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Incontri confluenti (2018) | Davide Virdis

Progetto RIVA 2021

Incontri confluenti (2018) | Davide Virdis

Available in:

Incontri confluenti (2018) | Giuseppe Toscano

Progetto RIVA 2021

Incontri confluenti (2018) | Giuseppe Toscano

Available in:

Confluenze (2018) | Radio Papesse

Progetto RIVA 2021

Confluenze (2018) | Radio Papesse

Available in:

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

Available in:

40.000 chiodi (2018), Tracce sul territorio (2018) | Paolo Masi

Progetto RIVA 2021

40.000 chiodi (2018), Tracce sul territorio (2018) | Paolo Masi

Available in:

Incontri confluenti (2018) | Martino Marangoni

Progetto RIVA 2021

Incontri confluenti (2018) | Martino Marangoni

Available in:

I Guess the River Never Knew (Il fiume ignaro, 2018) | Alisa Martynova

Progetto RIVA 2021

I Guess the River Never Knew (Il fiume ignaro, 2018) | Alisa Martynova

Available in:

Adelmo (2018) | Alice Machado

Progetto RIVA 2021

Adelmo (2018) | Alice Machado

Available in:

Path of awareness (2018) | Katrinem

Progetto RIVA 2021

Path of awareness (2018) | Katrinem

Available in:

La terza sponda del fiume (2018) | Federica Gonnelli

Progetto RIVA 2021

La terza sponda del fiume (2018) | Federica Gonnelli

Available in:

Sospesi (2018/2019) | Edoardo Delille e Paolo Woods

Progetto RIVA 2021

Sospesi (2018/2019) | Edoardo Delille e Paolo Woods

Available in:

Flow (Flusso, 2018) | Giulia Dari

Progetto RIVA 2021

Flow (Flusso, 2018) | Giulia Dari

Available in:

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

RIVA Project 2021

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

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

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

This content is avaiable only in this archive.

Flow ( 2018) | Giulia Dari

RIVA Project 2021

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

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

Flow ( 2018) | Giulia Dari

This content is avaiable only in this archive.

Adelmo (2018) | Alice Machado

RIVA Project 2021

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

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

Adelmo (2018) | Alice Machado

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

RIVA Project 2021

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

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

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

This content is avaiable only in this archive.

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

RIVA Project 2021

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

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

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

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

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

This content is avaiable only in this archive.

Confluent Encounters (2018) | Giuseppe Toscano

RIVA Project 2021

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

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

Confluent Encounters (2018) | Giuseppe Toscano

This content is avaiable only in this archive.

Path of awareness (2018) | Katrinem

RIVA Project 2021

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

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

Path of awareness (2018) | Katrinem

This content is avaiable only in this archive.

40,000 nails (2018) | Paolo Masi

RIVA Project 2021

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

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

40,000 nails (2018) | Paolo Masi

This content is avaiable only in this archive.

Traces on the Territory (2018) | Paolo Masi

RIVA Project 2021

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

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


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

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

Traces on the Territory (2018) | Paolo Masi

This content is avaiable only in this archive.

Suspended (2018/2019) | Edoardo Delille e Paolo Woods

RIVA Project

In the photographic project Suspended (2018/2019), the inhabitants of San Francesco (Pelago) and Pontassieve walking near the river were invited to perform an unusual action. They were asked to jump on a trampoline specifically brought by the authors, and made a gesture that, with no manipulation or photomontage, allowed the photographers to portray them with the Sieve River in the background. The photographs taken by the authors thus relayed a perspective in which the locals, suspended in the air, are as close to as superimposed over the river, visually reconstructing a man/water relationship that goes beyond simply swimming in the river or posing in front of it.

The choice, shared with locals, to exhibit the monumental works produced by Delille and Woods for the RIVA Project on the façades of the buildings of the Le Murate Complex, including the one that houses MAD, was led by the desire to recall the strong bond between the Complex and the Arno River, since the original mona

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In the photographic project Suspended (2018/2019), the inhabitants of San Francesco (Pelago) and Pontassieve walking near the river were invited to perform an unusual action. They were asked to jump on a trampoline specifically brought by the authors, and made a gesture that, with no manipulation or photomontage, allowed the photographers to portray them with the Sieve River in the background. The photographs taken by the authors thus relayed a perspective in which the locals, suspended in the air, are as close to as superimposed over the river, visually reconstructing a man/water relationship that goes beyond simply swimming in the river or posing in front of it.

The choice, shared with locals, to exhibit the monumental works produced by Delille and Woods for the RIVA Project on the façades of the buildings of the Le Murate Complex, including the one that houses MAD, was led by the desire to recall the strong bond between the Complex and the Arno River, since the original monastery was located right on the river banks, on the present Ponte alle Grazie bridge. The decision was made to enhance their project in a public framework, thinking also of the symbolic suggestion inspired by the context: Suspended and free, the protagonists stand out of the natural elements represented by water and air, and are displayed in a monumental dimension in a place that was originally conceived as a prison and that was eventually returned to the community.

Suspended (2018/2019) | Edoardo Delille e Paolo Woods

This content is avaiable only in this archive.

Confluent Encounters (2018)| Martino Marangoni, Davide Virdis, Giuseppe Toscano

Riva Project 2021

Confluent Encounters (2018) is an original project conceived in partnership with Fondazione Studio Marangoni. Three professional photographers, entrusted with surveying the area of San Francesco (Pelago) and Pontassieve, focused on the landscape surrounding the waterways, in particular on the relationship between the river and human presence. A landscape where poetic glimpses – for instance, the point of confluence of the Sieve and Arno rivers – alternate with anthropized suburban snapshots, like the abandoned cement factory, vegetable gardens cultivated by locals, spontaneous bramble bushes, the grey viaduct covered with gra ti. The photographs taken by Marangoni, on the right, and Virdis, on the left, are displayed inside the Ketty La Rocca Hall, while the series of images taken by Toscano hang from the walls of the inner courtyard of the Le Murate complex. Some of these works were also exhibited in the towns of Pelago and Pontassieve and in the city of Florence using the spac

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Confluent Encounters (2018) is an original project conceived in partnership with Fondazione Studio Marangoni. Three professional photographers, entrusted with surveying the area of San Francesco (Pelago) and Pontassieve, focused on the landscape surrounding the waterways, in particular on the relationship between the river and human presence. A landscape where poetic glimpses – for instance, the point of confluence of the Sieve and Arno rivers – alternate with anthropized suburban snapshots, like the abandoned cement factory, vegetable gardens cultivated by locals, spontaneous bramble bushes, the grey viaduct covered with gra ti. The photographs taken by Marangoni, on the right, and Virdis, on the left, are displayed inside the Ketty La Rocca Hall, while the series of images taken by Toscano hang from the walls of the inner courtyard of the Le Murate complex. Some of these works were also exhibited in the towns of Pelago and Pontassieve and in the city of Florence using the spaces reserved to public billposting, thus displaying images depicting the fluvial landscape of the Florentine metropolitan area in the urban context

Confluent Encounters (2018)| Martino Marangoni, Davide Virdis, Giuseppe Toscano

This content is avaiable only in this archive.

Rivers (2018) | Yuval Avital

RIVA Project 2021

In the Rivers (2018) cycle, two rivers intertwine in a sound continuum: on the one hand, the sounds from the river environment, recorded and electronically processed by Israeli composer Yuval Avital with the Arno soundscape, giving rise to an original composition reproduced here; on the other hand, a human river created by voices overlapping with animal noises, breaths, and fragments of tales whispered in di erent languages by the Con-Fusion Choir, invited to Montelupo by Yuval Avital in collaboration with Tempo Reale on commission by the RIVA Project 2018. The choir’s performance, directed by Benedetta Manfriani, intertwined in an intense and vibrant way with the electronic composition, thus creating a new flow. The final result was the union of ancillary elements (local/universal, human/animal, acoustic/digital, memory/present) in the pursuit of an empathic point of convergence between work and audience.

Rivers represents both a metaphor and a concrete sound action, in which

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In the Rivers (2018) cycle, two rivers intertwine in a sound continuum: on the one hand, the sounds from the river environment, recorded and electronically processed by Israeli composer Yuval Avital with the Arno soundscape, giving rise to an original composition reproduced here; on the other hand, a human river created by voices overlapping with animal noises, breaths, and fragments of tales whispered in di erent languages by the Con-Fusion Choir, invited to Montelupo by Yuval Avital in collaboration with Tempo Reale on commission by the RIVA Project 2018. The choir’s performance, directed by Benedetta Manfriani, intertwined in an intense and vibrant way with the electronic composition, thus creating a new flow. The final result was the union of ancillary elements (local/universal, human/animal, acoustic/digital, memory/present) in the pursuit of an empathic point of convergence between work and audience.

Rivers represents both a metaphor and a concrete sound action, in which Voice, Gesture, and recorded Material intertwine in a space and sensorial experience, prompting the audience to take an active part, searching for an intimate and human encounter with the river.

In collaboration with Tempo Reale.

Rivers (2018) | Yuval Avital

This content is avaiable only in this archive.

RIVA Project 2018

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

In 2018, the RIVA Project resumed its collaboration with Pelago and Montelupo Fiorentino, involving both the historic centre and the outskirts of Florence. Its action paid special attention to environmental issues, as well as the economic, political, and social context. One of the principal events was Paolo Masi’s solo show QUI with a display of twelve new site-specific artworks produced during his six-month residency at MAD Murate Art District. Montelupo Fiorentino was the centre of activity for Yuval Avital and the ConFusion migrant choir directed by Benedetta Manfriani, for Tempo Reale and its Sentieri del silenzio (Paths of Silence) project carried out at the former psychiatric hospital, and for Radio Papesse with Storie dell’Arno a Montelupo (Histories of the Arno in Montelupo). The other town crossed by the Arno, Pelago, hosted photographer Davide Virdis (who presented an exhibit in a public space and held a workshop in collaboration with Fondazione Studio Marangoni) and Stud

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In 2018, the RIVA Project resumed its collaboration with Pelago and Montelupo Fiorentino, involving both the historic centre and the outskirts of Florence. Its action paid special attention to environmental issues, as well as the economic, political, and social context. One of the principal events was Paolo Masi’s solo show QUI with a display of twelve new site-specific artworks produced during his six-month residency at MAD Murate Art District. Montelupo Fiorentino was the centre of activity for Yuval Avital and the ConFusion migrant choir directed by Benedetta Manfriani, for Tempo Reale and its Sentieri del silenzio (Paths of Silence) project carried out at the former psychiatric hospital, and for Radio Papesse with Storie dell’Arno a Montelupo (Histories of the Arno in Montelupo). The other town crossed by the Arno, Pelago, hosted photographer Davide Virdis (who presented an exhibit in a public space and held a workshop in collaboration with Fondazione Studio Marangoni) and Studio ++ collective art group.
The Murate Art District was the venue for lectures and Italian and English classes held by LWCircus and the Department of Architecture from the University of Florence. The 2018 edition of the RIVA Project opened to the Far East thanks to a partnership with Zhong Art International, and offered a residency at MAD to three Chinese artists, who were invited to provide their specific vision of the Arno River.

 

 

RIVA Project 2018

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