifically on the subject of discretion and intended as its first chapter, over the last two years. The show consists of two works made in the south of China together with the Hmong people and about twenty new works expressly produced for this occasion, including installations, tapestries, videos, photographs, documentary archives and symbolic finds. The Time of Discretion is a transnational project in progress, which opens up complex and extremely sensitive issues that widely extend the boundaries of art. The exhibition intersects experience and representation, dramatically confronting the East and the West, advancing a dense theoretical scenario in relation to the processes of globalization. The project begins with the participation of Lisa Batacchi at the Land Art Mongolia Biennal of 2016, whose theme to be discussed concerned the interpretation of the axis that divides the sky from the earth. To do so, the artist reached Guizhou, a mountain village in southern China where the ancient Hmong people (originating from the Siberian-Mongol area), observe a traditional ritual daily. In particular, they hold a specific practice, considered divinatory, that of natural indigo dyeing. A large tent created by the artist, manually, slowly and discretely, together with the Hmong women, was later carried in a procession towards the sacred mountain Altan Ovoo, for the inaugural performance of the Biennale. The horse-cow represented there, shows a symbology derived from a Chinese oracle of the classical tradition, questioned preliminarily by the artist, whose sentences are governed by a logic of randomness, through the repeated tossing of coins. A randomness clearly understood as not accidental but secretly determined, also deliberately regulates the progressive behavior of Lisa Batacchi. A subsequent experience with this people allowed her to dye another fabric, which still draws on the meanings expressed in the fortieth and in the second hexagram of the I-Ching (The liberation – The receptive). Alongside these, there are further twenty multimedia works, produced for this exhibition and shown in preview for the Le Murate space. The collaboration with different types of mastery, activity that characterizes one of the directions of the project, has been extended by the artist to the local area, first in the city of Florence, where through the ancient looms of the Lisio Foundation, she has been able to realize five fabric tapestries. A toli, an amulet usually worn and used by Mongolian shamans, has instead been reproduced on a large scale, for performative as well as exhibition purposes, in parternship with the la Scuola Superiore Sant’Anna di Pisa. A new batik dyed with guado (ancient vegetable color) will be realized during the summer together with Natural Color Culture in the Marche region and premiered at Le Murate on September the 4th. The exhibition is also enriched by four photographic series that on one hand document the performance for the Land Art Mongolia Biennal, the backstage material of this first chapter and a collection that represents the beauty, the persistence of tradition and the fragility of a world partially isolated, on the threshold of globalization but still magically possible. Eventually, a video, which anticipates an upcoming feature film, retraces the landscape, relational and cultural stages of Mongolia, Inner Mongolia and southern China, in which poetry, imagery and narration become confused. June 7th h 5.30 p.m. introduction to exhibition by Veronica Caciolli curator, Valentina Gensini artistic director Le murate. Progetti Arte Contemporanea and the artist Lisa Batacchi h 6.30 p.m. vernissage

In particular, they hold a specific practice, considered divinatory, that of natural indigo dyeing. A large tent created by the artist, manually, slowly and discretely, together with the Hmong women, was later carried in a procession towards the sacred mountain Altan Ovoo, for the inaugural performance of the Biennale.
The horse-cow represented there, shows a symbology derived from a Chinese oracle of the classical tradition, questioned preliminarily by the artist, whose sentences are governed by a logic of randomness, through the repeated tossing of coins. A randomness clearly understood as not accidental but secretly determined, also deliberately regulates the progressive behavior of Lisa Batacchi.
A subsequent experience with this people allowed her to dye another fabric, which still draws on the meanings expressed in the fortieth and in the second hexagram of the I-Ching (The liberation – The receptive).
Alongside these, there are further twenty multimedia works, produced for this exhibition and shown in preview for the Le Murate space.

The collaboration with different types of mastery, activity that characterizes one of the directions of the project, has been extended by the artist to the local area, first in the city of Florence, where through the ancient looms of the Lisio Foundation, she has been able to realize five fabric tapestries.
A toli, an amulet usually worn and used by Mongolian shamans, has instead been reproduced on a large scale, for performative as well as exhibition purposes, in parternship with the la Scuola Superiore Sant’Anna di Pisa.
A new batik dyed with guado (ancient vegetable color) will be realized during the summer together with Natural Color Culture in the Marche region and premiered at Le Murate on September the 4th.

The exhibition is also enriched by four photographic series that on one hand document the performance for the Land Art Mongolia Biennal, the backstage material of this first chapter and a collection that represents the beauty, the persistence of tradition and the fragility of a world partially isolated, on the threshold of globalization but still magically possible.
Eventually, a video, which anticipates an upcoming feature film, retraces the landscape, relational and cultural stages of Mongolia, Inner Mongolia and southern China, in which poetry, imagery and narration become confused.

Il progetto nell’ambito di ToscanaInContemporanea 2018

The Time of discretion. Chapter one

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Ka Long Wong

Sculptor and teacher

A Son of Art (his father is a watercolour painter) Wong was born in Portuguese Macau in 1977. In 1996, he studied Sculpture at The Guangzhou Academy of Fine Arts, and gained a Master’s Degree in 2003. During his university life, he travelled The Silk Road and was inspired by what he saw there. Wong’s practice, both pedagogical and his production of art, are deeply informed by his experience of living in a colony where the acts of aggression and ‘civilization’ nurture each other. Long is currently lecturing at the Polytechnic University of Macau.

A Son of Art (his father is a watercolour painter) Wong was born in Portuguese Macau in 1977. In 1996, he studied Sculpture at The Guangzhou Academy of Fine Arts, and gained a Master’s Degree in 2003. During his university life, he travelled The Silk Road and was inspired by what he saw there. Wong’s practice, both pedagogical and his production of art, are deeply informed by his experience of living in a colony where the acts of aggression and ‘civilization’ nurture each other. Long is currently lecturing at the Polytechnic University of Macau.

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The impossible black tulip

Global Identity

The Impossible Black Tulip, third episode of the GLOBAL IDENTITIES Postcolonial and cross-cultural Narrative cycle, is a project that finds its reason in the exploration of the concept of belonging. The exhibition is named after the earliest known Chinese world map that unites western and eastern cartographic views and style. Maps and identities have a deep connection: As a crucial visualization of national borders, mapping has been linked to the political construction of national identity. However this map, symbol of cultural hybridity, confuses our concept of identity and, along with its rarity and exoticism, it was called the Impossible Black Tulip. Through this exhibition and participatory actions, this event wants to contribute to the post-colonial debates on hybridity, decolonization and fluid identity. In this reagard Macau represents an unique case-study: a Portuguese colony for 400 years, after the return to China in 1999 as a special administrative region (SAR) , identity mak

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The Impossible Black Tulip, third episode of the GLOBAL IDENTITIES Postcolonial and cross-cultural Narrative cycle, is a project that finds its reason in the exploration of the concept of belonging. The exhibition is named after the earliest known Chinese world map that unites western and eastern cartographic views and style. Maps and identities have a deep connection: As a crucial visualization of national borders, mapping has been linked to the political construction of national identity. However this map, symbol of cultural hybridity, confuses our concept of identity and, along with its rarity and exoticism, it was called the Impossible Black Tulip. Through this exhibition and participatory actions, this event wants to contribute to the post-colonial debates on hybridity, decolonization and fluid identity. In this reagard Macau represents an unique case-study: a Portuguese colony for 400 years, after the return to China in 1999 as a special administrative region (SAR) , identity making in Macao has been a process of incorporating instead of repressing or eliminating the identities of “the other”. How is the concept of hybridity related to belonging? Together with the local Chinese community (one of the biggest communities in the EU) and three artists from Macau, Eric FOK, Gue Jie CAI, and  Ka Long WONG we will investigate the different ways we can reflect on these concepts. We will inquire as to the legitimacy of basing an identity on only certain specific aspects of local colonial history, the relationship between belonging and ownership, and finally, the relationship between the memory of an area and the “modern” capitalist appropriation of the landscape. The various anti-migratory events and the increasing success of souverainiste parties have brought to light an urgent need to analyse the historical racialised constructions of identity in order to foster contemporary debate on a more fluid concept of identity. How can we define an “identity” today?

Artistic Direction: Valentina Gensini Curating: Livia Dubon Organization: Mus.e, Le Murate. Progetti Arte Contemporanea Coordinator: Sandy Chan Interpretation Panels: Veronica Gabriele e Livia Dubon Graphic Design: Athos de Martino Sponsor: Instituto Cultural do Governo da R.A.E. de Macau (I.C.M.), the Institute Confucio Florence, Macau Visual Students Art Zone Supporters: the Camões Institute of Lisbon, the Department of Languages, Literatures and Studies Interculturali of the University of Florence and the “Fernando Pessoa” Chair Contributions: Association Chì-na, Dragon Film Festival, Permanent workshop for the Peace – District 5, Florence.

The impossible black tulip

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Guo Jie Cai

Installation artist, painter, curator

Guo Jie Cai is an installation artist, teacher and curator. Born in Hsin Chu, Taiwan, he moved to Macau in 2011. Cai was awarded a BA in Painting and a MFA in Installation at National Taiwan University of Arts. He now focuses on painting, art installation, art curating and teaching. He is currently lecturer at the School of Arts of Macau Polytechnic Institute; Art instructor at Institute for Tourism Studies; Visual-Art instructor at Macau Art Museum; Youth member of Macau Artists Society; vice director of Art For All Society; and art consultant at Wind Box Community Development. The most recent solo exhibitions include “As Memory Whispers”, Nan Vam Lake Art Gallery , Macau Artists Society , Macau; “Between States of Mind –Cai Guo Jie Solo Exhibition”, New Tile House, Innoart, Taiwan; “Cores da cidade de Macau”, Rui Cunha Foundation Gallery, Macau, China

Guo Jie Cai is an installation artist, teacher and curator. Born in Hsin Chu, Taiwan, he moved to Macau in 2011. Cai was awarded a BA in Painting and a MFA in Installation at National Taiwan University of Arts. He now focuses on painting, art installation, art curating and teaching. He is currently lecturer at the School of Arts of Macau Polytechnic Institute; Art instructor at Institute for Tourism Studies; Visual-Art instructor at Macau Art Museum; Youth member of Macau Artists Society; vice director of Art For All Society; and art consultant at Wind Box Community Development. The most recent solo exhibitions include “As Memory Whispers”, Nan Vam Lake Art Gallery , Macau Artists Society , Macau; “Between States of Mind –Cai Guo Jie Solo Exhibition”, New Tile House, Innoart, Taiwan; “Cores da cidade de Macau”, Rui Cunha Foundation Gallery, Macau, China

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The impossible black tulip

Ciclo Global Identity

The impossible black tulip

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Lisa Batacchi

Artista visiva

Lisa Mara Batacchi si forma al Polimoda di Firenze con una lurea in fashion design lavorando in seguito per vari marchi di alta moda, in particolare per Vivienne Westwood a Londra. Successivamente consegue una laurea in Arti Visive presso l’Accademia di Belle Arti di Firenze. Le sue opere sono state esposte in numerose mostre personali e collettive, fra cui ricordiamo: 2°Something Else Cairo Biennale, Murate Art District (personale) a Firenze, Manifesta12 evento collaterale a Palermo, Art & Globalization Pavillion durante la 57a Biennale di Venezia, Dust space gallery a Milano, 4°Land Art Mongolia Biennale a Ulan Bator, Textile Arts Center a New York, Villa Ada a Roma, Clark House Initiative (personale) a Bombay, Villa Pacchiani a Pisa, riss (e) Zentrum (personale) a Varese, Mac, n a Pistoia. È vincitrice, tra gli altri, del premio italiano Movin’up per giovani artisti italiani all’estero. Negli ultimi anni ha tenuto laboratori e collaborato a progetti educativ

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Lisa Mara Batacchi si forma al Polimoda di Firenze con una lurea in fashion design lavorando in seguito per vari marchi di alta moda, in particolare per Vivienne Westwood a Londra. Successivamente consegue una laurea in Arti Visive presso l’Accademia di Belle Arti di Firenze. Le sue opere sono state esposte in numerose mostre personali e collettive, fra cui ricordiamo: 2°Something Else Cairo Biennale, Murate Art District (personale) a Firenze, Manifesta12 evento collaterale a Palermo, Art & Globalization Pavillion durante la 57a Biennale di Venezia, Dust space gallery a Milano, 4°Land Art Mongolia Biennale a Ulan Bator, Textile Arts Center a New York, Villa Ada a Roma, Clark House Initiative (personale) a Bombay, Villa Pacchiani a Pisa, riss (e) Zentrum (personale) a Varese, Mac, n a Pistoia. È vincitrice, tra gli altri, del premio italiano Movin’up per giovani artisti italiani all’estero. Negli ultimi anni ha tenuto laboratori e collaborato a progetti educativi con Palazzo Strozzi a Firenze, con ACAF Foundation a Shanghai, con Siena Art Institute, con Lottozero a Prato.

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The Time of discretion. Chapter one

Ciclo Global Identity

The Time of discretion. Chapter one

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Eric Fok

Conceptual artist

Eric Fok is an artist born in the later era of Portuguese Macau. With his maps and his meticulous brushwork Eric explores Macau’s identity by showing its transformations, developments and postcolonial phenomenon, merging space and time in a new fascinating dimension. His works were included in “Illustration Exhibition -Bologna Children’s Book Fair (2013)”, “Art Nova100 in China”, and the Portugal Oriental Foundation Art Award and are collected by The Orient Museum (Portugal), the University of Hong Kong  Museum and Art Gallery, the Macau Government Headquarters, the Cultural Affairs Bureau of the Macau S.A.R., and the Oriental Foundation (Macau). Website: www.behance.net/EricFok

Eric Fok is an artist born in the later era of Portuguese Macau. With his maps and his meticulous brushwork Eric explores Macau’s identity by showing its transformations, developments and postcolonial phenomenon, merging space and time in a new fascinating dimension. His works were included in “Illustration Exhibition -Bologna Children’s Book Fair (2013)”, “Art Nova100 in China”, and the Portugal Oriental Foundation Art Award and are collected by The Orient Museum (Portugal), the University of Hong Kong  Museum and Art Gallery, the Macau Government Headquarters, the Cultural Affairs Bureau of the Macau S.A.R., and the Oriental Foundation (Macau). Website: www.behance.net/EricFok

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Victoria DeBlassie

Artista interdisciplinare

Victoria DeBlassie è nata e cresciuta ad Albuquerque, New Mexico. Ha studiato presso The University of New Mexico nel 2009 e il California College of the Arts nel 2011. Di recente, ha ricevuto una borsa di studio Fulbright per l’Italia per l’anno accademico 2012-2013. Ha partecipato a numerose residenze artistiche, come F.AIR a Firenze, Italia, Atelier Real a Lisbona, Portogallo, Lakkos AIR a Heraklion, Crete, e più recentemente Apulia Land Arts Festival a Margherita di Savoia, Italia. Ha esposto a livello nazionale e internazionale, in sedi tra cui [AC] 2 Gallery di Albuquerque, NM, The de Young Museum di San Francisco, CA, e la Fondazione Biagiotti Progetto a Firenze, Italia. http://www.victoriadeblassie.com

Victoria DeBlassie è nata e cresciuta ad Albuquerque, New Mexico. Ha studiato presso The University of New Mexico nel 2009 e il California College of the Arts nel 2011. Di recente, ha ricevuto una borsa di studio Fulbright per l’Italia per l’anno accademico 2012-2013. Ha partecipato a numerose residenze artistiche, come F.AIR a Firenze, Italia, Atelier Real a Lisbona, Portogallo, Lakkos AIR a Heraklion, Crete, e più recentemente Apulia Land Arts Festival a Margherita di Savoia, Italia. Ha esposto a livello nazionale e internazionale, in sedi tra cui [AC] 2 Gallery di Albuquerque, NM, The de Young Museum di San Francisco, CA, e la Fondazione Biagiotti Progetto a Firenze, Italia. http://www.victoriadeblassie.com

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Maria Nissan

Artista installativa

Maria Nissan è un’artista installativa diplomata allo Studio Arts College International con una laurea in educazione artistica e una in disegno e pittura alla University of Georgia. Durante il suo soggiorno a Firenze Maria si è dedicata alla realizzazione di installazioni immersive e sensoriali. Il suo lavoro crea un’esperienza attraverso la trasformazione e manipolazione del riciclo organico dei materiali e coinvolgendo tutti i sensi. “Il mio lavoro vuole investigare i temi centrali dell’identità culturale e il concetto etereo di casa. Provenendo da una famiglia irachena e assira, con una educazione di stampo americano, il mio contesto genera il mio desiderio di creare progetti artistici multiculturali. Questi progetti legano insieme tendenze diverse e a volte opposte nel mio essere come i paesi nei quali ho sviluppato il mio lavoro.” www.marianissan.com

 

Maria Nissan è un’artista installativa diplomata allo Studio Arts College International con una laurea in educazione artistica e una in disegno e pittura alla University of Georgia. Durante il suo soggiorno a Firenze Maria si è dedicata alla realizzazione di installazioni immersive e sensoriali. Il suo lavoro crea un’esperienza attraverso la trasformazione e manipolazione del riciclo organico dei materiali e coinvolgendo tutti i sensi. “Il mio lavoro vuole investigare i temi centrali dell’identità culturale e il concetto etereo di casa. Provenendo da una famiglia irachena e assira, con una educazione di stampo americano, il mio contesto genera il mio desiderio di creare progetti artistici multiculturali. Questi progetti legano insieme tendenze diverse e a volte opposte nel mio essere come i paesi nei quali ho sviluppato il mio lavoro.” www.marianissan.com

 

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Interpretation of a seed

Global Identities

By Maria Nissan and Victoria DeBlassie curated by Daria Filardo There are myriad ways of tackling global issues, complicated balances, and politics that involve different areas of the world, and one of these is a physical and conceptual reflection on coffee. Coffee—a drink native to Ethiopia and spread over hundreds of years across many different parts of the planet— transnationalally combines different cultures and can just as well be symbol of a relaxed and shared moment of bonding as an element that underlines exploitation and extremely controversial global trade policies. It’s along this line that the presented work of Maria Nissan and Victoria DeBlassie operates, two young artists who have been collaborating on this theme for months. The intervention they’ve proposed for the Murate space takes ‘Interpretation of a Seed’ as its title and it is the result of questions that the artists have been asking themselves as well as of a common practice that began with the collect

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By Maria Nissan and Victoria DeBlassie curated by Daria Filardo There are myriad ways of tackling global issues, complicated balances, and politics that involve different areas of the world, and one of these is a physical and conceptual reflection on coffee. Coffee—a drink native to Ethiopia and spread over hundreds of years across many different parts of the planet— transnationalally combines different cultures and can just as well be symbol of a relaxed and shared moment of bonding as an element that underlines exploitation and extremely controversial global trade policies. It’s along this line that the presented work of Maria Nissan and Victoria DeBlassie operates, two young artists who have been collaborating on this theme for months. The intervention they’ve proposed for the Murate space takes ‘Interpretation of a Seed’ as its title and it is the result of questions that the artists have been asking themselves as well as of a common practice that began with the collection of coffee grounds used both in the moka machine as well as in American drip coffee that have become the raw material that once mixed with salt and flour and baked in the oven have given rise to sculptural objects. The artists have also collected the burlap sacks in which the coffee seeds themselves are transported and have been transformed into installational elements in the space. These elements, each used differently by each artist, are the common ground of a formal thought developed throughout the exhibition space. ‘Interpretation of a Seed’ takes form in two rooms on the ground floor of the Murate exhibition space, two similar but different places. One space—Maria Nissan’s—is activated by more sensorial and material characteristics with the presence of organic elements like sugar, the coffee sculptures, and the burlap sacks as chairs that invite a moment of relaxation and sharing, coffee culture viewed as an associative experience. The elements of the installation allude to the Middle Eastern culture of the artist (of Iraqi origins), to American culture, mixed with the Italian aspect where the presence of coffee is an obvious and cultural element of identity. The other room, created by Victoria DeBlassie, despite having the same elements in common with the first room, is more reminiscent of a certain type of ‘indie’ coffee house (apparently more respectful of the production processes but often in reality managed by multinationals like Starbucks), which is the case for Ethiocha Koffiehius, the name that the artist thought of for her space. Here the material elements converge in an action of conceptual protest. Elements and dates are collected on the chalkboards that underline the most complicated aspects of global trade, and affixed to the walls are images and posters that seem to allude to slogans used to capture consumers but that play with the ambiguity of the proposed messages that shifts the attention onto the hidden aspects and manipulated information. The double installation envelops the visitor both from a sensorial, material, and olfactory point of view as well as a space for thought and coming together. Starting from coffee, the two artists have spanned history and diverse geographies, reactivating our awareness of cultural, historical, and political realities, and all this just from the simple and ordinary gesture of having a coffee.

Interpretation of a seed

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Interpretation of a seed

Ciclo Global Identity

Interpretation of a seed

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Ignas Krunglevičius

Composer and visual artist

Ignas Krunglevičius works as a composer and visual artist. He creates sound and image installations, videos, and objects that explore the psychology of power games and the working of the human psyche.

The sound in this work revisits Good Boy Bad Boy (1985), a work by the US artist Bruce Nauman, from the present viewpoint. The actors who performed Nauman’s work have been replaced by the latest voice synthesis technology, which can simulate emotional inflection, while the script has been altered to reflect the language of social media self-presentation.

Ignas Krunglevičius works as a composer and visual artist. He creates sound and image installations, videos, and objects that explore the psychology of power games and the working of the human psyche.

The sound in this work revisits Good Boy Bad Boy (1985), a work by the US artist Bruce Nauman, from the present viewpoint. The actors who performed Nauman’s work have been replaced by the latest voice synthesis technology, which can simulate emotional inflection, while the script has been altered to reflect the language of social media self-presentation.

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Ieva Rojūtė

Interdisciplinary artist

Ieva Rojūtė in her works explores connections between people, the family construct, conflicts in the individual’s identity and everyday folklore. The main themes she keeps revisiting are the possibility of failure, misfortune, anxiety, fear, fantasy, not succeeding in life. In the site-specific installation Lithuanian sadness, the artist combines in a different way some phrases from previous works: «Using some sad sayings I have collected about life and surviving when there is nothing bad happening but feels like nothing good will either. »

Ieva Rojūtė in her works explores connections between people, the family construct, conflicts in the individual’s identity and everyday folklore. The main themes she keeps revisiting are the possibility of failure, misfortune, anxiety, fear, fantasy, not succeeding in life. In the site-specific installation Lithuanian sadness, the artist combines in a different way some phrases from previous works: «Using some sad sayings I have collected about life and surviving when there is nothing bad happening but feels like nothing good will either. »

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Arnas Anskaitis

Interdisciplinary artist

Arnas Anskaitis is an interdisciplinary artist, in his works he synthesizes experiences from different areas including photography, film, sound art, philosophy and even linguistics. His new video installation Letters from Home reflects on the connections between language and perception: «Writing interests me not only in the context of language but also from the position of handwriting. How did letters of the alphabet emerge? It seems they were shaped by a human hand. What would letters look like, if they were written not on a flat sheet of paper, but in simulated three-dimensional space?» 3D models of cursive letters exhibited as video projections produce a stream of images. Literary and imaginary meaning overlap, with reference to the origin of writing itself, that is one of the fundamental elements of our human identity.

Arnas Anskaitis is an interdisciplinary artist, in his works he synthesizes experiences from different areas including photography, film, sound art, philosophy and even linguistics. His new video installation Letters from Home reflects on the connections between language and perception: «Writing interests me not only in the context of language but also from the position of handwriting. How did letters of the alphabet emerge? It seems they were shaped by a human hand. What would letters look like, if they were written not on a flat sheet of paper, but in simulated three-dimensional space?» 3D models of cursive letters exhibited as video projections produce a stream of images. Literary and imaginary meaning overlap, with reference to the origin of writing itself, that is one of the fundamental elements of our human identity.

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Andrej Polukord

Installation artist and painter

Andrej Polukord draws on painting, installation, performance, and video art to create unpredictable environments and absurd situations that produce double meanings and ambiguity: «What especially interests me is creating a feeling of surprise. The absurd liberates us from the seriousness that otherwise always sets the tone in our life.» In this case the artist uses a big wall printing, a video and a series of small ceramic sculptures – elements between natural and artificial – in order to elaborate, in an imaginative way, one of the “star” of the Lithuanian nature, the mushroom: a symbol of seeking and finding (as a surprise).

Andrej Polukord draws on painting, installation, performance, and video art to create unpredictable environments and absurd situations that produce double meanings and ambiguity: «What especially interests me is creating a feeling of surprise. The absurd liberates us from the seriousness that otherwise always sets the tone in our life.» In this case the artist uses a big wall printing, a video and a series of small ceramic sculptures – elements between natural and artificial – in order to elaborate, in an imaginative way, one of the “star” of the Lithuanian nature, the mushroom: a symbol of seeking and finding (as a surprise).

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A certain identity

Ciclo Global Identities

Arnas Anskaitis, Ignas Krunglevičius, Andrej Polukord, Ieva Rojūtė curated by Matteo Innocenti in collaboration with Adrius Pocius, Alesia and Yuliya Savitskaya As Second episode of The GLOBAL IDENTITIES cicle, A certain identity is a project that brings together artists of different nationalities to express themselves about identity issues. The first exhibition of the project, presents the young Lithuanian artists Arnas Anskaitis, Ignas Krunglevičius, Andrej Polukord, Ieva Rojūtė. The certain , as an integral part of the title, in Italian “certa”, takes on a double meaning: as an adjective it is synonymous with certainty, the identity which we can undoubtedly recognize, as an alternative it is also an indefinite adjective, without quality or quantity, indicating an identity that is possible among many others. Four artists of a particular nationality are chosen by the curator of the project in collaboration with the museums or the Fine Arts Academy of the respective c

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Arnas Anskaitis, Ignas Krunglevičius, Andrej Polukord, Ieva Rojūtė curated by Matteo Innocenti in collaboration with Adrius Pocius, Alesia and Yuliya Savitskaya As Second episode of The GLOBAL IDENTITIES cicle, A certain identity is a project that brings together artists of different nationalities to express themselves about identity issues. The first exhibition of the project, presents the young Lithuanian artists Arnas Anskaitis, Ignas Krunglevičius, Andrej Polukord, Ieva Rojūtė. The certain , as an integral part of the title, in Italian “certa”, takes on a double meaning: as an adjective it is synonymous with certainty, the identity which we can undoubtedly recognize, as an alternative it is also an indefinite adjective, without quality or quantity, indicating an identity that is possible among many others. Four artists of a particular nationality are chosen by the curator of the project in collaboration with the museums or the Fine Arts Academy of the respective countries to “represent”, according to the particular inclination of their research and culture of origin, the factor of identity through such exhibition. The history and geographic location of Lithuania makes it significant both for the question of identity and for that of the borders and relations within the continent. Since the Republic of Lithuania, like the other Baltic countries, has built itself in a dual movement of independence and annexation, between Russia and Europe – where is been a member since 2004 -. 2018 also marks the centenary of the nation’s independence, which took place in February 1918 and The constitution of the Republic. Vernissage e artists talk: 5 aprile ore 17.30. With the collaboration of Le Murate. Progetti Arte Contemporanea – Mus.e and with TUM associazione culturale (Italia/Italy), Fondazione per lo sviluppo della cultura dell’istruzione della persona (Bielorussia/Belarus), Vilnius Pataphysic Institute (Lituania/Lithuania). Con il patrocinio dell’Ambasciata della Repubblica di Lituana nella Repubblica Italiana e del Consolato della Repubblica Lituana di Firenze.

A certain identity

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A certain identity

Ciclo Global Identities

A certain identity

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Barthélémy Toguo

Artist

Barthélémy Toguo è nato in Camerun nel 1967 e ha studiato Belle Arti ad Abidjan, in Costa d’Avorio. Si è trasferito in Europa nel 1993 e ha iniziato a esibirsi e fare performance mentre terminava i suoi studi a Grenoble (Francia), poi a Dusseldorf (Germania).
La geografia politica e i confini personali sono stati un argomento implicito nel suo lavoro in studio e esplicito nelle sue performance. Da un lato, i suoi acquerelli forniscono un forte impatto visivo, utilizzando un repertorio limitato di immagini e colori per rappresentare un mondo onirico di metamorfosi umane, animali e vegetali. D’altra parte, la realizzazione delle sue installazioni su larga scala è generalmente approssimativa e rapida e sottolinea i conflitti, i paradossi e l’estremismo dell’uomo. Le sue installazioni possono essere visti come un’inversione metaforica dello storico saccheggio dell’Africa subita durante il periodo coloniale.
Toguo ha recentemente tenuto una mostra pe

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Barthélémy Toguo è nato in Camerun nel 1967 e ha studiato Belle Arti ad Abidjan, in Costa d’Avorio. Si è trasferito in Europa nel 1993 e ha iniziato a esibirsi e fare performance mentre terminava i suoi studi a Grenoble (Francia), poi a Dusseldorf (Germania).
La geografia politica e i confini personali sono stati un argomento implicito nel suo lavoro in studio e esplicito nelle sue performance. Da un lato, i suoi acquerelli forniscono un forte impatto visivo, utilizzando un repertorio limitato di immagini e colori per rappresentare un mondo onirico di metamorfosi umane, animali e vegetali. D’altra parte, la realizzazione delle sue installazioni su larga scala è generalmente approssimativa e rapida e sottolinea i conflitti, i paradossi e l’estremismo dell’uomo. Le sue installazioni possono essere visti come un’inversione metaforica dello storico saccheggio dell’Africa subita durante il periodo coloniale.
Toguo ha recentemente tenuto una mostra personale, “The Sick Opera”, al Palais de Tokyo di Parigi. La mostra ha incluso il suo lavoro dal 1999 al 2004. Ha esposto in molti altri prestigiosi musei, gallerie e Biennali a livello internazionale come il Bass Museum of Art di Miami, il Centre George Pompidou di Parigi, lo Houston Museum of Art, il Guangdong Museum of Art , Il Museo Migros di Zurigo e il Palazzo Strozzi di Firenze da quattro anni. Test di prova per mostre personali e collettive selezionate.

Il viaggio immaginario

di Barthélémy Toguo a cura di Janine Gaelle Dieudji e Justin Randolph Thompson, realizzata in collaborazione con Black History Month Florence e Institut Francais Italia

Il viaggio immaginario

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Justin Randolph Thompson | BHMF 2018

Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2018

Justin Randolph Thompson
Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2018
Justin Randolph Thompson | BHMF 2018

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Cristina Mariani

Fiber artist

PAST EXHIBITIONS / WORK EXPERIENCE

2019Tapestry weaver, prototypes for Man Fashion Show – Jil Sander – Milan, Italy
Tapestry and Hand Weaving Teacher – Lottozero, Prato, Italy
FAST- Florence Art Science Technology – Teatro del Maggio Musicale, Florence, Italy
Irene Davies Award for Small Tapestries – Australian Tapestry Workshop, Melbourne, AUS
YTAT Young Textile Art Triennial – Strzemiński Academy of Fine Arts Łódź – Łódź (Poland)
Art Residency at Faculty of Geology – FAST Project, Florence, Italy
Rassegna Biennale Fiber Art – group exhibition, Spoleto, Italy

2018Faccia Trama, Master Textile final exhibition – Le Murate Pac – Florence, Italy
Internship at Giuditta Brozzetti Hand Weaving – Perugia, Italy
Figurazioni Musicali – group exhibition, Officina d’Arte e Tessuti, Spoleto, Italy
Trame d’Autore 2.0 – group exhibition, Imbiancheria del Vajro, Chieri, Italy

2017Muratessili – Le Murate. Progetti Arte Contemporanea. Art Residency and final sol










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PAST EXHIBITIONS / WORK EXPERIENCE

2019Tapestry weaver, prototypes for Man Fashion Show – Jil Sander – Milan, Italy
Tapestry and Hand Weaving Teacher – Lottozero, Prato, Italy
FAST- Florence Art Science Technology – Teatro del Maggio Musicale, Florence, Italy
Irene Davies Award for Small Tapestries – Australian Tapestry Workshop, Melbourne, AUS
YTAT Young Textile Art Triennial – Strzemiński Academy of Fine Arts Łódź – Łódź (Poland)
Art Residency at Faculty of Geology – FAST Project, Florence, Italy
Rassegna Biennale Fiber Art – group exhibition, Spoleto, Italy

2018Faccia Trama, Master Textile final exhibition – Le Murate Pac – Florence, Italy
Internship at Giuditta Brozzetti Hand Weaving – Perugia, Italy
Figurazioni Musicali – group exhibition, Officina d’Arte e Tessuti, Spoleto, Italy
Trame d’Autore 2.0 – group exhibition, Imbiancheria del Vajro, Chieri, Italy

2017Muratessili – Le Murate. Progetti Arte Contemporanea. Art Residency and final solo exhibition, Florence
Trame a Corte – group exhibition, Rocca di Sala Baganza, Italy
Fiber Art II Contaminazioni – group exhibition, Spoleto, Italy
Young Fiber Contest II – Maria Luisa Sponga Award, Imbiancheria del Vajro, Chieri, Italy
Memoria Tessile _sul filo dei diritti – group exhibition, Casa della Memoria e della Storia, Rome
Valcellina Award 10th edition – Palazzo d’Attimis, Maniago, Italy

2016Sculture Tessili – group exhibition, Museo Civico Archeologico di Anzio, Italy
Trame a Corte – group exhibition, Rocca di Sala Baganza, Italy
Young Fiber Contest – Maria Luisa Sponga Award, Imbiancheria del Vajro, Chieri, Italy
Italia – Polonia. Suggestioni delle presenze polacche in Italia – group exhibition, Galleria Spazio 5, Rome, Italy

2008 – 2016Web and Graphic Designer

2011Dissipatio HG – group exhibition, Chiostro di Voltorre, Italy
Dissiparty – group exhibition, Parco Morselli, Gavirate, Italy2007-2008
Assistant of Sissy Rizzatto (artist), Angela Florio (artist and house decorator), Katja Noppes (artist),
Italo Zuffi (artist), Milan, Italy

2005Gemine Muse – Young Artists in European Museums – group exhibition, Amstelkring Museum, Amsterdam (The Netherlands)
Who Uses the Space? – group exhibition, Isola Art Center, Milan, Italy

PRIZES AND AWARDS

2019Grant for Studio Space – Coworking for Young Professionals – Regione Toscana, Prato, Italy

2018Scholarship for the results obtained at the Master in Textile, TIAC International – Florence, Italy

2017Art Residency, Toscanaincontemporanea 2017 – -Le Murate P.a.c. Florence, Italy

2016Honorable Mention for the work “Circuit”, Young Fiber Contest – Maria Luisa Sponga Award, Chieri, Italy
Second Prize for the work “Silk Road”, Trame a Corte, Rocca di Sala Baganza, Italy

EDUCATION

2018Master in Textile – Creation of Art Fabrics, Accademia di Belle Arti di Firenze e Fondazione Arte della Seta Lisio, Florence, Italy

2015 – 2017Tapestry Vertical loom, Scuola delle Arti Ornamentali San Giacomo, Rome, Italy
Hand Weaving Horizontal loom 4 e 8 harnesses, Scuola delle Arti Ornamentali San Giacomo, Rome

2016Natural indigo dyeing and shibori techniques, Rosella Cilano, Associazione Tintura Naturale, Milan
Felt and silk, seminar, Sergio Milioni e Daniela Costanzo Giorgio, Accademia Koefia, Rome

2015Intangible Cultural Heritage, Workshop on the Unesco Convention for the Safeguarding of the Intangible Cultural Heritage, UNESCO – Regione Lombardia, Italy and Switzerland

2002 – 2007Product Design, Art and Design, 4 years BA, Nuova Accademia di Belle Arti , Milan, Italy

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Muratessili

Residenza d'artista e installazione di Cristina Mariani

MURATESSILI

All’interno del complesso delle murate un progetto che collega passato e presente grazie all’opera della fiber artist Cristina Mariani.

Dalle antiche maestranze fiorentine dell’Arte della Lana e di Calimala al progetto di Cristina Mariani vincitrice della Open Call per artisti contemporanei di MAD Murate art District 2017. Un progetto sostenuto grazie al finanziamento della Regione Toscana che affonda le proprie radici nell’arte della tessitura e riprende tecniche tramandate dalle maestranze artigianali toscane nel corso dei secoli. MURATESSILI è una lunga striscia di quasi 13 metri tessuta manualmente al telaio con la tecnica dello spolinato. Questa prevede, oltre all’ordito e alla trama di fondo, una seconda trama detta trama d’opera che forma il disegno vero a proprio tessuto con vari materiali tessili come lana maremmana, lino, seta lucchese, damaschi, velluti e broccati in grado di restituire i colori del variegato paesaggio toscano: gialli, ocra, marroni,

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MURATESSILI

All’interno del complesso delle murate un progetto che collega passato e presente grazie all’opera della fiber artist Cristina Mariani.

Dalle antiche maestranze fiorentine dell’Arte della Lana e di Calimala al progetto di Cristina Mariani vincitrice della Open Call per artisti contemporanei di MAD Murate art District 2017. Un progetto sostenuto grazie al finanziamento della Regione Toscana che affonda le proprie radici nell’arte della tessitura e riprende tecniche tramandate dalle maestranze artigianali toscane nel corso dei secoli. MURATESSILI è una lunga striscia di quasi 13 metri tessuta manualmente al telaio con la tecnica dello spolinato. Questa prevede, oltre all’ordito e alla trama di fondo, una seconda trama detta trama d’opera che forma il disegno vero a proprio tessuto con vari materiali tessili come lana maremmana, lino, seta lucchese, damaschi, velluti e broccati in grado di restituire i colori del variegato paesaggio toscano: gialli, ocra, marroni, verdi, azzurri. Alla ricerca artistica e alla pratica produzione tessile, si unisce l’elemento sonoro: il canto che è sempre stato una costante nel lavoro tessile come ritmo e elemento di coesione tra le lavoratrici, diventa l’elemento conduttore e rappresentazione grafica nella trama d’opera che si esprime in un’onda sonora di un canto popolare. Traccia e struttura del lavoro è una partitura visiva ispirata all’Inno delle tessitrici. legato agli scioperi del 1910, e simbolo del sentimento comune di lavoratrici che invocano unione nella riconquista dei diritti femminili.  In collaborazione con il Museo del Tessuto di Prato Si ringrazia l’Istituto Centrale per i Beni Sonori e Audiovisivi per la concessione dell’Inno delle tessitrici

Muratessili

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Muratessili

Residenza d'artista e installazione di Cristina Mariani

Muratessili

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Justin Randolph Thompson | BHMF 2017

Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra

Justin Randolph Thompson su BHMF 2017
Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra
Justin Randolph Thompson | BHMF 2017

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Robert Pettena

Photographer, Video artist, installation artist

Born in Penbury (UK) in 1970, Robert Pettena spent a large part of his youth and adolescence between Brixton (London) and San Giovenale (Reggello, Italy). In 1990 he moved to Florence, where he attended the Accademia di Belle Arti.

Robert Pettena is an artist-cum-traveller probing the wonders and inconsistencies of the world, seizing conflicting aspects of reality in a manner both poetic and a provocative.
Alongside photography, video-art and installations, his work includes performances and site-specific projects involving other players besides himself, often hailing from the artistic underground in which Pettena has identified a potential and an energy that he transfers and channels into a variety of situations, sparking a short-circuit in his audience’s senses. His art can be both massive and “destructive”, like his excavation inside the Gum studio in Carrara, or minimal, like his insertion of a record player into the desolate panorama of the artificial lake of Santa Barb

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Born in Penbury (UK) in 1970, Robert Pettena spent a large part of his youth and adolescence between Brixton (London) and San Giovenale (Reggello, Italy). In 1990 he moved to Florence, where he attended the Accademia di Belle Arti.

Robert Pettena is an artist-cum-traveller probing the wonders and inconsistencies of the world, seizing conflicting aspects of reality in a manner both poetic and a provocative.
Alongside photography, video-art and installations, his work includes performances and site-specific projects involving other players besides himself, often hailing from the artistic underground in which Pettena has identified a potential and an energy that he transfers and channels into a variety of situations, sparking a short-circuit in his audience’s senses. His art can be both massive and “destructive”, like his excavation inside the Gum studio in Carrara, or minimal, like his insertion of a record player into the desolate panorama of the artificial lake of Santa Barbara, entitled Alla conquista dell’inutile [Conquering the Pointless].

He has taken part in numerous collective exhibitions both in Italy and abroad, including: Watou Poëziezomer 2001 Een lege plek om te blijven, curated by Pier Luigi Tazzi and Ann Demeester, Watou (Belgium) 2001; Palazzo delle Libertà, curated by Lorenzo Fusi and Marco Pierini, Palazzo delle Papesse, Siena, 2003; Fuori uso, curated by Luca Beatrice, Pescara 2004; The Food Show: The Hungry Eye, curated by Robert G. Edelman and Gina Fiore, Chelsea Art Museum, New York (USA) 2006; Pan Screening, Art Radio Live, WPS1. ORG Broadcasts, Biennale di Venezia, Venice 2007; Rites de Passage, curated by Pier Luigi Tazzi, Schunck, Glaspaleis, Heerlen, Netherlands 2009, and Jump into the UnKnown, Future Rhythms curated by Mike Watson, side event of the 56th Biennale Internazionale d’Arte of Venice 2015, and Florenz Contemporary, curated by Angelika Stepken Embassy of Italy, Berlin 2015. A sweeping anthological exhibition of his work was held in several different sites in the historic centre of Prato in 2008: Second Escape, curated by Pier Luigi Tazzi. His most recent personal exhibitions in 2014 include: Robert Pettena Noble Explosion, curated by Marco Pierini, Galleria Civica of Modena; and in 2016: L’Enigma di Nobel curated by Valentina Gensini, PAC, Florence.

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L'enigma del Nobel

Residenza d'artista e installazione di Robert Pettena

E’ stata inaugurata giovedì 3 marzo 2016, presso MAD Murate Art District, l’Enigma di Nobel, installazione dell’artista Robert Pettena nata da un lungo lavoro di ricerca compiuto a partire dai siti SIPE-Nobel del territorio italiano. Alfred Nobel, noto come l’ideatore dell’omonimo premio, fu anche e soprattutto l’inventore della dinamite: nei primi anni Settanta dell’Ottocento, dopo aver incontrato varie difficoltà in molti Paesi del nord Europa, Nobel giunse in Italia per installare i suoi impianti di produzione di esplosivi. Più tardi la sua società “Dynamite Nobel” stabilì una fruttuosa joint venture con la Società Italiana Prodotti Esplodenti, dando vita alla SIPE Nobel S.p.A. L’Enigma di Nobel è stato il secondo capitolo di un ampio progetto dedicato a Nobel, iniziato qualche anno fa all’interno di una delle sue ex-fabbriche, la polveriera di Forte dei Marmi, poi proseguito negli altri stabilimenti siti lungo la penisola e presentato al pubblico co

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E’ stata inaugurata giovedì 3 marzo 2016, presso MAD Murate Art District, l’Enigma di Nobel, installazione dell’artista Robert Pettena nata da un lungo lavoro di ricerca compiuto a partire dai siti SIPE-Nobel del territorio italiano. Alfred Nobel, noto come l’ideatore dell’omonimo premio, fu anche e soprattutto l’inventore della dinamite: nei primi anni Settanta dell’Ottocento, dopo aver incontrato varie difficoltà in molti Paesi del nord Europa, Nobel giunse in Italia per installare i suoi impianti di produzione di esplosivi. Più tardi la sua società “Dynamite Nobel” stabilì una fruttuosa joint venture con la Società Italiana Prodotti Esplodenti, dando vita alla SIPE Nobel S.p.A. L’Enigma di Nobel è stato il secondo capitolo di un ampio progetto dedicato a Nobel, iniziato qualche anno fa all’interno di una delle sue ex-fabbriche, la polveriera di Forte dei Marmi, poi proseguito negli altri stabilimenti siti lungo la penisola e presentato al pubblico con la mostra Noble Explosion presso la Galleria civica di Modena.

All’interno degli spazi di MAD la mostra ha ospitato alcune fotografie delle architetture industriali, abbandonate e sopraffatte dalla vegetazione spontanea, e un’installazione densa di suggestioni: un ambiente che è allo stesso tempo laboratorio, archivio (con disegni tecnici, maquette, libri paga, materiale d’archivio, visori e negativi stereoscopici), serra per la coltivazione di orchidee, nonché un omaggio a Gino De Dominicis. Gli spazi hanno accolto materiali ritrovati da Pettena all’interno delle fabbriche o acquistati da antiquari, che riportano in superficie una storia ormai dimenticata e restituiscono un ritratto articolato di Alfred Nobel: una riflessione sugli aspetti più contraddittori della sua figura, spesso citata per le sue capacità visionarie, ma ancora poco rappresentata e indagata.

“La passione di Nobel per le piante”, ha dichiarato l’artista “si muove con la stessa intensità del suo impegno in numerosissimi brevetti,[…] nella dimora ad Avenue Malakoff, ora Avenue Raymond Poincaré, a Parigi, aveva un giardino d’inverno dove coltivava le sue orchidee mentre nel laboratorio a fianco sperimentava nuove sostanze esplodenti. […] Il suo rapporto contraddittorio con l’uso degli esplodenti per la produzione di ordigni bellici come per grandi opere civili, si muoveva di pari passo con la filantropia nel sostegno di organizzazioni pacifiste e in particolare quella capeggiata Bertha von Suttner, già sua segretaria. […] Gli improvvisi boati prodotti dalla nitroglicerina tanto odiati dai vicini e la sorprendente rigogliosità della vegetazione nelle sue serre, inducono adesso a percepire una sottile connessione in equilibrio tra il senso di pace nato dall’interesse per la botanica e lo studio approfondito dei materiali dalle caratteristiche instabili. […] L’installazione l’Enigma di Nobel, un laboratorio/serra, vuole essere un luogo in cui innescare tali sinergie in una ricostruzione atemporale in cui ogni oggetto, seppur distante di luogo o di significato, può creare un cortocircuito generatore di interessanti invenzioni”.

In occasione del vernissage, alle ore 18.30, si è svolta una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai.

Il nome di Alfred Nobel è indissolubilmente legato ai prestigiosi premi che ogni anno vengono attribuiti in diversi campi della scienza: fisica, chimica, medicina, delle lettere e dell’economia, oltre al premio Nobel per la pace che assume spesso un’importante rilevanza anche sul piano politico. Forse non a tutti è noto, invece, che Nobel è stato un geniale inventore, autore di oltre 350 brevetti in settori fra loro anche molto diversi, il più noto dei quali è senz’altro collegato alla scoperta della dinamite. Grazie ai proventi delle attività industriali basate sulle sue invenzioni, Nobel lasciò in eredità gran parte della sua fortuna per creare i premi che portano il suo nome da assegnare a coloro che “portano importanti benefici all’umanità” per le loro ricerche e invenzioni, per le opere letterarie e per l’impegno in favore della pace “da conferire senza distinzione alcuna di nazionalità”.

 

L'enigma del Nobel

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Alfred & Bertha, Enigma of Nobel | una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai

Alfred & Bertha, Enigma of Nobel, Murate Art District, Firenze, 2016
In occasione del vernissage si è svolta una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai.

Alfred & Bertha, Enigma of Nobel, Firenze, 2016
Una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai
Alfred & Bertha, Enigma of Nobel | una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai

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L'enigma del Nobel

Residenza d'artista e installazione di Robert Pettena

L'enigma del Nobel

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Katharina Anna Loidl

Artista concettuale

Laureata con lode nel 2012 alla University of Art & Design Linz (Austria), ricercatrice e artista concettuale, dal 2009 realizza installazioni e progetti site-specific combinando scultura, video e fotografia. L’espansione dello spazio, lo scetticismo verso il visibile e le sottili irritazioni del quotidiano forniscono lo stimolo per il suo modo concettuale di lavorare. Nel suo vocabolario artistico delle forme, esamina l’elemento di collegamento dell’astratto con la rappresentazione, lo storico con il contemporaneo, la natura rurale con l’architettura urbana. Premiata con riconoscimenti e produzioni internazionali, Katharina Loidl è stata artist-in-residence a Berlino, Marsiglia, Berna (Stadtgalerie) e Algeri, in Indonesia (Sewon Art Space, Yogykarta) e Quebec (Sporobole-Centre en art actuel, Sherbrooke), ed ha realizzato progetti di arte pubblica in Austria. Sue opere sono state acquisite da istituzioni pubbliche e private in Austria e Canada.

Laureata con lode nel 2012 alla University of Art & Design Linz (Austria), ricercatrice e artista concettuale, dal 2009 realizza installazioni e progetti site-specific combinando scultura, video e fotografia. L’espansione dello spazio, lo scetticismo verso il visibile e le sottili irritazioni del quotidiano forniscono lo stimolo per il suo modo concettuale di lavorare. Nel suo vocabolario artistico delle forme, esamina l’elemento di collegamento dell’astratto con la rappresentazione, lo storico con il contemporaneo, la natura rurale con l’architettura urbana. Premiata con riconoscimenti e produzioni internazionali, Katharina Loidl è stata artist-in-residence a Berlino, Marsiglia, Berna (Stadtgalerie) e Algeri, in Indonesia (Sewon Art Space, Yogykarta) e Quebec (Sporobole-Centre en art actuel, Sherbrooke), ed ha realizzato progetti di arte pubblica in Austria. Sue opere sono state acquisite da istituzioni pubbliche e private in Austria e Canada.

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Panopticon

Site-specific installation by Katharina Anna Loidl

Katharina Anna Loidl winner of the Open call for artist-in-residence for national and international artists 2015

The term “Panopticon“ describes a prison design concept which is to allow all inmates to be observed by a single watchman without the inmates being able to tell whether or not they are being watched. The name is a reference to Panoptes from Greek mythology; who was a giant with a hundred eyes and thus was known to be a very effective watchman. Panopticon is a mode of obtaining power of mind over mind, in a quantity hitherto without example. Prison inmates are exposed to permanent surveillance and control in contrast to the loss of their existence of an individual anymore, they are invisible for the public. Permanently observed for reasons of security prevention we are willing to give up our privacy and personal freedom. Michel Foucault describes the panoptic system of surveillance, built on physical space, is replaced by a strategy of deterrence centered around virtual

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Katharina Anna Loidl winner of the Open call for artist-in-residence for national and international artists 2015

The term “Panopticon“ describes a prison design concept which is to allow all inmates to be observed by a single watchman without the inmates being able to tell whether or not they are being watched. The name is a reference to Panoptes from Greek mythology; who was a giant with a hundred eyes and thus was known to be a very effective watchman. Panopticon is a mode of obtaining power of mind over mind, in a quantity hitherto without example. Prison inmates are exposed to permanent surveillance and control in contrast to the loss of their existence of an individual anymore, they are invisible for the public. Permanently observed for reasons of security prevention we are willing to give up our privacy and personal freedom. Michel Foucault describes the panoptic system of surveillance, built on physical space, is replaced by a strategy of deterrence centered around virtual spaces occupied not by people but by information: “No more subject, no more focal point, no more center or periphery: pure flexion or circular inflexion. No more violence or surveillance: only „information“, secret virulence, chain reaction, slow implosion, and simulacra of spaces in which the effect of the real again comes into play.“ The expansion of the space, the fine irritations in everyday life and the skepticism towards the visible provide an incentive for selecting the conceptual approach of the artists’ work. During the one month residency at La Murate. Progretti Arte Contemporanea the artist elaborated a working series on the topic of visibility. The project deals with actual tenses of control and surveillance and vanishing borders between the public and private sphere under the facade of transparency. This work is related to the theme of isolation and deals with a larger meaning of the human being as an individual in an age of carceral culture under globalized institutions of power. The used material of these art works has been chosen in connection to the “Le Murate” building complex as well as to the topic of surveillance and visibility. All of these artworks are connected in form and content among each other to certain items of this massive building. In the middle of the room an art installation out of 1.000 meters of iron chains are held by two of the monumental columns. The first prisons in Ancient Athens was known as the “place of chains”. These chains simulates a facade or translucente wall on which – from a certain point of view – a single circle is visible. By watching from a different angle this concrete form changes. The lightness of the material as well as the color which was uses for the circle stands in an opposite part to the metal. On the right side a pending meshwork suggesting a cloud gets into a dialogue with the text on the wall behind. The form of the grid corresponds to the window grids of the Le Murate windows. These raster work is reference to the barricade of the wide view and the network system of every individual. A movie of the twisting lenticular machine has been made in the exhibition room hidden from the viewer. This work playfully interacts with perspective shifts and optical illusions. The modelled eye in the peripheral wall of the exhibition room can be seen as a quote of the topic of this series on questioning the meaning of visibility and self-determination. The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheral ring, one is totally seen, without ever seeing; in the central tower, one sees everything without ever being seen.        Michel Foucault, Discipline and Punish, The Birth of the Prison, Panopticism 1977

Panopticon

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Panopticon

Site-specific installation by Katharina Anna Loidl

Panopticon

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Valeria Muledda

Artista multisciplinare, attrice e performer

Lavora come artista, attrice e performer. Si forma nella scena del teatro di ricerca internazionale e nella prassi artistica di differenti linguaggi e strumenti privilegiando l’esplorazione della relazione corpo-spazio. Lavora attualmente costruendo dispositivi di partecipazione che hanno alla base l’indistinzione tra le arti ed una rinnovata relazione col quotidiano. E’ Docente di Performing Art presso differenti istituzioni nazionali ed europee. Nel 2002 è tra i fondatori del multiple-name Svarnet (selezione nazionale Es.terni 2007, finalista PREMIO EXTRA 2008). Vive tra l’italia e la Francia, dove collabora con le Centre d’Etude des Arts Contemporains (CEAC) e con l’Université de Lille 3, France; qui è parte dell’equipe de Le Jeu d’Orchestre, Recherche-action en art dans les lieux de privation de liberté (Lille 3, Esagramma, Hors Cadre). Nel Gennaio 2012 è fondatrice di STUDIOVUOTO – Studio di architettura che non costruisce, laboratorio transdisciplinare di s

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Lavora come artista, attrice e performer. Si forma nella scena del teatro di ricerca internazionale e nella prassi artistica di differenti linguaggi e strumenti privilegiando l’esplorazione della relazione corpo-spazio. Lavora attualmente costruendo dispositivi di partecipazione che hanno alla base l’indistinzione tra le arti ed una rinnovata relazione col quotidiano. E’ Docente di Performing Art presso differenti istituzioni nazionali ed europee. Nel 2002 è tra i fondatori del multiple-name Svarnet (selezione nazionale Es.terni 2007, finalista PREMIO EXTRA 2008). Vive tra l’italia e la Francia, dove collabora con le Centre d’Etude des Arts Contemporains (CEAC) e con l’Université de Lille 3, France; qui è parte dell’equipe de Le Jeu d’Orchestre, Recherche-action en art dans les lieux de privation de liberté (Lille 3, Esagramma, Hors Cadre). Nel Gennaio 2012 è fondatrice di STUDIOVUOTO – Studio di architettura che non costruisce, laboratorio transdisciplinare di studi e pratiche artistiche che chiama a sé artisti ed abitanti in progetti di attraversamento, mitopoiesi, e trasformazione del territorio a partire da processi condivisi di indagine e creazione. Valeria Muledda ha esposto e sviluppato progetti a Milano, Firenze, Venezia, Lille, Tallin, Londra, Basilea, Barcellona. Per Le Murate Progetti Arte Contemporanea ha prodotto, in collaborazione con Francesco Casciaro (Tempo Reale), l’installazione sonora site-specific per gli spazi dell’ex carcere duro delle Murate di Firenze Nuclei (Vitali). Immagine tratta da: Studio per una cena con R.M. , Valeria Muledda, 2013. Courtesy by Valeria Muledda.

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Nuclei (Vitali)

Artistic residency and permanent installation by Valeria Muledda

Nuclei (Vitali) is the title of the audio installation created by Valeria Muledda for the new artistic centre Le Murate. Contemporary Art Projects. The aim and the site specific of this are linked to 6 months of artistic residence and addressed to the hard prison. In fact, this prison was the strictest detention area of the 19th and 20th Century. Since the transformation of the convent into a men’s jail during the 19th Century, Le Murate has been a penitentiary that held in its cells authentic examples of freedom and protagonists of some decisive episodes in Italian and Florentine history, such as Gaestano Salvemini, Nello Rosselli, Carlo L. Ragghianti, Tosca Bucarelli, Anna Maria Enriques Agnoletti, Orsola Biasutti, Enrica Calabresi, Nathan Cassuto, Aldo Braibanti, Guido Calogero, Aldo Capitini, Oreste Ristori, Tristano Codignola, and Carlo Levi. But they are only some names that lived in these cells until 1983, when the Murate prison was closed and its prisoners moved away from

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Nuclei (Vitali) is the title of the audio installation created by Valeria Muledda for the new artistic centre Le Murate. Contemporary Art Projects. The aim and the site specific of this are linked to 6 months of artistic residence and addressed to the hard prison. In fact, this prison was the strictest detention area of the 19th and 20th Century. Since the transformation of the convent into a men’s jail during the 19th Century, Le Murate has been a penitentiary that held in its cells authentic examples of freedom and protagonists of some decisive episodes in Italian and Florentine history, such as Gaestano Salvemini, Nello Rosselli, Carlo L. Ragghianti, Tosca Bucarelli, Anna Maria Enriques Agnoletti, Orsola Biasutti, Enrica Calabresi, Nathan Cassuto, Aldo Braibanti, Guido Calogero, Aldo Capitini, Oreste Ristori, Tristano Codignola, and Carlo Levi. But they are only some names that lived in these cells until 1983, when the Murate prison was closed and its prisoners moved away from the city to the new penal institution of Solliciano as a result of the penal legislative reform (1975) and the Gozzini’s law (1986). The installation, which takes place in 12 cells on the third floor, contains and divides in the space 20 hours of audio material through old equipment. The project is composed of 6 parts: an anthology of direct and indirect stories related to the Murate jail and to his historical urban context which influenced its identity and the citizens’ perception; audio recordings connected with these physical spaces; stories and recordings from the learned milieu of the new prison of Sollicciano; the description of the vital and architectural space of the cells and the prisons through the eyes of an Italian detainee in the last 25 years of his life; cellular elaborations of the environmental recorded sounds; a selection of  590 stones from the Murate (one for each year, from the foundation in 1424 until today) made using the technique of stone rubbings. The 590 tracks of this archive are the real sound part of the whole work of art. The choice of the name (Vital) Cores is explained by the artist in this way: “The Italian language calls “core” the central and thickest part of the cellular (diminutive of the Latin word cella, little room) the unit at the basis of each organism considered as the smallest living structure. The project “Nuclei (Vitali) calls the space of the cells of the hard prison of Le Murate with this expression of life and movement, focusing on this place the soul of the whole penitentiary center. Nuclei (Vitali) has been made possible through the collaboration of: Educational Department of Sollicciano prison, Arts and Show department of BNCF, l’associazione Altro Diritto, l’Ateneo Libertario di Firenze, Giovanni Azzurro, Barbara Bacci, Ennio Bazzoni, Alessandro Bellucci, Liliana Benvenuti “Angela”, Valerio Biscalkin, Sandra Brigida, Oreste Cacurri, Pamela Calamai, Francesco Casciaro, Raffaele Catuogno, Marisa Cecchi, Sofia Ciufoletti, Marcello Citano “Sugo”, Giulio Consigli, la Comunità di Ricorboli, Roberto Cossi, Franco Corleone, Francesco D’Ausilio, Pietro Demontis, la Fondazione Giovanni Michelucci, Natale Fosco, Valentina Gensini, Alessandro Giobbi, Francesco Giomi, Giampaolo Ietro, il Laboratorio “16 sbarre” CAT – IPM Firenze, Camilla Lastrucci, Giovanna Lori Geddes, Camilla Macchi, Corrado Marcetti, Alessandro Margara, Giada Margheri, Maria Antonietta Marletta, Umberto Mattei, Gabriele Mattioli, Vittorio Meoni “Sosso”, Lucia Meoni, Simonetta Michelotti, Vincenzo Mordini, Vida Mokhtari, l’associazione Mus.e, le Musiquorum, Lorenzo Niccolai Napoli, Raffaele Palmisano, Roberto Perotti, all prisoner meting in the Sollicciano Prison, Mario Pittalis, Gianfranco Politi, Alessandra Povia, il RFK Center Europe, Maurizio Romani, Enrico Rossi, Giorgio Sacchetti, Linda Salvadori, Alessandro Sardelli, SuperN*, l’associazione Tempo Reale, Stefano Tocci, Sabrina Tosi Cambini, Michele Verrengia, Italo Zanda.

Nuclei (Vitali)

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