[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-moroso-concept-for-contemporary-art-2015":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":817},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":812,"matched_pages":813,"match_count":814,"two_pages":815,"show_text":816},18341,"Concept For Contemporary Art 2015","moroso-concept-for-contemporary-art-2015","\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F16\u002F404291dd0fff5cd107897c32dc7b97-28928dd3e6.pdf","Moroso",1342,"moroso","24.5 MB",[14,17,20,24,28,32,36,40,44,48,52,55,58,61,64,67,70,73,77,81,85,89,93,97,101,105,109,112,115,118,121,124,127,130,133,137,141,145,149,153,157,161,165,168,171,174,177,180,183,186,189,193,197,201,205,209,213,217,221,224,227,230,233,236,239,242,245,249,253,257,261,265,269,273,277,280,283,286,289,292,295,298,301,305,309,313,317,321,325,329,333,337,340,343,346,349,352,355,358,362,366,370,374,378,382,386,390,393,396,399,402,405,408,411,414,418,422,426,430,434,438,442,446,449,452,455,458,461,464,467,470,474,478,482,486,490,494,498,502,505,508,511,514,517,520,523,526,530,534,538,542,546,550,554,558,561,564,567,570,573,576,579,582,586,590,594,598,602,606,610,614,617,620,623,626,629,632,635,638,642,646,650,654,658,662,665,668,671,674,677,680,684,688,692,696,700,704,708,712,715,718,721,724,727,730,733,736,740,744,748,752,756,760,764,768,772,776,779,782,785,788,791,794,797,800,803,806,810],{"image":7,"text":15,"number":16},"MOROSO catalogo 224 pagine        COPERTINA        (STAMPA SOLO IN BIANCA)\nEuro  20,00\nAlfredo Aceto\nAlessandro Agudio\nAlis \u002F Filliol\nFrancesco Arena\nFrancesco Barocco\nRiccardo Benassi\nBarbara Boiocchi\nDavide Bramante\nAlice Cattaneo\nGiulia Cenci\nAlessandro Ceresoli\nCristian Chironi\nEmma Ciceri\nLuca De Leva\nGiuio Delvè\nGabriele De Santis\nSara Enrico\nSilvia Hell\nRenato Leotta\nDomenico Mangano\nBeatrice Marchi\nDaniele Milvio\nAndrea Nacciarriti\nGianandrea Poletta\nLuca Pozzi\nAndrea Romano\nMarzia Corinne Rossi\nMatteo Rubbi\nErik Saglia\nManuel Scano Larrazàbal\nFrancesco João Scavarda\nLorenzo Scotto di Luzio\nGabriele Sedda\nMarinella Senatore\nNamsal Siedlecki\nCarlo Gabriele Tribbioli \n9 788890 857423\nISBN 978-88-908574-2-3\n9 788890 857423\nISBN 978-88-908574-2-3\nLa forza competitiva del Made in Italy, in cui la componente design ha un ruolo \ncentrale, parte dalla natura identitaria della sua produzione. Proprio per questa \nforma di imprinting culturale che i luoghi trasferiscono sul prodotto, il vantaggio \ncompetitivo si genera in stretta relazione con le peculiarità della struttura sociale \ndei sistemi imprenditoriali locali. Da questa idea si è ipotizzato un legame \nstringente per la promozione dell’arte contemporanea attraverso canali interna-\nzionali, qualitativamente rilevanti, già rodati dalla ﬁliera produttiva per far sì che \nqueste assonanze e afﬁnità progettuali, nonché ideative, andassero a valorizzare \nl’operato delle nuove generazioni. Concepito infatti per documentare, valorizzare \ne sostenere gli artisti che vivono e lavorano principalmente in Italia, il Moroso \nCONCEPT nasce con questo DNA, quale necessaria e pragmatica evoluzione del \nPremio Moroso, di cui diventa estensione e, si auspica, valido braccio operativo.\nIl volume viene pubblicato quale complemento ed integrazione al progetto, illustrando i 36 artisti \nselezionati per il Moroso CONCEPT 2015. La pubblicazione, curata da Andrea Bruciati, è inoltre un \nfocus sui 12 ﬁnalisti e si struttura secondo una pertinente indagine critica, condotta da:  \nLaura Barreca, Cristiana Collu, Michele D'Aurizio, Ilaria Gianni, Antonio Grulli, Emanuele Guidi,  \nAndrea Lissoni, Post Brothers, Alessandro Rabottini, Chris Sharp, Giorgio Verzotti, Eugenio Viola.\nIl catalogo è supportato da una ricca sezione iconograﬁca che documenta approfonditamente \nla poetica di ogni artista, e da un'esaustiva appendice di apparati, comprensiva del curriculum \ndettagliato di ciascun autore e dalle schede tecniche relative ai progetti espressamente concepiti.\nThe competitive strength of the term Made in Italy, in which the design compo-\nnent has a central role, is founded on the identiﬁable nature of its production. In \nthe same way that this form of cultural imprinting is transferred from a location \nonto a product, competitive advantage is generated in close relationship with the \npeculiarities of the social structure of local entrepreneurial systems. This idea \nsuggested a strong connection for the promotion of contemporary art through \nrelevant international channels that have already been organized into a \nproduction network, to ensure that these design and conceptual afﬁnities can be \nused to promote the work of a new generation of artists. Conceived to document, \npromote, and support artists who live and work mainly in Italy, the Moroso \nCONCEPT began from this DNA, a pragmatic and necessary evolution of the \nMoroso Award as an extension, and it is hoped, valid organizational tool. \nThis volume is published as an indispensable addition to complement the project, showing the \n36 artists involved for Moroso CONCEPT 2015. The pubblication, curated by Andrea Bruciati, is also \na focus concerning the 12 ﬁnalists and is structured as a pertinent critical analysis conducted by: \nLaura Barreca, Cristiana Collu, Michele D'Aurizio, Ilaria Gianni, Antonio Grulli, Emanuele Guidi, \nAndrea Lissoni, Post Brothers, Alessandro Rabottini, Chris Sharp, Giorgio Verzotti, Eugenio Viola.\nThe catalog is supported by a rich assortment of images documenting deeply each artist's poetic, \nand a comprehensive appendix of reference, that includes the detailed curriculum and technical \nspeciﬁcations for projects speciﬁcally designed. \nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.2.png",2,{"image":21,"text":22,"number":23},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.3.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\n4th edition 2015\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 1\n­\n­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 16\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.4.png","MOROSO catalogo 224 pagine        1 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 2\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 15\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.5.png","MOROSO catalogo 224 pagine        1 VOLTA (2 sedicesimi)     USOMANO\nthe beauty of design\nthe beauty of design\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 3\n14\nIt is a source of particular satisfaction for the Azienda speciale Villa Manin\nto host this exhibition MOROSO CONCEPT for various reasons. \n      First, because this is an occasion for contemporary art to return to Pas-\nsariano with an exhibition of quality, after the many years of experience as\nthe Center of Contemporary Art. Villa Manin is by nature a showplace for\nmultiple genres, and thus it is not only a destination for exhibitions dedicated\nto contemporary art, but features also exploratory surveys of art of the twen-\ntieth century, including Man Ray, the Russian avant-garde, and exhibitions\ndedicated to photography. \n      Second, because the contenders in the 2015 MOROSO CONCEPT are twelve\nyoung artists. Focusing attention on young Italian and international artists\nwill be an ongoing commitment of Villa Manin, to promote their talent by ei-\nther giving them the opportunity to exhibit their works, or make a proposal\nfor use of the space for residences dedicated to the world of culture. With this\ndeﬁnition we want to enlarge the range of activities from contemporary art\nto other disciplines such as theater, cinema, and literature, according to the\nprinciple that a fruitful cross-fertilization of different methodologies can give\nimportant results. \n      Also the 2015 MOROSO CONCEPT achieves the goal of a successful rela-\ntionship between public and private initiatives in the ﬁeld of culture and\nart. The recent changes introduced by government policy for Italian culture\nincludes forms of tax savings together with forms of patronage that thankfully\neven in this time of crisis renew hope.\n      Finally, because the continuation of what began as the MOROSO Award\nin 2010 in the principal site of cultural activities in the Friuli Venezia Giulia\nregion conﬁrms the start of a collaboration that we greet with great pleasure. \nAnna Galtarossa\nSkyscraper Nursery, 2011\nMoroso,­New­York­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 14\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.6.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\n­Debora­Serracchiani\nPresidente\u002FPresident\nRegione Autonoma \nFriuli Venezia Giulia\nGianni­Torrenti\nAssessore regionale alla cultura\u002F\nRegional Councillor for Culture\nPiero­Colussi\nSovrintendente \u002F Superintendent\nAzienda Speciale di Villa Manin \nConsiglio di Amministrazione\u002F\nBoard of Directions\nPatrizia­Moroso\nPresidente\u002FPresident \nSergio­Pratali­Maffei\nMarialisa­Valoppi\nConsiglieri\u002FCounsellors\nAntonio­Giusa\nDirettore\u002FDirector\nCoordinamento organizzativo\nManagement and coordination\nSimona­Cossu\nCoordinamento allestitivo\nProduction coordination\nLuca­Moretuzzo\nCoordinamento amministrativo\nAdministrative coordination\nGiorgio­Pulvirenti\nAmministrazione\u002F\nAdministrative Ofﬁce\nMaria­Cristina­Baldassi\nMarina­Comuzzi\nComunicazione\u002F\nCommunication Ofﬁce\nUmberto­Alberini­\nBookshop e merchandising \nAlina­Del­Fabbro\nMostra in collaborazione con\nExhibition in collaboration with\nFondazione­CRUP­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 4\n13\nPiero­Colussi\n      È motivo di particolare soddisfazione per l’Azienda speciale Villa Manin\nospitare la mostra del MOROSO CONCEPT per vari ordini di motivi.\nInnanzitutto perché in questa occasione l’arte contemporanea torna a Pas-\nsariano con una proposta di qualità, a distanza di diversi anni dall’espe-\nrienza del Centro d’Arte Contemporanea. Villa Manin è per sua natura un\ncontenitore di molteplici generi, quindi non è ipotizzabile una sua esclusiva\ndestinazione per esposizioni dedicate all’arte contemporanea che si alterne-\nranno ad esempio con quelle che proseguiranno il viaggio nell’Arte del No-\nvecento, intrapreso con Man Ray e con l’Avanguardia Russa e con le mostre\ndedicate alla Fotograﬁa.\nIn secondo luogo, perché a contendersi il MOROSO CONCEPT 2015 sono\ndodici giovani artisti. L’attenzione per la giovane arte italiana e internazio-\nnale sarà un impegno costante di Villa Manin che si dà il compito di valo-\nrizzare giovani talenti sia con la possibilità di esporre le loro opere, sia con\nuna proposta di utilizzo degli spazi per residenze dedicate al mondo della\ncultura. Con questa deﬁnizione si vuole allargare il campo dall’arte con-\ntemporanea ad altre discipline come il teatro, il cinema, la letteratura, se-\ncondo il principio che una feconda contaminazione di linguaggi diversi\npuò dare importanti risultati.\nInoltre, perché con il MOROSO CONCEPT 2015, si realizza l’obiettivo di un\nproﬁcuo rapporto fra iniziativa pubblica e privata nel campo della cultura\ne dell’arte. I recenti cambiamenti introdotti nella politica del governo italiano\nper la cultura che prevedono anche forme di risparmio ﬁscale assieme alle\nforme di mecenatismo che pur in tempo di crisi per fortuna si rinnovano\nfanno ben sperare. \nInﬁne, perché il trasferimento di quello che era nato come Premio MOROSO\nnel 2010, nella principale sede di iniziative culturali del Friuli Venezia\nGiulia, testimonia l’avvio di una collaborazione che salutiamo con grande\npiacere.\nSovrintendent\nAzienda­speciale­\nVilla­Manin\nDragana Sapanjoš\nIs Always Fading, 2013\nMoroso,­New­York­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 13\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.7.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\nIdeazione del progetto \u002F \nProject planning by\nAndrea­Bruciati,­\nPatrizia­Moroso\nOrganizzazione \ne coordinamento \u002F \nOrganization \nand coordination\nMOROSO\nChristian­Tomadini\nLaura­Rossi\nGallerie di selezione \u002F \nSelecting Galleries\nContinua,­San­Gimignano\u002F\nLes­Moulins\u002FPechino\nFluxia,­Milano\nFrutta,­Roma\nLa­Veronica,­Modica\nGiò­Marconi,­Milano\nFrancesca­Minini,­Milano\nMonitor,­Roma\nFranco­Noero,­Torino\nP420,­Bologna\nLia­Rumma,­Milano\u002FNapoli\nTucci­Russo,­Torre­Pellice\nZERO…,­Milano\nArtisti invitati \u002F \nInvited Artists\nAlfredo­Aceto\nAlessandro­Agudio\nAlis­\u002F­Filliol\nFrancesco­Arena­\nFrancesco­Barocco\nRiccardo­Benassi­\nBarbara­Boiocchi­\nDavide­Bramante­\nAlice­Cattaneo­\nGiulia­Cenci\nAlessandro­Ceresoli\nCristian­Chironi­\nEmma­Ciceri­\nLuca­De­Leva­\nGiulio­Delvè\nGabriele­De­Santis\nSara­Enrico\nSilvia­Hell\nRenato­Leotta­\nDomenico­Mangano\nBeatrice­Marchi­\nDaniele­Milvio­\nAndrea­Nacciarriti­\nGianandrea­Poletta­\nLuca­Pozzi­\nAndrea­Romano­\nMarzia­Corinne­Rossi\nMatteo­Rubbi­\nErik­Saglia­\nManuel­Scano­Larrazàbal\nFrancesco­João­Scavarda\nLorenzo­Scotto­di­Luzio\nGabriele­Sedda­\nMarinella­Senatore\nNamsal­Siedlecki­\nCarlo­Gabriele­Tribbioli\nGiuria di selezione \u002F\nSelecting Jury\nMarina­Abramovic´\nAndrea­Bruciati\nPatrizia­Moroso\nArtisti ﬁnalisti \u002F\nShortlisted Artists\nAlessandro­Agudio\nAlis\u002FFilliol\nAlice­Cattaneo­\nGiulia­Cenci\nCristian­Chironi­\nGiulio­Delvè­\nDomenico­Mangano\nAndrea­Nacciarriti­\nAndrea­Romano­\nMarinella­Senatore\nNamsal­Siedlecki­\nCarlo­Gabriele­Tribbioli­\nGiuria internazionale \ndi premiazione \u002F \nInternational Prize Jury\nCarlo­Bach,­\nart director, Illy\nDaniel­Libeskind,\narchitetto\nAnna­Mattirolo,­\ndirettrice MAXXI Arte\nGianluigi­Ricuperati,\ndirettore creativo \nDomus Academy\nPatricia­Urquiola,­\ndesigner\nVincitori \u002FWinners\nAlessandro­Agudio\nGiulio­Delvè\nNamsal­Siedlecki­\nProgetto curatoriale \ne pubblicazione \na cura di \u002F \nExhibition Project \nand Publication \ncurated by\nAndrea­Bruciati\nSegreteria organizzativa \u002F \nExhibition Coordination\nAndrea­Bruciati\nEva­Comuzzi­\nApparati \u002F Appendices\nEva­Comuzzi\nCoordinamento redazionale \ne revisione editoriale \u002F \nEditorial Coordination \nand Editing\nEva­Comuzzi­\nTraduzioni \u002F Translations\nJeff­Abshear\nTesti di \u002F Texts by\nLaura­Barreca\nCristiana­Collu\nMichele­D’Aurizio\nIlaria­Gianni\nAntonio­Grulli\nEmanuele­Guidi\nAndrea­Lissoni\nPost­Brothers­\nAlessandro­Rabottini\nChris­Sharp\nGiorgio­Verzotti\nEugenio­Viola\nProgetto graﬁco \u002F \nGraphic Design\nJessica­Etro\nAllestimento \u002F \nInstallation\nStudio­Marco­Viola,­\nUdine\nTrasporti \u002F \nart handling\nAndrea­Bertossio,­\nMoroso\napprovigionamento\nmateriali e soluzioni\u002F \nPurchasing and custom\nmade solution\nLucio­Floreani,­\nMoroso\nResponsabile tecnico \ne di custodia \u002F \nTechnical Coordination \nand Maintenance\nAlex­Vignando\nMateriale tipograﬁco e\npromozionale \u002F \nTypesetting and\nPromotional Materials\nGraﬁche­Filacorda,­Udine\nUfﬁcio stampa \u002F \nPress Ofﬁce \nMOROSO\nCora­Manzi\nVeronica­Villa\nIniziativa realizzata \ncon il supporto di \u002F \nEvent supported by\nNonino­Distillatori\nVignai­da­Duline\nArt­Verona\n29­marzo­-­24­maggio\nMarch­29­-­May­24\nEsedra­di­Levante­\nVilla­Manin,­Passariano­(UD)\nMoroso CONCEPT per l’Arte Contemporanea 2015\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 5\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 12\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.8.png","MOROSO catalogo 224 pagine        1 VOLTA (2 sedicesimi)     USOMANO\nSi ringraziano tutti gli artisti che\nhanno reso possibile la realizzazione\ndel progetto curatoriale \u002F \nWe would like to thank all the artists\nfor their contribution to this project\nUn sentito ringraziamento va alle \nseguenti gallerie per il loro contributo\nalla pubblicazione \u002F \nWe are especially grateful to \nthe following Galleries for their \ncontribution to the publication\nThomas­Brambilla,­Bergamo\nBugada&Cargnel,­Paris\nGalleria­Fonti,­Napoli\nFluxia,­Milano\nFrutta,­Roma\nGaudel­de­Stampa,­Paris\nLimoncello,­London\nMagazzino­d’Arte­Moderna,­Roma­\nNorma­Mangione,­Torino\nNoguerasBlanchard,­\nMadrid\u002FBarcelona\nPeres­Projects,­Berlin­\nPinksummer,­Genova­\nFederica­Schiavo­Gallery,­Roma­\nFranco­Sofﬁantino,­Torino\nSpazioA,­Pistoia\nStudio­la­Città,­Verona\nVistamare,­Pescara\na tutti coloro \nche hanno dato la loro massima\ndisponibilità a questo p rogetto \u002F \nwe also thank all those who have\ngreatly contribued to this project \nEdith­Ballabio,­Angelica­Bazzana,\nMichele­Bazzana,­Paola­Capata,\nMatteo­Consonni,­Sebastiano\nCorazzin,­Elisa­Dall’Arche,\nDesdemona­Cosulich,­Alberto­Fiore,\nJames­Gardner,­Corrado­Gugliotta,­\nThomas­Hug,­Fabrizia­Maggi,­\nGio’­Marconi,­Francesca­Minini,\nFranco­Noero,­Ariana­Paciﬁco,\nFabrizio­Padovani,­Alessandro\nPasotti,­Linda­Pilar,­Lia­Rumma,\nTucci­Russo,­Laura­Senatore,\nAnnalisa­Stabellini,­Valentina­Suma,\nPaolo­Zani\nin particolar modo \u002F especially to\nPatrizia­Moroso­e­\u002F­and­MOROSO\nS.p.A.,­Cavalicco­(UD)­\nCi­scusiamo­se,­per­cause\nindipendenti­dalla­nostra­volontà,\nabbiamo­omesso­alcune­referenze\nfotograﬁche­\u002F­\nWe­apologize­if,­due­to­reasons\nwholly­beyond­our­control,­\nsome­of­the­photo­sources­have­\nnot­been­listed\nNessuna­parte­di­questo­libro­\npuò­essere­riprodotta­o­trasmessa­\nin­qualsiasi­forma­o­con­qualsiasi\nmezzo­elettronico,­meccanico­\no­altro­senza­l'autorizzazione­\ndei­proprietari­dei­diritti­\u002F­\nNo­part­of­this­publication­\nmay­be­produced,­stored­in­\na­retrieval­system­or­transmitted­\nin­any­form­or­by­any­means­without\nthe­prior­permission­in­writing­\nof­the­copyright­holders\n©­Gli­autori­per­i­testi­\u002F­\nThe­Authors­for­their­texts\n©­Gli­artisti­per­le­immagini­\u002F­\nThe­Artists­for­their­images\nTutti­i­diritti­riservati­\u002F­\nAll­rights­reserved\nCrediti fotograﬁci \u002F Photo Credits\nRoberto­Apa­per­\u002F­\nfor­Daniele­Milvio\nFrancesco­Cardarelli,­\nBeppe­Giardino,­Roberto­Marossi,\nSebastiano­Pellion,­Andrea­Rossetti,\nLeonardo­Chiappini­per­\u002F­\nfor­Matteo­Rubbi\nCristian­Chironi,­M.­Monti­e­\u002F­\nand­FLC,­per­\u002F­for­Cristian­Chironi\nGiovanni­Ghiandoni,­\nFulvio­Richetto,­Eva­Trodera­per­\u002F\nfor­Andrea­Nacciarriti\nCristina­Leoncini­per­\u002F­\nfor­Sara­Enrico\nJan­Kliewer­per­\u002F­for­Silvia­Hell\nAndrea­Rossetti­per­\u002F­\nfor­Andrea­Romano\nRoberto­Ruiz­per­\u002F­\nfor­Francesco­Arena\nAnne­Simonnot­per­\u002F­\nfor­Marzia­Corinne­Rossi\nFabrizio­Stipari­per­\u002F­\nfor­Alice­Cattaneo\nSaverio­Tonoli,­per­\u002F­for­Alis\u002FFilliol\nAlessandro­Zambianchi­per­\u002F­\nfor­Beatrice­Marchi\nAlessandro­Paderni­per­\u002F­for\nMoroso­\nStampato­in­Italia­nel­marzo­2015\nda­\u002F­Printed­in­Italy­in­March­2015\nby­Graﬁche­Filacorda,­Udine­\nCover:­Manifattura­persiana,\ntappeto­in­lana,­sec.­XVIII­­\u002F­\nManufacturing­Persian,­\nwool­carpet,­­sec.­XVIII\ncollezione­della­\u002F­collection­of­the\nRegione­Autonoma­Friuli­Venezia­Giulia\nVilla­Manin\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 6\n11\nand better comprehend reciprocal langua-\nges. Fundamentally this is what always hap-\npens, whether between music and theater,\nart and architecture, architecture and de-\nsign, or design and art, and only through\nthis multiple approach will something new\nand perpetually metamorphic be created. I\nbelieve bringing design and art together can\nbe surprising, and open unexplored roads\nthat are challenging and valuable to eve-\nryone. In my personal experience the cu-\nrious natures of designers and artists are\nabsolutely reciprocal and often lead to in-\ncursions of one ﬁeld into the other that are\nalways worthy of interest and often are re-\nsponsible for a fruitful grafting of languages. \nThe spirit with which MOROSO has decided\nto fund this important exhibition is to sup-\nport new art forms, regardless of promotio-\nnal or advertising aspects that could tie the\nCONCEPT to its product. The two forms of\nexpression are clearly separated and must\nremain so just to keep those characteristics\nof total independence from the initiative of\nthe brand that is and will be, like other Ita-\nlian and foreign experiences, one of its ori-\nginal values. The passion of MOROSO for\ncontemporary art has become a real feature\nof the company, through continuous rese-\narch and experimentation in the creation\nof new products, and the ability of the brand\nto create 'custom made' projects. For years,\nthe company has collaborated with the most\nprestigious cultural institutions in the world\nsuch as the MoMA in New York, the Palais de\nTokyo and Grand Palais in Paris, the Inter-\nnational Biennial of Visual Arts in Venice,\nand with international artists including Ma-\nrina Abramovic´ (Art Basel Miami 2014) and\nPaola Pivi (Manifesta 2014). \nIn this context we have begun a new rela-\ntionship of respect and partnership between\nMOROSO and the Azienda Speciale Villa Ma-\nnin of Passariano, and also have been favo-\nred with the special participation of Andrea\nBruciati, who had the idea to form this col-\nlaboration at the beginning of the project,\nunique in Italy for its particular focus. Per-\nsonally I would like to thank all those who\nhelped or contributed to this project, from\nits initial conception through development\nand inauguration, and I hope all the parti-\ncipating artists are animated by the same\npassion that inspired it, and look forward\nto a great future.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 11\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.9.png","MOROSO catalogo 224 pagine        1 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 7\n10\nLo spirito con il quale MOROSO ha deciso di\nﬁnanziare questa importantissima opera-\nzione è quello del supporto a nuove forme\nartistiche, indipendentemente da aspetti di\ntipo promozionale o pubblicitario che po-\ntrebbero legare il CONCEPT al suo prodotto.\nLe due forme di espressione sono nettamente\nseparate e tali devono rimanere proprio per\nmantenere quelle caratteristiche di totale au-\ntonomia dell’iniziativa dal marchio che sono\ne saranno, alla stregua di altre esperienze\nitaliane e straniere, uno dei suoi valori ori-\nginali. La passione di MOROSO per l’arte\ncontemporanea è divenuta infatti e ormai\nuna vera e propria caratteristica del-\nl’azienda, grazie a ricerca e sperimentazione\ncontinue nella creazione di nuovi prodotti,\nall’abilità del marchio nel realizzare progetti\n‘custom made’. Da anni infatti il brand col-\nlabora con le più prestigiose istituzioni cul-\nturali al mondo - come il MoMA a New York,\nil Palais de Tokyo e il Grand Palais a Parigi,\nla Biennale Internazionale d’Arti Visive di\nVenezia - e con artisti internazionali tra cui\nricordiamo gli ultimi intensi rapporti con\nMarina Abramovic´ (Art Miami Basel 2014)\ne Paola Pivi (Manifesta 2014). \nIn questo contesto di pensiero, nasce il nuovo\nrapporto di relazione e condivisione fra MO-\nROSO e l’Azienda Speciale Villa Manin di\nPassariano, che va ad aggiungersi a quello,\ntutto particolare ed intenso con Andrea Bru-\nciati, che ha avuto l’idea di ﬁnalizzare la no-\nstra collaborazione alla nascita di questo for-\nmat, un unicum in Italia per le sue peculia-\nrità. Personalmente ringrazio tutti coloro\nche hanno contribuito con un apporto, dap-\nprima progettuale e poi operativo, alla sua\nrealizzazione e mi auguro che tutti gli artisti\npartecipanti siano animati dalla stessa pas-\nsione che lo muove, prospettandogli un\ngrande avvenire.\nWhile Italy is known worldwide as a\nfundamental location for artistic expression,\nit has the reputation for lacking attention to\nthe priceless assets it has been fortunate to\ninherit, founded on the creativity and inge-\nnuity of artists. These are the characteristics\nthat have made us famous and recognizable\nin the international community; these are\nthe qualities that our culture has established\nto set the standard of 'beauty' for the entire\nworld, and for which we should take respon-\nsibility and guardianship. Thus this heritage\nshould not be abandoned, but on the con-\ntrary we must try to increase its importance\nthrough better organization of exhibitions\nand more, making sure that the culture and\ninnovation offered by contemporary art con-\ntinues to develop, allowing everyone to im-\nprove their artistic sensibility. I ﬁrmly believe\nin dialog and cooperation between the arts:\nthis conversation raises the level of awareness\nand provides understanding and new kno-\nwledge; the exchange helps us to get inside\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 10\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.10.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 8\n  \nL’Italia pur essendo territorio fondamentale dell’espressione\nartistica mondiale, ha un atteggiamento di scarsa attenzione\nnei confronti di quel bene inestimabile, che abbiamo fortu-\nnatamente ereditato, basato sulla creatività e l’ingegno degli artisti. Sono\nqueste le caratteristiche che ci hanno reso famosi e riconoscibili al parterre\ninternazionale; sono questi i fattori per i quali la nostra terra ha sensibilizzato\nal ‘bello’ il mondo intero e di cui dovremmo cogliere la responsabilità e la\ntutela. Così come questo patrimonio non può andare disperso, si deve al\ncontrario cercare di aumentarne la sua fruibilità attraverso una migliore\norganizzazione delle attività espositive e non solo, facendo in modo che l’ap-\nporto culturale ed innovativo offerto dalle arti contemporanee continui a\nsvilupparsi permettendo ad ognuno di noi di migliorare la propria sensibilità\nartistica. Credo fermamente alla dialettica e al confronto fra le arti: il\ndialogo innalza il livello di consapevolezza e regala condivisione e nuova\nconoscenza; lo scambio aiuta a compenetrare e capire meglio i reciproci\nlinguaggi. In fondo questo è quello che accade sempre, fra musica e teatro,\nfra arte e architettura, fra architettura e design, fra design e arte, e solo da\nun approccio molteplice può nascere qualcosa di nuovo in perenne meta-\nmorfosi. Credo che avvicinare il design all’arte e viceversa possa donarci\nqualche sorpresa e aprire strade inesplorate per un percorso stimolante e\nprezioso per tutti. Nella mia personale esperienza, le curiosità di designer e\nartisti sono assolutamente reciproche e spesso portano ad incursioni nei\ncampi altrui che sono sempre degne di interesse e sovente responsabili di\nfruttuosi innesti di linguaggio.\n9\nMartino Gamper\nMetamorphosys, 2012\nHangar­Bicocca,­Milano\nart­director­MOROSO\nPatrizia­Moroso\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 9\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",10,{"image":53,"text":50,"number":54},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.11.png",11,{"image":56,"text":46,"number":57},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.12.png",12,{"image":59,"text":42,"number":60},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.13.png",13,{"image":62,"text":38,"number":63},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.14.png",14,{"image":65,"text":34,"number":66},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.15.png",15,{"image":68,"text":30,"number":69},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.16.png",16,{"image":71,"text":26,"number":72},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.17.png",17,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.18.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\n4th edition 2015\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 1\n \n \n \n \n \n­\n­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 16\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",18,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.19.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\n17\nAndrea­Bruciati\nLa forza competitiva del Made­in­Italy, in cui la componente design ha un\nruolo centrale, parte dalla natura identitaria della sua produzione. Proprio\nper questa forma di imprinting culturale che i luoghi trasferiscono sul pro-\ndotto, il vantaggio competitivo si genera in stretta relazione con le peculiarità\ndella struttura sociale dei sistemi imprenditoriali locali. Da questa idea si è\nipotizzato un legame stringente per la promozione dell’arte contemporanea\nattraverso canali internazionali, qualitativamente rilevanti, già rodati dalla\nﬁliera produttiva per far sì che queste assonanze e afﬁnità progettuali, nonché\nideative, andassero a valorizzare l’operato delle nuove generazioni. Concepito\ninfatti per documentare, valorizzare e sostenere gli artisti che vivono e lavorano\nprincipalmente in Italia, il MOROSO CONCEPT nasce con questo dna, quale\nnecessaria e pragmatica evoluzione del Premio Moroso, di cui diventa esten-\nsione e, si auspica, valido braccio operativo.\nL’idea, nata nel 2010 per una sede istituzionale quale la GC.AC di Monfalcone\ne con il fondamentale supporto di Patrizia Moroso, è divenuto format agente\ne cogente, connotandosi, ﬁn da subito, con lo spirito dinamico dell’azienda,\nincentrato sulla ricerca e la sperimentazione. Il progetto, che si struttura fra\npremio, mostra e pubblicazione, vuole infatti costituirsi quale cantiere concreto\ndi produzione e promozione delle istanze legate alla stretta contemporaneità,\nper un riconoscimento fattivo dei protagonisti coinvolti. In tale prospettiva\nrisulta coerente la parte ideativa e progettuale, vera e propria sezione hardcore\ndel nuovo CONCEPT, volta ad un accrescimento esperienziale dei vincitori in\ncontesti internazionali, per una maggiore visibilità degli stessi. L’iniziativa\ninfatti, oltre a costituirsi come segmento complementare e necessario all’ancora\ntroppo timida politica nazionale di sostegno alle giovani generazioni, rap-\npresenta un ulteriore contributo di carattere mecenatistico da parte dell’im-\nprenditoria italiana più attenta al valore tributato alla creatività. Ritengo\ninfatti che il MOROSO CONCEPT per l’Arte Contemporanea possa fungere da\nIdeatore­del­Premio\nFouder­of­the­Award\nAndrea Mastrovito\nRitratto dell’artista da giovane, 2012\nMoroso,­New­York\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 17\nMaﬁa Island \u002F Like a woodden spaceship on a brasilian beach, \n2013, plexiglass, conchiglie, ferro, sabbia, Campari, 120 x 87 x 18 cm \u002F \nplexiglass, shells, sand, steel, Campari, 47 ¼” x 34 ¼” x 7” \nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 32\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",19,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.20.png","MOROSO catalogo 224 pagine        1 VOLTA (2 sedicesimi)     USOMANO\nesempio per un serio e concreto impegno per un indirizzo costruttivo, in controtendenza con\nla crisi e stagnazione economica che denotano la nostra società occidentale.\nCon tali premesse e slancio propositivo è stata individuata la categoria dei selezionatori per\nquest’edizione: una rosa di dodici fra le più riconosciute gallerie d’arte italiane a livello inter-\nnazionale, a cui è stato chiesto di proporre tre autori under 45 così che la lista ﬁnale rappre-\nsentasse uno spettro attuale ed esaustivo della ricerca operante nel Paese. \nSulla base di questa multiforme piattaforma e del ricco materiale documentativo pervenuto\n- trentasei gli artisti più o meno noti al sistema dell’arte italiano - una giuria di selezione, pre-\nsieduta da Marina Abramovic´ in qualità di simbolica madrina, ha ridotto al novero di dodici\ni ﬁnalisti, contraddistinti per qualità di ricerca, studio, motivazioni e coerenza intellettuale. \nDodici artisti che hanno accettato il confronto sul piano del giudizio, mettendo in gioco le ri-\nspettive sensibilità e ipotesi sperimentali, e che hanno per l’occasione così elaborato un progetto\nversatile, partendo come history­case dagli ambienti newyorkesi dell’azienda. Per questo nuovo\nmateriale documentario è intervenuta una seconda commissione internazionale, composta\nda: Anna Mattirolo, direttore MAXXI Arte, Patricia Urquiola, designer, Daniel Libenskind, ar-\nchitetto, Gianluigi Ricuperati, art director Domus Academy; Carlo Bach art director Illy, che\nha ulteriormente ricondotto a tre nomi, il parterre dei segnalati. \nÈ stato questo l’ultimo tassello signiﬁcante del premio, perché basato sul dialogo stringente fra\nprofessionisti che si muovono su quel ﬁlo invisibile ma tenace che pone in connessione arti\nvisive e design. L’obiettivo era infatti quello di valutare al meglio l’osmosi fra gli ambienti e la\nrealizzazione fattiva dei progetti, in base al contesto culturale e alle esigenze dell’azienda\nstessa. \nUna sﬁda stimolante e mi auguro foriera di sviluppi per il CONCEPT di cui gli spazi di New\nYork, Londra e Milano, saranno palcoscenico attivo. \nThe competitive strength of the term Made­in­Italy, in which the design component has\na central role, is founded on the identiﬁable nature of its production. In the same way that\nthis form of cultural imprinting is transferred from a location onto a product, competitive\nadvantage is generated in close relationship with the peculiarities of the social structure of\nlocal entrepreneurial systems. This idea suggested a strong connection for the promotion of\ncontemporary art through relevant international channels that have already been organized\ninto a production network, to ensure that these design and conceptual afﬁnities can be used\nto promote the work of a new generation of artists. Conceived to document, promote, and sup-\nport artists who live and work mainly in Italy, the MOROSO CONCEPT began from this DNA,\na pragmatic and necessary evolution of the Premio Moroso as an extension, and it is hoped,\nvalid organizational tool. \n18\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 18\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 31\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",20,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.21.png","MOROSO catalogo 224 pagine        1 VOLTA (2 sedicesimi)     USOMANO\n19\nThe idea began in 2010 in the institutional setting of the GC.AC in Monfalcone, and with the\nfundamental support of Patrizia Moroso it became an ongoing opportunity, establishing itself\nfrom the outset in the dynamic spirit of the company to focus on research and experimentation.\nThe project, which includes an award, an exhibition, and a publication, establishes a concrete\nmeans for production and promotion tied to this contemporary spirit, seeking recognition for\nthe participants involved. This perspective is consistent with the creative and design aspects,\na true hardcore element of the new CONCEPT, tied to the growing experience of winners in in-\nternational contexts, for greater visibility of their work. This initiative not only establishes\nitself as a vehicle necessary and complementary to the often too timid national policy in\nsupport of young artists, it is a further contribution to the mercantile character of Italian in-\ndustry that is more attentive to the value of creativity. In fact, I believe that the MOROSO CON-\nCEPT for Contemporary Art can serve as an example for a serious and concrete commitment\nto a constructive initiative, in contrast to the crisis and economic stagnation that denote our\nWestern society. \nWith this premise and purposeful momentum the group of selectors was identiﬁed for this edi-\ntion: twelve Italian art galleries that are most recognized at the international level were asked\nto nominate three artists under 45, so the ﬁnal list would represent a current and comprehensive\nspectrum of artistic research going on in the country. \nBased on this multifaceted platform and the rich documentary material received—thirty-six\nartists known more-or-less within the Italian art system—a selection panel chaired by Marina\nAbramovic´ reduced the number to twelve ﬁnalists, distinguished by the quality of their research,\nstudy, motivation, and intellectual coherence. \nThese twelve artists accepted the terms of selection, and employing their respective sensibilities\nand experimental hypotheses, had the opportunity to develop proposals using as a history\ncase the company’s New York agency. For reviewing this new documentary material a second\ninternational commission was formed composed of: Anna Mattirolo, Director MAXXI Art, Pa-\ntricia Urquiola, Designer, Daniel Libenskind, Architect, Gianluigi Ricuperati, Art Director, Do-\nmus Academy, and Carlo Bach Art Director, Illy. This commission further reduced the number\nof nominees to three names. \nThis was the most important phase in deciding this signiﬁcant prize, because it was based on\na serious dialogue between professionals who work in that invisible yet tenacious thread that\nconnects visual art and design. The goal was to best evaluate the osmosis between the environ-\nments and the effective implementation of the projects, according to the cultural context and\nthe needs of the company. This was an interesting challenge and I look forward to presenting\nCONCEPT, using the spaces in New York, London, and Milan as an active stage. \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 19\nThe Big Simon \u002F Maﬁe, \n2013, (con \u002F with Lupo Borgonovo), \nplexiglass, acciaio, pane, acqua \u002F \nplexiglass, steel, bread, water\nCourtesy of the artist e \u002F and Gasconade, Milano\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 30\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",21,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.22.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\nArtisti\nArtists\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:20  Pagina 20\nceship on a Brazilian Beach (2013)­cite­all\nthe­manifestations,­forms,­and­functions­of\nfurniture­and­interior­decoration:­wainsco-\nting,­window­boxes,­partitions,­balustrades,\netc.­All­also­echo­the­aesthetics­of­post-mo-\ndern­design,­and­not­coincidentally­make\nextensive­use­of­laminated­woods:­in­line\nwith­the­‘masters’­of­this­ﬁnish,­from­Ettore\nSottsass­to­Michele­De­Lucchi,­Agudio­en-\ngages­with­the­laminates­“playing­with­their\naggression­and­lack­of­cultural­value”,­[B.\nRadice,­Memphis,­Electa,­1984]­and­inviting\nthe­viewer­to­reﬂect­on­a­society­that­rests\non­the­‘surface’­of­the­world­and­surrounds\nitself­with­‘things-that-are-not-as-they-seem’\n(so­much­so­that­many­works­by­the­artist\nare­still­raw­in­the­parts­that­are­supposed\nto­remain­hidden­from­view.)­\nAgudio­therefore­suggests­a­comment­on­the\nidea­of­lifestyle.­It­could­be­said­in­fact­that\nhis­works­achieve­their­full­potential­in­the\nprocess­of­acquisition­and­‘domestication’­in\nthe­house­of­the­collector.­Here­these­semi-\nfurnishings­create­a­short­circuit­in­the­dy-\nnamics­of­crossing­life­with­art­by­virtue­of\ntheir­supposed­functionality,­‘conﬁdence,’\nand­‘affability.’­They­appear­as­works­that\nmore­than­just­being­‘seen’­invite­‘use’­or\n‘consumption’—and­therefore­are­also­prone\nto­‘wear’­and­possible­‘disposal.’­Therefore,\nin­the­immanent­reiﬁcation­process­of­the\nartwork,­Agudio­not­only­maliciously­‘acce-\nlerates’­the­downgrading­of­the­cultural­va-\nlue­of­the­work­in­the­‘exchange’­of­the­com-\nmodity,­but­also­at­the­same­time­affects\nthat­value­by­creating­for­the­artwork­a­doo-\nmed­fate.­It­will­not­last­forever.­Indeed,\neven­in­an­‘ecological’­sense,­he­references\nthe­cycle­of­life,­as­if­to­say­“ashes­to­ashes,\ndust­to­dust”.­­\nMichele D’Aurizio\n29\nimage­is­exquisitely­eco-friendly—and­then\nﬁnally­there­are­the­speakers,­and­the­house\nmusic.­How­many­have­found­themselves­in\nthe­presence­of­the­work­and­been­able­to\nstiﬂe­an­urge­to­dance?­\nBravissimi presents­in­a­nutshell­the­quali-\nties­ that­ characterize­ many­ of­ the­ later\nworks­of­the­artist.­In­the­ﬁrst­place,­the\nwork­betrays­an­affection­for­the­products\nof­prefab­or­home­improvement­centers,­and\narticles­ that­ in­ the­ privacy­ of­ a­ garage,\nthrough­do-it-yourself,­become­creations­and\nprojections­of­suburban­dreams­of­social­re-\ndemption­(in­Bravissimi the­speaker­beco-\nmes,­without­doubt,­the­ﬁrst­instance­of­tee-\nnage­car­customization,­or­the­ampliﬁcation\nof­audio).­The­work­also­suggests­atmo-\nsphere,­or­at­least­spatiality.­It­contributes\nto­the­establishment­of­an­environment­that,\nregardless­of­the­presence­or­absence­of­a\nmusical­component­(in­two­later­works, Tu-\nning Tandem (Italy 2011),­2012,­and­Maﬁa\nIsland,­2013,­Agudio­collaborated­with­the\nMilan­duo­Primitive­Art­to­produce­musical\ntracks­ad­hoc),­or­its­disposition­as­furni-\nshings­in­a­domestic­interior­(the­exhibition\nSleek Like a Slum,­organized­at­the­project\nspace­Gasconade,­Milan,­in­2012,­was­arran-\nged­like­the­living­room­of­a­mysterious\nyoung­professional),­projects­the­spectator\ninto­another­place,­more­or­less­distant­in\ntime­and­space,­that­is­exotic­and­futuristic.\nFinally­Bravissimi is­a­‘functional’­work,­but\nnot­interactive:­it­is­a­device­that­‘traps’­the\nviewer­into­a­gesture­of­participation;­it­in-\nvites­him­to­participate­in­a­performance,\nand­immediately­put­the­virtue­of­its­status\nas­a­work­of­art­into­question.­\nThis­latter­is­perhaps­the­quality­that­reveals\na­critical­aspect­of­Agudio’s­artistic­research.\nWorks­such­as­Figurine, ﬁgurines (2012),\nLukas (2012),­Lulù\u002FLula (2012),­Patinato\ntipo favela (2013),­and­Like a Wooden Spa-\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 29\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",22,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.23.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\np.­22­­­­­­­­­­Alfredo­Aceto\np.­24 ­­­­­­­ Alessandro Agudio\nwinner­\np.­34 ­­­­­­­ Alis \u002F Filliol \np.­42­­­­­­­­­­Francesco­Arena\np.­44­­­­­­­­­­Francesco­Barocco\np.­46­­­­­­­­­­Riccardo­Benassi\np.­48­­­­­­­­­­Barbara­Boiocchi\np.­50­­­­­­­­­­Davide­Bramante\np.­52 ­­­­­­­ Alice Cattaneo\np.­62 ­­­­­­­ Giulia Cenci \np.­70­­­­­­­­­­Alessandro­Ceresoli\np.­72 ­­­­­­­ Cristian Chironi\np.­82­­­­­­­­­­Emma­Ciceri\np.­84­­­­­­­­­­Luca­De­Leva\np.­86 ­­­­­­­ Giulio Delvè\nwinner­\np.­94­­­­­­­­­­Gabriele­De­Santis\np.­96­­­­­­­­­­Sara­Enrico\np.­98­­­­­­­­­­Silvia­Hell\np.­100 ­­­­­­­­Renato­Leotta\np.­102­­­­­­ Domenico Mangano\np.­116 ­­­­­­­­Beatrice­Marchi\np.­118­­­­­­­­­Daniele­Milvio\np.­120­­­­­­ Andrea Nacciarriti \np.­128 ­­­­­­­­Gianandrea­Poletta\np.­130 ­­­­­­­­Luca­Pozzi\np.­132­­­­­­­ Andrea Romano \np.­140­­­­­­ ­Marzia­Corinne­Rossi­\np.­142­­­­­­­­­Matteo­Rubbi\np.­144 ­­­­­­­­Erik­Saglia\np.­146 ­­­­­­­­Manuel­Scano­Larrazàbal\np.­148 ­­­­­­­­Francesco­João­Scavarda\np.­150 ­­­­­­­­Lorenzo­Scotto­di­Luzio\np.­152 ­­­­­­­­Gabriele­Sedda\np.­154­­­­­­ Marinella Senatore \np.­168­­­­­­ Namsal Siedlecki\nwinner­\np.­178­­­­­­ Carlo Gabriele Tribbioli \np.­190­­­­­­ Projects­for­Moroso­CONCEPT\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 21\n28\nTuning Tandem (Italia 2011), \n2012, plexiglass, acciaio, altoparlanti, cavi, ampliﬁcatore, 31 x 49 x 115 cm \u002F \nplexiglass, steel, speakers, cables, audio ampliﬁer, 12 ¼” x 19 ¼” x  45 ¼”\n                                                                              Courtesy of the artist e \u002F and Gasconade, Milano\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 28\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",23,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.24.png","MOROSO catalogo 224 pagine        1 VOLTA (2 sedicesimi)     USOMANO\nAlfredo­Aceto\nSelected by Frutta - Roma\nNato nel 1991 a Torino, vive e lavora a Losanna \u002F Born in 1991 in Turin, lives and works in Lausanne\niii-ooo, \n2012, stampa fotograﬁca, vetro, cornice, 150 x 100 cm \u002F photographic print, glass, frame, 59” x 39 ¼” \nCourtesy of the artist e \u002F and Bugada&Cargnel, Paris\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 22\n27\nl’arte­in­virtù­della­loro­supposta­funzionalità,\n‘conﬁdenza’,­‘affabilità’.­Essi­appaiono­come\nopere­che,­più­che­essere­‘guardate’,­invitano\na­un­‘uso’,­a­un­‘consumo’ –­e­quindi­anche­a\nun­‘logorio’­e­a­un­eventuale­‘dismissione’.\nNell’immanente­processo­di­reiﬁcazione­del-\nl’opera­d’arte,­Agudio­quindi­non­solo­mali-\nziosamente­‘accelera’­il­declassamento­del­va-\nlore­culturale­dell’opera­in­quello­‘di­scambio’\ndella­commodity,­ma­al­tempo­stesso­intacca\nquel­valore­scrivendo­per­l’opera­un­destino\nfunesto:­‘non­sarà­per­sempre’.­Anzi,­ancora\nin­chiave­‘ecologica’,­delineando­un­ciclo­di\nvita;­come­a­dire­‘polvere­è,­e­polvere­tornerà.’­\nAlessandro­Agudio­made­his­debut­in\nthe­world­of­contemporary­art­with­the­work\nBravissimi (2010).­Applause­is­easy,­because\nthe­two­speakers­that­made­up­the­‘substance’\nof­the­work­were­actually­just­that:­Bravissimi\n(Very good).­They­broadcast­house­music­in\nthe­exhibition­space,­and­it­is­undeniable:\nmusic,­especially­disco­music,­makes­many\nvisitors­happy;­especially­the­younger­visitors,\nthe­artist’s­contemporaries,­his­‘colleagues’\nand­close­friends.­Bravissimi was­created­pri-\nmarily­out­of­a­desire­to­participate­in­the\nevents­of­the­world,­with­apparent­noncha-\nlance­and­amusement,­awkwardly­concealing\nthe­sincere­performance­anxiety­that­conno-\ntes­adolescence,­or­the­early­output­of­an­ar-\ntist­in­the­art­world.­Agudio­in­fact­conceives\nthe­work­as­appropriate,­or­‘giusta’­(right)\nhe­says—note­the­expressiveness­of­the­slang\nterm—in­the­context­of­any­exhibition.­For-\nmally,­the­sheets­of­Plexiglas­seem­vaguely\nminimalist­(they­lean­against­the­wall­like\nthe­planks of­John­McCracken),­and­embed-\nding­the­two­speakers­is­a­wink­to­the­‘neo-\nmateriality’­of­post-internet­work.­The­image\nof­a­city­park,­applied­under­the­plexiglass,\nreveals­a­generational­sensitivity­toward­dy-\nstopian­ecology—today­we­would­say­that\nQuest’ultima­è­forse­la­qualità­che­lascia­in-\ntravedere­un­fattore­di­criticità­nella­ricerca\nartistica­di­Agudio.­Opere­quali­Figurine, ﬁ-\ngurines (2012),­Lukas (2012),­Lulù\u002FLula\n(2012),­Patinato tipo favela (2013),­Like a\nWooden Spaceship on a Brazilian Beach\n(2013)­citano­tutte­il­vocabolario­di­forme­e\nfunzioni­dell’arredamento­e­della­decorazione\nd’interni:­sono­boiserie,­ﬁoriere,­divisori,­ba-\nlaustre,­ecc.­Tutte­inoltre­echeggiano­l’estetica\ndel­design­postmoderno,­e­non­a­caso­fanno\nampio­uso­di­legni­laminati:­in­linea­con­i\n‘maestri’­di­questa­ﬁnitura,­da­Ettore­Sottsass\na­Michele­De­Lucchi,­Agudio­ricorre­ai­lami-\nnati­“giocando­con­la­loro­aggressività­e­man-\ncanza­di­valenza­culturale,”­[B.­Radice,­Mem-\nphis,­Electa,­1984]­e­invitando­lo­spettatore\na­riﬂettere­su­una­società­che­si­adagia­sulla\n‘superﬁcie’­del­mondo­e­si­contorna­di­‘cose-\nche-sono-come-non-sono’­(tant’è­vero­che\nmolte­delle­opere­dell’artista­restano­grezze\nnelle­parti­che­si­suppongono­rimarranno­na-\nscoste­alla­vista­dello­spettatore).­­­\nAgudio­suggerisce­quindi­un­commento­a\nun’idea­di­lifestyle.­Si­potrebbe­affermare­in-\nfatti­che­le­sue­opere­sprigionino­tutto­il­loro\npotenziale­nel­processo­di­acquisizione­e­‘do-\nmesticizzazione’­nella­casa­del­collezionista:\nqui­questi­semi-arredi­creano­dei­cortocircuiti\nnelle­dinamiche­di­condivisione­della­vita­con\n             Kalenji, \n            2012, resina, legno Toulipier, ferro, \n100 x 40 x 40 cm \u002F resin, toulipier wood, iron, \n39 ½” x 15 ¾” x 15 ¾” \n            Courtesy of the artist e \u002F and Gasconade, Milano\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 27\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",24,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.25.png","MOROSO catalogo 224 pagine        1 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 23\nPatinato Tipo Favela, \n             2013, legno, lami-\nnato plastico, felc e, acciaio, \n180 x 31 x 31 cm \u002F wood,\nplastic laminate, fern, steel, \n70 ¾” x 12 ¼” x 12 ¼”  Cour-\ntesy of the artist e \u002F and Vistamare,\nPescara\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 26\nPatinato Tipo Favela, \n             2013, legno, lami-\nnato plastico, felc e, acciaio, \n180 x 31 x 31 cm \u002F wood,\nplastic laminate, fern, steel, \n70 ¾” x 12 ¼” x 12 ¼”  Cour-\ntesy of the artist e \u002F and Vistamare,\nPescara\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 26\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",25,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.26.png","MOROSO catalogo 224 pagine        1 BIANCA (2 sedicesimi)     USOMANO\nWinner\nAlessandro­Agudio\nSelected by Frutta - Roma\nEsordisce­nel­mondo­dell’arte­con-\ntemporanea­con­l’opera­Bravissimi (2010).\nApplausi­facili;­perché­i­due­speaker­che­co-\nstituiscono­la­‘sostanza’­dell’opera­sono­effet-\ntivamente­tali,­ovvero­‘bravissimi’:­diffondono\nmusica­house­nello­spazio­espositivo.­Ed­è­in-\nnegabile:­la­musica,­soprattutto­la­musica­da\ndiscoteca,­rende­felici­tanti­visitatori;­soprat-\ntutto­i­visitatori­più­giovani,­i­coetanei­del-\nl’artista,­i­suoi­‘colleghi’­e­amici­intimi…­Bra-\nvissimi nasce­prima­di­tutto­dalla­volontà­di\npartecipare­ai­fatti­del­mondo,­con­apparente\nnonchalance­e­fare­divertito,­celando­goffa-\nmente­quella­sincera­ansia­di­prestazione­che\nconnota­l’adolescenza,­o­i­primi­output­di­un\nartista­nel­mondo­dell’arte.­Agudio­infatti­con-\ncepisce­l’opera­perché­possa­essere­appro-\npriata,­‘giusta’­dice­lui­–­e­si­noti­l’espressività\nslang del­termine­–­nel­contesto­di­una­qual-\nsiasi­mostra:­formalmente,­le­lastre­di­plexi-\nglas­di­sapore­vagamente­minimalista­(sono\naddossate­alla­parete­come­plank di­John\nMcCracken)­che­incastonano­i­due­speaker\nammiccano­alla­‘neo-materialità’­delle­opere\ndel­post-internet;­l’immagine­di­un­parco­cit-\ntadino,­applicata­sotto­il­plexiglass,­rivela­una\nsensibilità­generazionale­per­le­derive­disto-\npiche­dell’ecologia­–­oggi­diremmo­che­quel-\nl’immagine­è­squisitamente­ecocore;­e­inﬁne\ngli­speaker,­la­musica­house…­Quanti­si­sono\ntrovati­nell’area­d’azione­dell’opera­senza­riu-\nscire­a­soffocare­un­accenno­di­danza?\nBravissimi presenta­in nuce le­qualità­che\nandranno­a­connotare­gran­parte­delle­opere\nsuccessive­dell’artista.­In­primo­luogo­l’opera\ntradisce­un’affezione­per­i­prodotti­del­proto-\ndesign,­vale­a­dire­gli­articoli­da­Brico(lage),\ngli­accessori­per­cui­nell’intimità­di­un­garage\nil­fai­da­te­diventa­creazione,­proiezione­del\nsogno­suburbano­di­riscatto­sociale­(in­Bra-\nvissimi lo­speaker­è­non­a­caso­un­riferimento\nal­primo­‘momento’­di­customizzazione­del-\nl’automobile­del­teenager,­ovvero­il­potenzia-\nmento­dell’impianto­audio).­L’opera­inoltre\nsuggerisce­un’atmosfera,­o­perlomeno­una\nspazialità:­contribuisce­a­deﬁnire­un­ambiente\nche,­indipendentemente­dalla­presenza­o\nmeno­di­una­componente­musicale­(in­due\nopere­successive,­Tuning Tandem (Italia\n2011),­2012,­e­Maﬁa Island,­2013,­Agudio­col-\nlaborerà­con­il­duo­milanese­Primitive­Art\nper­la­produzione­di­tracce­musicali­ad­hoc),\no­dalla­sua­disposizione­come­una­suppellet-\ntile­in­un­interno­domestico­(la­mostra­Sleek\nLike a Slum,­organizzata­presso­lo­spazio­pro-\ngetto­Gasconade,­a­Milano,­nel­2012,­sarà­con-\nformata­come­una­living­room­di­un­fanto-\nmatico­giovane­professionista),­proietta­lo\nspettatore­in­un­altrove­più­o­meno­lontano\nnel­tempo­e­nello­spazio,­esotico,­futuribile.\nBravissimi inﬁne­è­un’opera­‘funzionale’­ma\nnon­interattiva:­è­un­dispositivo­che­‘intrap-\npola’­lo­spettatore­in­un­gesto­di­partecipa-\nzione,­lo­invita­in­una­performance,­per­im-\nmediatamente­metterla­in­discussione­in­virtù\ndel­suo­statuto­di­opera­d’arte.­\n24\nMaﬁa Island \u002F Maﬁe, \n2013, plexiglass, legno, acciaio, dimensioni variabili \u002F plexiglass, wood, steel, variable dimension \nCourtesy of the artist e \u002Fand Fluxia, Milano\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 24\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 25\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",26,{"image":110,"text":107,"number":111},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.27.png",27,{"image":113,"text":103,"number":114},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.28.png",28,{"image":116,"text":99,"number":117},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.29.png",29,{"image":119,"text":95,"number":120},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.30.png",30,{"image":122,"text":91,"number":123},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.31.png",31,{"image":125,"text":87,"number":126},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.32.png",32,{"image":128,"text":83,"number":129},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.33.png",33,{"image":131,"text":79,"number":132},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.34.png",34,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.35.png","MOROSO catalogo 224 pagine        2 BIANCA (2 sedicesimi)     USOMANO\n33\nAlessandro­Agudio\nNato­nel­1982­a­Milano,­dove­vive­e­lavora­\u002F­Born­in­1982­in­Milan,­where­he­lives­and­works\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2013\nThe Big Simon (con­\u002F­with­Lupo­Borgonovo),­\nABC­Art­Berlin­Contemporary,­Berlin­\nEl Khaki (con­\u002F­with­Lupo­Borgonovo),­Fluxia,­Milano\n2012\nSleek like a Slum,­Gasconade,­Milano\nHa ha, Machinator (con­\u002F­with­Davide­Stucchi),­\na­cura­di­\u002F­curated­by­M.­Tagliaﬁerro,­Plus­Design,­Milano\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­\nA.­Bruciati,­Esedra­di­Levante­-­Villa­Manin,­Passariano­(UD)\n2014\nThe Remains of the day,­a­cura­di­\u002F­curated­by­\nR.­Selvaggio,­Casa­Masaccio­Arte­Contemporanea,­San­Giovanni­Valdarno­(AR)\n2013\nCollapse,­Fluxia,­Milano\nOltremare,­a­cura­di­\u002F­curated­by­\nL.­Cerizza,­Galleria­Vistamare­Benedetta­Spalletti,­Pescara\nIF I WAS JOHN ARMLEDER (What a curator is not supposed to do),­a­cura­di­\u002F­curated­by­\nL.­Cerizza,­artgenève,­Genève\n2012\nFuoriclasse,­a­cura­di­\u002F­curated­by­L.­Cerizza,­GAM,­Milano\nPose Position,­Galerie­1m3,­Lausanne\nIl Pittore che fuggiva il vento,­Carte­Blanche­#6,­a­cura­di­\u002F­curated­by\nF.­Pagliuca,­Unicredits­Studios,­Milano\nQuadreria Contemporanea,­esposizione­di­design­dalla­Collezione­\u002F­exibition­design­\nof­Unicredit­collection,­Palazzo­Cordusio,­Milano\n2011\nAfter Prisma,­Villa­Romana,­Firenze\n99, 999999999999 %,­GUM­Studio,­Carrara\n2010\nHoookuurch\u002F3, Hoookuurch\u002F2, Hoookuurch\u002F1,­Galleria­Room,­Milano\nThere is no place like home – III episodio,­a­cura­di­\u002F­curated­by­\nA.­C.­Bleuer,­F.­Chiacchio,­S.­Errico,­Milano\nArmless Monkeys suck Bananas from the Bananos,­a­cura­di­\u002F­curated­by­\nMotel­Lucie,­GUM­Studio,­Carrara\nCrola,­Motel­Lucie,­Milano\nDue Doppie,­Motel­Lucie,­Milano\nFuori tutto,­Motel­Lucie,­Milano\nFuori Salone,­a­cura­di­\u002F­curated­by­Motel­Lucie,­Ventura\u002FLambrate,­Milano\nNuove, Vecchie Frontiere: gli Artists run Space,­a­cura­di­\u002F­curated­by\nM.­Farronato,­PAC,­Milano\n2009\nRun 1,­Galleria­Room,­Milano\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 33\nBarbara­Boiocchi\nSelected by La Veronica - Modica (RG)\nNata­nel­1980­\nad­Angera­(VA).­\nVive­e­lavora­\na­Bergamo­\u002F­\nBorn­in­1980­\nin­Angera­(VA).­\nLives­and­works­\nin­Bergamo\nTutto si muove, \n2014,\nPerformance \nin 8 atti \u002F\nin 8 acts\nKilometro Rosso, \nStezzano Bergamo\nPerformer: \ndipendenti della società\ndi consulenza Umania \u002F \nemployees, Umania \nConsulting Society\nCourtesy of the artist\n48\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 48\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",35,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.36.png","MOROSO catalogo 224 pagine        2 VOLTA (2 sedicesimi)     USOMANO\n34\nLa ricerca di Alis\u002FFilliol si focalizza\nsulla scultura nel suo senso più profondo, af-\nfrontandone cioè in modo esaustivo, proble-\nmatico e sperimentale ogni aspetto: dalle tec-\nniche ai processi, dai comportamenti dei\nmateriali alle dinamiche di percezione nello\nspazio. Ne scaturiscono sculture e installa-\nzioni dalle forme inusuali, dalle sembianze\napparentemente organiche e generalmente\nmonocrome. Fusione e neve persa è una serie\ndi sculture – nata dal 2008 – in cera e pig-\nmenti, in cui l’invenzione di una tecnica ine-\ndita è un punto essenziale. La tecnica – colare\ncera liquida in un corpo solido realizzato in\nneve attraversandolo con oggetti acuminati\nin modo da generare vuoti – è esemplare an-\nche di una metodologia di lavoro che prevede\nnecessariamente una collaborazione (o un\nconﬂitto) preordinata di coppia, coordinata\ne attiva. Ma, anche, la potenzialità inesorabile\ndell’errore (e quindi del fallimento dell’opera\nstessa in fase di realizzazione), condizione\nquasi necessaria nel lavoro di Alis\u002FFilliol. In-\nfatti, dal momento che la tecnica della ‘fusione\na neve persa’ si conﬁgura come un processo a\nquattro mani “alla cieca”, come un duetto,\nanche il risultato ﬁnale – cioè la forma e le\ndinamiche spaziali dell’opera – è del tutto\nnon-controllato e inaspettato. Ritratto di fan-\ntasma III (2011), in poliuretano, legno e ferro,\nnon è solo la riaffermazione di una sperimen-\ntazione in cui materiali inusuali vengono sot-\ntoposti a procedimenti tecnici tradizionali\n(come calco, fusione, modellato), ma anche\ninvenzione di una forma in cui precarietà e\ninstabilità sono postulati, e la provvisorietà\nuna norma. Fragile e solido, etereo e mate-\nriale, cangiante e deﬁnito, liquido e gassoso,\nintruso ed estruso, sono coppie oppositive che\ndialogano in Ritratto di fantasma III, e la cui\nnatura bifronte e dialettica rispecchia fedel-\nmente la contrapposizione e il confronto fra i\ndue corpi degli artisti stessi che le hanno dato\nforma. Mofocracy (2012), sembra incorporare\ndue anime, in cui le tecniche si mescolano e\nritrovano unite nell’uniformità del tono grigio\nmetallico della scultura. A seconda del punto\ndi vista, emergono aree modellate, aree colate\n(come riecheggiando le ‘espansioni’ di César,\nsostanzialmente colate di poliuretano) e che\ndeﬁniscono un immaginario in cui animale,\nuomo e materia organica viva, sembrano lot-\ntare in torsione per sfuggire all’estrusione, o\nper evitare una forza centripeta sensualmente\nintrusiva. In un’ideale genealogia, la ricerca\ndi Alis\u002FFilliol sembrerebbe attraversare l’ere-\ndità della scultura negativa del XX secolo\n(una scultura che non ha avuto luogo, o che\navviene in uno stadio molto precedente o de-\nﬁnitivamente posteriore – come di decadi-\nmento – dell’opera) e forzare percorsi intra-\npresi da artisti italiani di una generazione\nprecedente, come Simone Berti, Giuseppe\nGabellone, Diego Perrone, o Roberto Cuoghi.\nMofocracy, \n2014, poliuretano espanso, pigmenti, sabbia silicea, argilla, 450 x 200 x 200 cm \u002F\npolyurethane foam, pigments, silica sand, clay, 177 ¼” x 78 ½” x 78 ½” \nVeduta dell’installazione, ZOGO, Museo Ettore Fico, Torino, 2014 \u002F \nInstallation view, ZOGO, Museo Ettore Fico, Turin, 2014\nCourtesy of the artists e \u002F and Pinksummer, Genoa. Foto \u002F Photo: Beppe Giardino\nFinalist\nAlis\u002FFilliol\nSelected by P420 - Bologna\nVOLUMETTO 20 marzo corretto.qxp_Layout 1  23\u002F03\u002F15  09:16  Pagina 34\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 47\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",36,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.37.png","MOROSO catalogo 224 pagine        2 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 35\nRiccardo­Benassi\nSelected by Fluxia - Milano\nNato­nel­1982­a­Cremona,­vive­e­lavora­a­Berlino­\u002F­Born­in­1982­in­Cremona,­lives­and­works­in­Berlin\nTechno Casa - An Introduction To, \n2013, HD video still, prodotto da \u002F produced by Xing\nCourtesy the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 46\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",37,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.38.png","MOROSO catalogo 224 pagine        2 BIANCA (2 sedicesimi)     USOMANO\nThe Family (la coperta), \n2014, \nplastilina e materiali vari, 26 x 26 x 30 cm \u002F \nplasticine, various materials, \n10 ¼” x 10 ¼” x 11 ¾”\nCourtesy of the artists e \u002F and Pinksummer, Genova\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 36\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 45\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",38,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.39.png","MOROSO catalogo 224 pagine        2 BIANCA (2 sedicesimi)     USOMANO\n37\nL’urgenza­di­Alis\u002FFilliol­di­processare­la­tra-\ndizione­della­tecnica­scultorea­innesca­però\nnon­solo­un’originale­reinvenzione­di­tecniche,\nma­anche­una­chiamata­allo­spettatore­a­po-\nsture­inusuali,­spostamenti­di­baricentro:\nnuove­posture­in­cui­è­evidente­che­l’opera\ntradisce­e­forza­lo­spazio,­imponendo­valuta-\nzioni­instabili­delle­relazioni­peso\u002Fleggerezza,\npieno\u002Fvuoto,­ equilibrio\u002Fdisequilibrio,­ gra-\nvità\u002Fsua­assenza,­for-ma\u002Fnon­forma.\nTesto­tratto­da­\u002F­Text­taken­from­\nTerrazza. Artisti storie luoghi in Italia negli anni zero,­\ndi­\u002F­by Laura­Barreca,­Andrea­Lissoni,­\nLuca­Lo­Pinto,­Costanza­Paissan,­\nMarsilio­Editori,­Venezia­2014\nThe­research­of­Alis\u002FFilliol­focuses\non­sculpture­in­its­deepest­sense,­by­addres-\nsing­it­in­a­comprehensive,­problematic,­and\nexperimental­way­in­every­aspect­including\nthe­technical­processes,­the­behavior­of­the\nmaterials,­and­the­dynamics­of­perception­in\nspace.­They­create­sculptures­and­installa-\ntions­using­forms­with­unusual­shapes­that\nare­generally­organic­and­monochromatic.\nFusione e neve persa­is­a­series­of­sculptures,\ncreated­since­2008­in­wax­and­pigments,­in\nwhich­the­invention­of­an­unedited­technique\nis­an­essential­point.­The­technique—pouring\nliquid­wax­into­a­solid­body­made­of­snow\nand­crossing­it­with­a­sharp­object­to­generate\nvoids—is­also­exemplary­of­a­working­me-\nthodology­that­necessarily­involves­collabo-\nration­(or­conﬂict),­being­formed­by­the­co-\nordinated­act­of­two­people.­But,­of­course,\nthere­is­the­inexorable­potential­error­(and\nthus­the­failure­of­the­work­in­progress),­a\ncondition­almost­necessary­in­the­work­of\nAlis\u002FFilliol.­In­fact,­since­the­technique­of­the\n‘lost’­melting­snow­is­conﬁgured­as­a­process\nfor­four­‘blind’­hands,­like­a­duet,­the­ﬁnal\nresult—the­shape­and­spatial­dynamics­of\nthe­work—is­entirely­uncontrolled­and­unex-\npected.­Ritratto di fantasma III (2011),­made\nfrom­polyurethane,­wood,­and­iron,­is­not­only\nan­experiment­in­which­traditional­technical\nprocedures­(such­as­carving,­molding,­mo-\ndeling)­are­employed­on­unusual­materials,\nbut­also­the­invention­of­a­form­in­which­the\nunknown­and­the­unstable­are­givens,­and\nchance­is­the­norm.­Fragile­and­solid,­ethe-\nreal­and­material,­changing­and­deﬁned,­li-\nquid­and­gaseous,­intrusive­and­extruded—\nthese­opposing­pairs­form­the­dialogue­of\nRitratto di fantasma III,­whose­bisected­and\ndialectic­nature­reﬂects­the­conﬂict­and­con-\nfrontation­between­the­two­bodies­of­the­ar-\ntists­that­have­given­the­work­form.­Mofo-\ncracy (2012)­seems­to­incorporate­two­souls,\nin­which­the­techniques­mix­and­come­toge-\nther­in­the­uniformity­of­the­gray­metal­tone\nof­the­sculpture.­Depending­on­your­point­of\nview,­ emerging­ modeled­ and­ cast­ areas\n(echoing­the­‘expansion’­of­César,­essentially\ncast­in­polyurethane)­deﬁne­an­image­in\nwhich­animal,­man,­and­living­organic­matter\nseem­to­struggle­in­torsion­in­order­to­evade\nextrusion,­or­to­prevent­a­sensual­centripetal\nintrusive­force.­In­an­ideal­genealogy,­the­re-\nsearch­of­Alis\u002FFilliol­seems­to­emerge­from\nthe­legacy­of­negative­sculpture­of­the­twen-\ntieth­century­(sculpture­that­did­not­have­a\nlocation,­or­that­took­place­in­a­much­earlier\nor­deﬁnitively­regressive,­almost­decayed,\nstage­of­the­work),­and­forge­paths­taken­by\nItalian­artists­of­a­previous­generation­such\nas­Simone­Berti,­Giuseppe­Gabellone,­Diego\nPerrone,­ or­ Roberto­ Cuoghi.­ The­ urge­ of\nAlis\u002FFilliol­to­reprocess­the­tradition­of­scul-\nptural­technique­begins­however­not­only­in\nthe­reinvention­of­methodology,­but­also­is­a\ncall­to­the­spectator­to­observe­unusual­forms,\ndisplacements­of­the­center­of­gravity,­and\nnew­postures­in­which­it­is­clear­that­the\nwork­betrays­and­forces­space­by­imposing\nunstable­assessments­of­the­relationships­bet-\nween­heavy\u002Flight,­full\u002Fempty,­equilibrium\u002Fim-\nbalance,­ gravity\u002Fweightlessness,­ and­ sha-\npe\u002Fformlessness.­\nAndrea Lissoni\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 37\nFrancesco­Barocco\nSelected by Tucci Russo - Torre Pellice (TO)\nNato­nel­1972­a­Susa­(TO).­Vive­e­lavora­a­Torino­\u002F­Born­in­1972­in­Susa­(TO),­lives­and­works­in­Turin­\nSenza Titolo, \n2014, terracotta, graﬁte, legno, oggetti dipinti, h. 39 x 35 x 50 cm \u002F \nclay, graphite, wood, painted objects, 15 ½” x 13 ¾” x 19 ¾”\nCourtesy of the artist e \u002F and Norma Mangione, Torino\n44\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 44\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",39,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.40.png","MOROSO catalogo 224 pagine        2 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 38\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 43\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",40,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.41.png","MOROSO catalogo 224 pagine        2 VOLTA (2 sedicesimi)     USOMANO\nplastilina e legno, 40 x 36 x 152 cm \u002F \nplasticine, wood, 15 ¾” x 14 ¼” x 59 ¾”\nCourtesy of the artists e \u002F and Pinksummer, Genova\nFoto \u002F Photo: Sebastiano Pellion\n39\nFusione a neve persa IV, \n2010,\nalluminio, 63 x 63 x 90 cm \u002F \naluminum, 24 ¾” x 24 ¾” x 35 ½”\nCourtesy of the artists e \u002F and Pinksummer, Genova\nFoto \u002F Photo: Roberto Marossi\nThe Family (mom), \n2014, \nMofoBOG, \n2013, \npoliuretano espanso, \npigmenti, sabbia silicea, \nargilla, \n700 x 350 x 150 cm \u002F \npolyurethane foam, \npigments, silica sand, clay,\n275 ¾” x 137 ¾” x 59”\nVeduta della mostra, Greater Torino,\nFondazione Sandretto Re Rebaudengo,\nTorino, 2013 \u002F \nExhibition view, Greater Torino, \nSandretto Re Rebaudengo Foundation,\nTurin, 2013\nCourtesy of the artists e \u002F \nand Pinksummer, Genova\n                       Mofo, \n                     2012,\npoliuretano espanso, pigmenti, sabbia silicea, argilla, \n370 x 150 x 100 cm \u002F \npolyurethane foam, pigments, silica sand, clay, \n145 ¾” x 59 x 39 ½”\nVeduta della mostra, \u002F Exhibition view, \nOgni cosa a suo tempo. Navid Nuur, Alis\u002FFilliol, \nBasilica di Santa Maria Maggiore, Bergamo, 2012 \u002F \nCourtesy of the artists e \u002F and Pinksummer, Genova\nFoto \u002F Photo: Saverio Tonoli\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 39\nFrancesco­Arena\nSelected by Francesca Minini - Milano\nNato­nel­1978­a­Mesagne­(BR),­vive­e­lavora­a­Cassano­delle­Murge­(BA)­\u002F­\nBorn­in­1978­in­Mesagne­(BR),­lives­and­works­in­Cassano­delle­Murge­(BA)\nCabin around studio around pillar, \n2014, metallo, 532 x 395 x 4 cm \u002F metal, 209 ½” x 155 ½” x 1 ½”\nCourtesy of the artist e \u002F and NoguerasBlanchard, Madrid-Barcelona\nFoto \u002F Photo: Roberto Ruiz\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 42\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",41,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.42.png","MOROSO catalogo 224 pagine        2 BIANCA (2 sedicesimi)     USOMANO\nFratelli, \n2014, \ngrasso industriale, cera e ferro, 210 x 40 x 40 cm ciascuna \u002F\nindustrial grease, wax, iron, 82” x 15 ¾” x 15 ¾”\nVeduta della mostra, Keep It Real, Ventura XV, Milano, 2014 \u002F \nExhibition view, Keep It Real, Ventura XV, Milan, 2014\nCourtesy of the artists e \u002F and Pinksummer, Genova\nFoto \u002F Photo: Andrea Rossetti\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 40\n \n \n \n \n  \n \n  \n  \n \n \n \n \n \n \n \n   \n   \n \n \n \n  \n \n \n \n \n  \n \n \n  \n \n \n \n \n  \n \n   \n \n \n  \n \n \nAlis\u002FFilliol\nAndrea­Respino­nato­nel­1976­a­Mondovì­(CN);­Davide­Gennarino­nato­nel­1979­a­Pinerolo­(TO).­\nVivono­e­lavorano­a­Torino­\u002F­Andrea­Respino­was­born­in­1976­in­Mondovì­(CN);­\nDavide­Gennarino­was­born­in­1979­in­Pinerolo­(TO).­They­live­and­work­in­Turin\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2014\nZOGO,­Museo­Ettore­Fico,­Torino­\nVitrine,­a­cura­di­\u002F­curated­by A.­Musini,­GAM,­Torino­\n2013\nFondazione­Rossini,­Briosco­(MB)­\nGreater Torino,­a­cura­di­\u002F­curated­by­I.­Calderoni,­M.­T.­Roberto,­Fondazione­Sandretto­Re­Rebaudengo,­Torino­\nGrand Trou,­a­cura­di­\u002F­curated­by­B.­Carpi­De­Resmini,­Ex­Elettrofonica,­Roma­\nGoodbye,­DNA­Project­Box,­Venezia­\n2012\nCheck your totem,­Pinksummer,­Genova­\nOgni cosa a suo tempo (Alis\u002FFilliol, Navid Nuur),­a­cura­di­\u002F­curated­by­\nS.­Raimondi,­M.­Zanchi,­Basilica­di­Santa­Maria­Maggiore,­Bergamo­\n2010\nCalco di due corpi in movimento nello spazio,­a­cura­di­\u002F­curated­by­B.­Foschini,­Cripta­747,­Torino­\nTesta di sirena urlante,­MARS,­Milano­\nPieeeeetraaaaaaaaaa!,­a­cura­di­\u002F­curated­by­R.­Leotta,­GUM Studio,­Carrara­\nPaesaggi a scavare_Campo volo,­a­cura­di­\u002F­curated­by­C.­Fossati,­blank,­Torino­\nPrincipali mostre collettive \u002F Selected Group Exhibitions \n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­A.­Bruciati,\nEsedra­di­Levante­-­­Villa­Manin­,­­Passariano­(U­D­)\n2014\nLe statue calde. Scultura corpo-azione, 1945- 2013,­a­cura­di­\u002F­curated­by­S.­Menegoi,­Museo­Marino­Marini,­Firenze­\nKilling Floor II,­a­cura­di­\u002F­curated­by­C.­Fossati,­e\u002Fstatic-blank,­Torino­\nI bafﬁ del bambino,­a­cura­di­\u002F­curated­by L.­Bertolo,­Lucie­Fontaine,­Milano­\nKeep It Real,­Ventura­XV,­Milano­\n2013\nPostclassici,­a­cura­di­\u002F­curated­by­V.­Trione,­Foro­Romano,­Roma­\nRelazioni reciproche,­a­cura­di­\u002F­curated­by­C.­Santeroni,­Porta­Sant’Agostino,­Bergamo­\nOsmosis,­progetto­della­\u002F­a­project­by­Luiss­Mater­of­art,­Stazione­Tiburtina,­Roma­\n2012\nVersus XVIII,­a­cura­di­\u002F­curated­by­F.­Referza,­Velan­center,­Torino­\nVenti per una,­a­cura­di­\u002F­curated­by­M.­Corgnati,­Castiglia,­Saluzzo­e­Museo­de­Arte­Contemporáneo,­La­Plata­\nNeve chimica,­progetto­della­\u002F­a­project­by­Fondazione­Sandretto­Re­Rebaudengo­su­idea­di­\u002F­on­an­idea­by\nL.­Balbi,­Casa­Olimpia,­Sestriere­(TO)\nLong Play,­XXIV­Edizione­Premio­Nazionale­Arti­Visive,­MAGA,­Gallarate­(VA)­\n2011\nCeci n’est pas du Cinema!,­a­cura­di­\u002F­curated­by­M.­Beccaria,­A.­Bellini,­F.­Bernardelli,­B.­Merz,­M.­Vecellio,­\nCastello­di­Rivoli­in­collaborazione­con­\u002F­in­collaboration­with­Cinema­Massimo,­Torino­\nAzimut,­a­cura­di­\u002F­curated­by­A.­Ginaldi,­DolomitiContemporanee,­Sass­Muss­(BL)\nPosso errare ma non di core. Passato prossimo e futuro anteriore dell’Italia,­a­cura­di­\u002F­curated­by­\nA.­Bruciati,­GC.AC,­Monfalcone­(GO)\nDel povero B.B.,­a­cura­di­\u002F­curated­by­B.­Foschini,­GUM­Studio,­Carrara­\nPleure qui peut, rit qui veut_,­Premio­Furla­per­l’Arte,­VIII­edizione,­Palazzo­Pepoli,­Bologna­\n2010\nFort\u002Fda,­a­cura­di­\u002F­curated­by­Alis\u002FFilliol,­CARS,­Omegna­(VB)\nA as Stone,­a­cura­di­\u002F­curated­by­M.­Lanavère,­S.­Menegoi,­SpazioA,­Pistoia­\nTitolo Grosso,­Cripta747,­Torino­\n2008\nNo Location, Relocation,­a­cura­di­\u002F­curated­by­M.­Farronato,­A.T.­Kearney,­Milano­\n41\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 41\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",42,{"image":166,"text":163,"number":167},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.43.png",43,{"image":169,"text":159,"number":170},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.44.png",44,{"image":172,"text":155,"number":173},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.45.png",45,{"image":175,"text":151,"number":176},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.46.png",46,{"image":178,"text":147,"number":179},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.47.png",47,{"image":181,"text":143,"number":182},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.48.png",48,{"image":184,"text":139,"number":185},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.49.png",49,{"image":187,"text":135,"number":188},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.50.png",50,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.51.png","MOROSO catalogo 224 pagine        2 BIANCA (2 sedicesimi)     USOMANO\n49\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 49\nVeduta della mostra presso lo spazio Tile, Milano, 2014 \u002F \nExhibition view at Tile, Milan, 2014\nCourtesy of the artist e \u002F and SpazioA, Pistoia\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 64\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",51,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.52.png","MOROSO catalogo 224 pagine        2 VOLTA (2 sedicesimi)     USOMANO\nDavide­Bramante\nSelected by La Veronica - Modica (RG)\nNato­nel­1970­a­Siracusa,­dove­vive­e­lavora­\u002F­Born­in­1970­in­Siracusa,­where­he­lives­and­works\nMy own rave, Roma (Oro), \n2010, foto a colori non digitale, realizzata con la tecnica \ndelle esposizioni multiple in fase di ripresa, 100 x 150 cm\u002F \nnon-digital color photo, made with the technique of multiple exposures during shooting, 39 ¼” x 59”\nCourtesy of the artist e \u002F and Studio La Città, Verona\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 50\n63\nProﬁlo di Clio (terra-terra),\n2014, poliestere, argilla, ferro, cm 10 x 180 x 30 \u002F \nPolyester, clay, iron, 3 ¾” x 70 ¾” x 11 ¾”\nCourtesy of artist e \u002F and SpazioA, Pistoia\nMezzobusto, \n2014, poliestere, polvere di marmo, argilla, \ncm 65 x 50 x 37 \u002Fpolyester, murble dust, clay, \n25 ½” x 19 ¾” x 14 ½”. Courtesy of artist e \u002F and SpazioA, Pistoia\nAlmost Invisible #5, \n2014, plastica, 68 x 50 x 50 cm \u002F \nplastic, 26 ¾” x 19 ¾” x 19 ¾” \nCourtesy of artist e \u002F and SpazioA, Pistoia\nBianco bagnato, \n2014, poliestere, polvere di marmo, argilla, \n30 x 35 x 30 cm \u002F \npolyester, marble dust, clay, \n11 ¾” x 13 ¾” x 11 ¾”\nCourtesy of artist e \u002F and SpazioA, Pistoia\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 63\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",52,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.53.png","MOROSO catalogo 224 pagine        2 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 51\nFinalist\nGiulia­Cenci\nSelected by Fluxia - Milano\n62\nIl­lavoro­di­Giulia­Cenci­è­incentrato\nsoprattutto­sulla­scultura,­ma­non­solo,­per-\nché­porta­avanti­con­costanza­la­pratica­del\ndisegno,­e­non­disdegna­talvolta­gli­altri­lin-\nguaggi­ adisposizione­degli­artisti­di­oggi.\nLe­sue­opere­sono­quasi­sempre­legate­a\nsemplici­oggetti­della­vita­quotidiana­o­a\nparticolari­dettagli­spaziali­e­architettonici,\nmantenendo­almeno­un­piede­all’interno\ndella­funzione­rappresentativa­dell’opera.\nSono­lavori­che­‘stanno­per’;­un­secchio,­una\nsedia,­un­tubo,­un­elemento­architettonico.\nIl­referente­è­solamente­un­punto­di­par-\ntenza­da­cui­poi­l’artista­si­allontana­ren-\ndendo­l’opera­uno­strano­oggetto­autonomo,\ntra­ﬁgura­e­astrazione.­Nell’ultimo­periodo\nle­sue­sculture­si­sono­divise­in­due­modalità\nlavorative­opposte.­Una­serie­è­realizzata­at-\ntraverso­diversi­passaggi­che­si­sovrappon-\ngono­partendo­dal­calco­di­un­oggetto­iniziale\nche­serve­come­matrice­base.­In­ogni­fase\nl’artista­interviene­alterando­in­maniera\nlenta­ma­signiﬁcativamente­percepibile­sia\nle­forme­che­di­volta­in­volta­si­ottengono,\nsia­la­superﬁcie­delle­stesse,­rendendo­la\nscultura­ﬁnale­una­realtà­fantasmatica­dalla\npelle­tremolante­e­incerta.­Il­materiale­pre-\ndiletto­per­quest’ultima­serie­di­lavori­è­una\nresina­talvolta­lattiginosa­e­opaca,­talvolta\ntrasparente­e­vetrosa.\nLa­serie­parallela­è­invece­realizzata­‘in­le-\nvare’,­sempre­partendo­da­oggetti­trovati,\nspesso­di­materiale­plastico,­su­cui­viene­ope-\nrato­un­intervento,­principalmente­con­una\nmola,­ﬁno­ad­ottenere­delle­strutture­quasi\nbidimensionali­che­continuano­a­comporre­e\nrichiamare­l’oggetto­di­partenza.­Due­modi\nopposti­per­ottenere­dei­risultati­che­solo­a\nuno­sguardo­superﬁciale­risultano­simili.­A\nqueste­si­afﬁancano­disegni­che­possono­ri-\ntrarre­soggetti­come­i­nuovi­grattacieli­sorti\na­Milano,­tracciati­debolmente­su­carta­car-\nbone,­o­i­riﬂessi­dell’acqua­deﬁniti­con­pochi\nsegni­di­matita­bianca­su­carta­da­lucido.\nCosì­come­video­che­mimano­la­staticità­di\nuna­fotograﬁa,­o­interventi­resi­solo­con­la\npresenza­di­una­fonte­luminosa.­\nUno­degli­aspetti­più­interessanti­è­proprio­il\nsuo­essere­una­scultrice­e­un’artista­nel­senso\npiù­classico­del­termine,­a­differenza­di­molti\nsuoi­coetanei.­Ci­troviamo­in­un­momento­in\ncui­ molti­ giovani­ artisti­ lavorano­ con­ lo\nsguardo­volto­all’indietro,­rielaborando­lavori\ndi­artisti­delle­generazioni­precedenti,­muo-\nvendosi­di­mostra­in­mostra­modiﬁcando­com-\npletamente­le­loro­opere­e­i­loro­riferimenti,\nrendendosi­in­tal­modo­irriconoscibili.\nIl­lavoro­di­Giulia­oppone­una­resistenza­a\ntutto­questo.­In­lei,­come­in­alcuni­altri­ar-\ntisti­della­sua­generazione,­noto­una­sorta\ndi­sano­germe­barbarico­di­possibili­ripar-\ntenze­nell’immediato­futuro.­Come­nelle\nopere­della­Cenci,­c’è­una­sorta­di­opzione\ntabula­rasa­e­allontanamento­dalla­corrente\ngenerale,­per­lavorare­con­tempi­e­modalità\ndifferenti.­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 62\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",53,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.54.png","MOROSO catalogo 224 pagine        2 BIANCA (2 sedicesimi)     USOMANO\n52\nFinalist\nAlice­Cattaneo\nSelected by Tucci Russo - Torre Pellice (TO)\nPomodoro e suono. \nL’opera di Alice Cattaneo\nL’opera­di­Alice­Cattaneo,­almeno­ﬁno­ad\noggi,­si­esprime­a­due­livelli:­l’intervento­pla-\nstico­nello­spazio­e­il­lavoro­sull’immagine\nvideo.­In­tutti­e­due­i­casi­l’artista­compie\nuna­sﬁda,­nel­senso­che­l’opera­stessa­si­im-\npegna­a­raggiungere­un­limite,­e­di­farlo­in-\ntravedere­allo­spettatore.­Questo­limite­ri-\nguarda­sia­la­ﬁsica,­statica­o­dinamica,­il\nrapporto­della­scultura­con­lo­spazio,­i­rap-\nporti­di­equilibrio­fra­corpi,­sia­la­logica,­e\nper­conseguenza­la­produzione­del­senso.­In\ntutti­i­casi,­Cattaneo­fa­ricorso­ad­una­sorta\ndi­strategia­della­debolezza:­materiali­fragili\ne­piccole­dimensioni,­sequenze­video­molto\nsemplici­e­soprattutto­brevissime.­Spazio­e\ntempo,­questi­due­moloch­tematici­che­di­so-\nlito­fanno­spendere­somme­energie­per­farsi\ndeﬁnire­teoricamente,­sono­affrontati­utiliz-\nzando­pochi­mezzi,­ma­con­una­decisione­e\nprecisione­di­intenti­che­fa­di­quella­debo-\nlezza­una­forza.­Una­forza,­precisiamo,­capace\ndi­dare­un­contributo­teorico­non­banale­a\nquelle­deﬁnizioni,­partendo­dai­fenomeni­più\nimmediati­e­dalla­pura­sensibilità­che­li­sti-\nmola­e­li­pone­all’attenzione­dell’analisi.\nLo­spazio­è­sempre­indagato­a­partire­dalle\nsue­caratteristiche­speciﬁche.­Sono­rare­le\nsculture­di­Cattaneo­che­ne­prescindano­to-\ntalmente,­e­si­riducono­allora­alla­dimensione\nminima­di­un­manufatto­che­può­stare­in­una\nmano,­un­episodio­plastico­portatile­che­può\nscomparire­fra­gli­altri­oggetti­presenti­in­un\nambiente,­e­che­ridiventa­scultura­se­consi-\nderato­in­relazione­al­corpo,­alla­mano­che\nlo­sorregge.­Nella­maggior­parte­dei­casi,­la\nscultura­si­identiﬁca­con­l’installazione­am-\nbientale,­ piuttosto­ complessa­ struttural-\nmente­e­perciò­visivamente­impegnativa.­\nDiciamo­meglio,­la­scultura­diventa­prolife-\nrazione­nello­spazio­di­elementi­che­l’occhio\ndell’osservatore­vede­combinati­nei­modi­più\ndiversi,­ma­sempre­in­base­a­regole­strutturali\ne­compositive­chiare,­chiaramente­percepibili\ne­quindi­in­fondo­semplici.­L’occhio­dell’os-\nservatore­in­un­certo­senso­‘apprende’­come\nl’opera­è­fatta­semplicemente­osservandone\nlo­sviluppo,­l’andamento­nell’ambiente,­le­sue\nstravaganti­modalità­di­occuparlo.­La­natura\ndel­lavoro­implica­questa­apertura­all’inda-\ngine,­l’opera­è­‘aperta’­nel­senso­che­l’artista\nesplicitamente­tratta­i­suoi­materiali­come\ngli­elementi­di­una­messa­in­scena­in­cui\ntutti­i­meccanismi­vengono­rivelati­nel­mo-\nmento­in­cui­si­rendono­operativi:­come­nel\nteatro­epico­di­Brecht,­dove­non­vige­alcun\nillusionismo,­alcun­mistero.­L’opera­rivela­in\nogni­momento­la­sua­grammatica­interiore.­\nLa­complessità­dell’opera­è­la­stessa­che­tro-\nviamo­nella­struttura­delle­cose,­della­realtà\nstessa,­intesa­come­orizzonte­esperienziale,\nil­quale­comprende­il­microcosmo­invisibile\nUntitled, \n2013, rete metallica, foglio di acetato, legno, ﬁl di ferro, fascette per cablaggio, 120 x 90 x 45 cm \u002F\niron netting, acetate ﬁlm, wood, metal wire, cable ties, 47 ¼” x 35 ½” x 17 ¾”\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 52\n61\nL’elogio della Semplicità - un carattere dell’Arte Contemporanea, a­cura­di­\u002F­curated­by\nG.­Verzotti, Palazzo delle­Stelline, Milano\n2009\nFragile, Terres d’Empathie, a­cura­di­\u002F­curated­by\nL.­Hegyi, Musée d’Art Moderne de Saint-Etienne,­Saint-Etienne; The­Daejeon­Museum of Art, Daejeon\nProjector, a­cura­di­\u002F­curated­by A.­Bellaran,­L.­Welch,­FOUR, Dublin\nLago Film Fest, Revine Lago (TV)\nNew Italian Epic, a­cura­di­\u002F­curated­by­A. Bruciati, Brown Project Space, Milano\nEmerging Talents, Nuova Arte Italiana,­a­cura­di­\u002F­curated­by­F.­Nori,­Strozzina­CCC­-­Palazzo­Strozzi,­Firenze\n                     Italics. Arte italiana fra tradizione e innovazione, 1968-2008,­a­cura­di­\u002F­curated­by­F.­Bonami,­Chicago­(USA)­[it.­ex.]\n2008\nItalics, Italian Art between Tradition and Revolution, 1968-2008,­a­cura­di­\u002F­curated­by­\nF.­Bonami,­Palazzo­Grassi,­Venezia­[it.­ex.]\n3rd Biennial of Young Artists,­a­cura­di­\u002F­curated­by­A.­Barak,­Bucharest\nSoft Cell: dinamiche nello spazio in Italia,­a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO)\nXV Quadriennale di Roma,­a­cura­di­\u002F­curated­by­C.­Bertola,­L.­Canova,­B.­Corà,­D. Lancioni, L.­Canova,\nPalazzo delle­Esposizioni, Roma\nVIDEO.IT, a­cura­di­\u002F­curated­by F.­Bernardelli, M.­Gorni, S.­Lacagnina, F.­Poli,­Accademia Albertina, Torino\nSporgersi Prego, Galerie Lange und Pult, Zurich\nThe Mystical, the Scatological and the Occult, a­cura­di­\u002F­curated­by C.­Lin, Monte Vista, Los Angeles\n2007\nWar, Peace and Ecstasy, a­cura­di­\u002F­curated­by C. Alemani, Artissima, Torino\nNessuna paura, a­cura­di­\u002F­curated­by M.­Bazzini,­Centro per l’Arte Contemporanea Luigi Pecci, Prato\nLe Trame di Penelope, a­cura­di­\u002F­curated­by E.­Zanella, MAGA,­Gallarate­(VA)­\nApocalittici e integrati, Utopia nell’arte italiana di oggi, a­cura­di­\u002F­curated­by­P.­Colombo, MAXXI, Roma\nOn mobility, Premio Furla per l’Arte, a­cura­di­\u002F­curated­by C.­Bertola, G.­Maraniello, Villa delle Rose, Bologna\n2006\nGenerazioni Rigenerazioni - Arte nell’età dei conﬂitti ininterrotti, Biennale Arti Visive di­La Spezia,­\na­cura­di­\u002F­curated­by­B.­Corà,­CAMeC, La Spezia\nOutlook - Panorama italiano, a­cura­di­\u002F­curated­by L.­Fassi, Palazzo Bricherasio, Torino\nFragmented Show, a­cura­di­\u002F­curated­by­A.­Daneri,­C.­Pietroiusti,­R.­Pinto, Fabbrica del Vapore, Milano\nvideoREPORT ITALIA 04_05, a­cura­di­\u002F­curated­by A.­Bruciati, GC.AC, Monfalcone­(GO)\nLa Giovine Italia, a­cura­di­\u002F­curated­by R.­Barilli, Lo Spazio d’Arte, Gambettola­(FC); Pinacoteca Nazionale,­Bologna\nAbstract Art Now: Strictly Geometrical?, a­cura­di­\u002F­curated­by T.­Kiefer,­L.­von Mengden,­­\nWilhelm-Hack-Museum,­Ludwigshafen\nOK.Quoi?! Faucet Media Arts Centre &­Struts Gallery, Sackville, New Brunswick\nIt’s the little things, Back to the Picture Gallery, San Francisco\nVideopassages, a­cura­di­\u002F­curated­by M.­Gorni,­S.­Bordone, C\u002FO Careof, Milano\nSupermegadrops 2, a­cura­di­\u002F­curated­by C.­Agnello, M.­Gorni, F.­Poli, E.­Volpato, CRAC, Cremona\nPremiata Ofﬁcina Trevana 2006, a­cura­di­\u002F­curated­by M.­Coccia,­M.­Predicatori, Trevi Flash Art Museum, Trevi­(PG)\nManomettere, Strategie per un’Estetica del Precario, a­cura­di­\u002F­curated­by\nD.­Lotta, Galleria Comunale d’Arte,­Castel San Pietro Terme­(BO)\n2005\nFragile, a­cura­di­\u002F­curated­by G.­Romano, Analix Forever, Genève\nVideo.it\u002FContrappunti, a­cura­di­\u002F­curated­by N.­Casorati, M.­Gorni, F.­Poli,­E.­Volpato, Circolo degli Artisti, Torino\nIdiozie Soﬁsticate, a­cura­di­\u002F­curated­by G. Gianuizzi, neon>campobase, Bologna\nVorticanti, a­cura­di­\u002F­curated­by I.­Bonacossa,­C.­Laubard, Maze, Torino\n2004\nCalifornia Masters, Works, San José\nFIAV 04-Festival d’Image Artistique Video, Centro Culturale Francese­\u002F­French­Cultural­Centre, Milano;\nC\u002FO Careof, Milano\n2003\nLanding, Southern Exposure, San Francisco\nThe Murphy Fellowship Award, San Francisco Art Commission Gallery, San Francisco\n21st Century Video Art, Artists Television Access, San Francisco\n2002\nCreative City, Library of San Francisco Planning and Urban Research, San Francisco\nSomething Haptic, Intermedia Gallery, Glasgow\nThe Dirt of Love, Transmission Gallery, Glasgow\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 61\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",54,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.55.png","MOROSO catalogo 224 pagine        2 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 53\n60\n­Alice­Cattaneo\nNata­nel­1976­a­Milano,­dove­vive­e­lavora­\u002F­Born­in­1976­in­Milan,­where­she­lives­and­works\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2013\nNothing quite ﬂat and more round, Romer Young Gallery, San Francisco\n2012\nContrapositive (con­\u002F­with Fred Sandback), Galerie Stadtpark, Krems\n2011\nGalleria Suzy Shammah, Milano\n2009\nPremio New York (con­\u002F­with­Salvatore­Arancio), International Studio and Curatorial Program, New York\nProject room, Galerie Christine Koenig, Vienna\n2008\nGalleria Suzy Shammah, Milano\nMADRE, Napoli\n2007\nAlice Cattaneo,­a­cura­di­\u002F­curated­by J.Watkins,­Ikon Gallery, Birmingham\nProgetto­speciale­\u002F­Special Project, Art Forum Berlin\n2006\nAnalix Forever, Genève\n2005\nGalleria Suzy Shammah, Milano\nMicro-Macro, a cura di \u002F­curated­by­E.­Di­Raddo, Tufano Studio25, Milano\nC\u002FO Careof, Fabbrica del Vapore, Milano\n2004\nConcrete Particularities, Mission17, San Francisco\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­\nA.­Bruciati,­Esedra­di­Levante­-­Villa­Manin,­Passariano­(UD)\n2014\nCArD Contemporary Art & Design,­a­cura­di­\u002F­curated­by­\nC.­Baldacci,­P.­Baldacci,­D.­Volpi,­Pianello,­Val­Tidone­(PC)\nRitratto dell’Artista da Giovane,­a­cura­di­\u002F­curated­by­M.­Beccaria,­Castello­di­Rivoli,­Rivoli­(TO)\nEquilibri, a­cura­di­\u002F­curated­by­L.­Cherubini,­E.­Fiorentini,­Galleria­Erica­Fiorentini,­Roma\nNon-Proﬁt & Proﬁt,­SpazioA,­Pistoia\n2013\nAutoritratti. Iscrizioni del Femminile nell’Arte Italiana Contemporanea,\nsezione­a­cura­\u002F­section­curated­by­di­F.­Pasini,­Museo d’Arte Moderna Bologna\nArte in memoria, a­cura­di­\u002F­curated­by A. Zevi, Sinagoga di­Ostia Antica, Roma\n2012\nPerforming Structures, a­cura­di­\u002F­curated­by S.­Simoncelli, Wascherei Kunstverein, Zurich\nThe Unseen, The Fourth Guangzhou Triennial, a­cura­di­\u002F­curated­by­\nJ.­Watkins,­Guangdong Museum of Art, Guangzhou\nPeriplo della Scultura Italiana Contemporanea 3, a­cura­di­\u002F­curated­by G.­Appella, MUSMA, Matera\nCollaboration, a­cura­di­\u002F­curated­by­San Rocco Magazine, 13. Biennale­di­Architettura, Venezia\nSegni e (non) sogni. Sperimentalismi e astrazioni, ieri e oggi, a­cura­di­\u002F­curated­by G. Verzotti, MiArt, Milano\nItalian Genius Now,­a­cura­di­\u002F­curated­by­M. Bazzini,­Centro per l’Arte Contemporanea Luigi Pecci, Prato;­\nSantander­Cultural, Porto Alegre [it.­ex.]\nCeci n’est Pas du Cinema! Rivoli al Cinema, a­cura­di­\u002F­curated­by M.­Beccaria, Cinema Massimo, Torino\n2011\nArte essenziale, un­progetto­di­\u002F­a­project­of­F.­Ferrari, Collezione Maramotti, Reggio Emilia;\nFrankfurter Kunstverein,­Frankfurt\nBiennale Giovani Monza, Villa Reale, Monza\n2010\nLa scultura Italiana del XXI Secolo, a­cura­di­\u002F­curated­by­M.­Meneguzzo, F.­Pomodoro, Milano\nTerre Vulnerabilli, a­cura­di­\u002F­curated­by C.­Bertola,­A.­Lissoni, Hangar Bicocca, Milano\nRoaming. Heterotopias, a­cura­di­\u002F­curated­by A.­Castiglioni, Musée Cantonal des Beaux-Arts,­Lausanne\nNegotiations - The Second Today’s Documents 2010, a­cura­di­\u002F­curated­by J.­Watkins, Today Art Museum, Beijing\nItalian Genius – Casa Dolce Casa, a­cura­di­\u002F­curated­by\nM.­Bazzini, Centro per l’Arte Contemporanea Luigi Pecci,­Expo Shangai;\nKaohsiung Museum of Fine Arts,Taiwan; Taichung Creative and Cultural Park, Taiwan­[it.­ex.]\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 60\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",55,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.56.png","MOROSO catalogo 224 pagine        2 VOLTA (2 sedicesimi)     USOMANO\n54\nquanto­l’universo,­si­instaura­di­fatto­a­partire\nda­una­semplicità­che­si­complica­per­ripeti-\nzione­e­permutazione­delle­sue­regole­co-\nstruttive,­dei­suoi­nessi­strutturali­sempre\nagenti­e­sempre­evidenti.[…]\nLudico­è­un­attributo­che­forse­si­può­asse-\ngnare­al­lavoro­video­di­Cattaneo,­perché­ser-\npeggia­nelle­sue­immagini­un­sottile­umori-\nsmo­che­nasce­dagli­incontri­imprevisti­fra\ngesti­dimessi­e­oggetti­quotidiani,­nell’intento\ndi­creare­quelle­che­possiamo­deﬁnire­micro-\nstorie,­minime­strutture­narrative.­Una­prima\nserie­di­lavori­viene­presentata­come­un­uni-\ncum:­13 video,­ciascuno­della­durata­di­un\nminuto­e­poco­più.­Qui­l’intuizione­visiva­che\nfa­propendere­per­una­particolare­immagine\no­minima­sequenza­si­accompagna­ad­un­la-\nvoro­estremamente­semplice­di­post-produ-\nzione,­che­si­concentra­soprattutto­sul­sonoro.\nVisivo­e­sonoro­forniscono­l’uno­una­dram-\nmatizzazione­dell’altro­vivendo­però­una­fun-\nzione­straniante­l’uno­rispetto­all’altro.­[…]\nGiuseppe­Penone­ha­iniziato­il­suo­lavoro­di\nrideﬁnizione­della­scultura­a­partire,­anche,\ndalla­terra­che­resta­nelle­unghie­quando­si\nscava,­tematizzando­precisamente­queste\nazioni­elementari­e­introducendole­nell’am-\nbito­aulico­dei­processi­artistici.­Alice­Catta-\nneo­parte­dallo­stesso­presupposto,­e­lega­la\nscultura­e­il­suo­linguaggio­al­processo­di­tra-\nsformazione,­al­divenire,­al­movimento,­che\nagisce­direttamente­negli­spazi­e­che­inventa\ne­registra­in­video.­\nIn­ambedue­i­casi,­l’opera­si­pone­come­rela-\nzione fra­sé­e­l’altro­da­sé.­Nel­lavoro­di­Cat-\ntaneo­­la­scelta­della­micro-dimensione­come\nterritorio­d’azione,­della­debolezza­come­stra-\ntegia­dell’aprirsi­all’altro­come­scelta­opera-\ntiva,­viene­attuata­con­singolare­immedia-\ntezza­e­radicalità,­perché­giunge­a­ridurre\nl’atto­artistico­agli­elementi­minimali­che­ab-\nbiamo­tentato­di­descrivere.­La­sua­è­una\nsensibilità­tipica­dei­nostri­tempi,­quando­si-\nmili­scelte­in­ambiti­culturali­diventano­anche\npolitiche,­in­senso­lato,­ma­anche­in­senso\nstretto.\nUntitled, \n2014, ferro, foglio\ndi acetato, plastica, fascette\nper cablaggio, scotch, \n200 x 120 x 50 cm \u002F \niron, acetate ﬁlm, plastic, \ncable ties, tape, \n78 ¾” x 47 ¼” x 19 ¾”\nVeduta dell’installazione\npresso CArD Contemporary\nArt & Design, \nEx-Consorzio Agrario, \nPianello Val Tidone (PC),\n2014 \u002F Installation view,\nCArD Contemporary \nArt & Design, Ex-Consorzio\nAgrario, Pianello \nVal Tidone (PC), 2014 \nCourtesy of the artist. \n      Foto \u002F Photo: Fabrizio Stipari\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 54\n59\n          Untitled, \n2014, legno, rete di plastica, scotch, fascette per cablaggio, ferro, 80 x 80 x 50 cm \u002F \nwood, plastic netting, tape, cable ties, iron, 31 ½” x 31 ½” x 19 ¾”\n            Courtesy of the artist Foto \u002F Photo: Fabrizio Stipari\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 59\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",56,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.57.png","MOROSO catalogo 224 pagine        2 VOLTA (2 sedicesimi)     USOMANO\nUntitled, \n2012, ferro, rete di plastica, nylon, scotch, fascette\nper cablaggio, plastica, 200 x 60 x 45 cm \u002F \niron, plastic netting, nylon, cable ties, plastic, \n78 ¾” x 23 ¾” x 17 ¾”\nCourtesy of the artist\nFoto \u002F Photo: Fabrizio Stipari\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 55\n58\nUntitled| version I, \n2010, ferro, smalto, 450 x 300 x 475 cm \u002F iron, enamel, 177 ¼” x 118 ¼” x 187”\nVeduta dell’installazione presso Hangar Bicocca, Milano, 2011 \u002F \nInstallation view, Hangar Bicocca, Milan, 2011\nCourtesy of the artist. Foto \u002F Photo: Fabrizio Stipari\nis­presented­in­particular:­13 videos,­each\none­lasting­about­a­minute­or­a­little­more.\nHere­the­visual­intuition­that­searches­for­a\nparticular­image­or­short­sequence­is­ac-\ncompanied­by­extremely­simple­post-produc-\ntion,­usually­focused­on­sound.­The­visual\nand­audio­elements­provide­a­living­drama-\ntization­but­also­function­to­alienate­one\nanother.­[...]­\nGiuseppe­Penone­started­his­work­in­redeﬁ-\nning­sculpture­also­by­beginning­with­the\nearth­that­remains­in­your­nails­when­you\ndig.­He­took­as­his­theme­precisely­these­ele-\nmentary­actions­and­introduced­them­as­part\nof­a­noble­artistic­process.­Alice­Cattaneo\nstarts­from­the­same­premise,­linking­her\nsculpture­and­its­language­to­the­process­of\ntransformation,­to­its­becoming,­and­to­the\nmovement­that­is­enacted­directly­in­the\nspace­and­is­invented­and­recorded­on­video.­\nIn­both­cases,­the­work­reﬂects­the­relation-\nship­between­the­self­and­the­other.­In­the\nwork­of­Cattaneo­the­choice­of­small-scale\nas­an­area­of­action,­and­the­strategy­of­using\nweakness­as­a­way­to­open­up­another­ope-\nrational­choice,­becomes­implemented­with\nremarkable­immediacy­and­radicalism­be-\ncause­it­reduces­the­artistic­act­to­the­mini-\nmal­elements­we­have­attempted­to­describe.\nHers­is­sensitivity­typical­of­our­times,­when\nsuch­choices­in­cultural­spaces­become­poli-\ntical­in­the­broadest­sense,­but­also­in­the\nstrictest.­\nGiorgio Verzotti\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 58\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",57,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.58.png","MOROSO catalogo 224 pagine        2 BIANCA (2 sedicesimi)     USOMANO\n56\nNothing quite ﬂat and more round, \n2013, Veduta dell’installazione presso\nla Romer Young Gallery, San Francisco \u002F \nInstallation view, Romer Young Gallery, \nSan Francisco. Courtesy of the artist\nRipetuto e atteso,  \n2013, sughero, plastica, legno,\npoliplat, carta, scotch, \n40 x 35 x 25 cm \u002F cork, plastic,\nwood, foamboard, paper, tape, \n15 ¾” x 13 ¾” x 9 ¾”\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 56\n57\nTomato and sound. \nThe work of Alice Cattaneo \nThe­work­of­Alice­Cattaneo,­at­least\nuntil­now,­has­been­expressed­in­two­ways:\nthrough­plastic­interventions­in­space­and\nvideo­sequences.­In­both­cases­the­artist­ta-\nkes­up­a­challenge,­in­the­sense­that­the\nwork­itself­is­committed­to­reaching­its­limit,\nand­doing­this­in­view­of­the­spectator.­Whe-\nther­physical,­static­or­dynamic,­this­limit\naffects­both­the­relationship­of­the­sculpture\nwith­the­space,­the­relationship­of­balance\nbetween­the­bodies,­the­sense­of­logic,­and\nconsequently­the­expression­of­meaning.­In\nall­instances,­Cattaneo­makes­use­of­a­stra-\ntegy­of­weakness:­fragile­materials­that­are\nsmall­in­size,­video­sequences­that­are­very\nsimple­and­especially­short.­The­two­jugger-\nnaut­ themes,­ space­ and­ time,­ on­ which\nusually­large­sums­of­energy­are­spent­to­de-\nﬁne­theoretically,­are­addressed­using­limi-\nted­means,­but­with­a­decisive­precision­of\npurpose­which­makes­that­weakness­into­a\nforce.­A­force,­let’s­say,­that­is­able­to­make\na­signiﬁcant­theoretical­contribution­to­those\ndeﬁnitions,­starting­from\nmore­immediate­pheno-\nmena­and­pure­sensibi-\nlity­that­stimulates­them\nand­puts­them­under­the\nattention­of­analysis.­\nSpace­is­always­investi-\ngated­ from­ its­ speciﬁc\ncharacteristics;­it­is­rare\nfor­the­sculptures­of­Cat-\ntaneo­ to­ disregard­ it\ncompletely,­and­then­they­are­reducible­to\nthe­minimum­size­of­an­artifact­that­can­ﬁt\nin­your­hand.­They­have­a­plastic­portability\nthat­allows­them­to­disappear­among­the\nother­objects­present­in­a­space,­and­then\nbecome­sculpture­again­if­considered­in­re-\nlation­to­the­body­and­the­hand­that­holds\nit.­In­most­cases,­the­sculpture­is­identiﬁed\nas­an­ambient­installation,­and­therefore\nquite­complex­structurally­and­visually­de-\nmanding.­More­precisely,­the­sculpture­be-\ncomes­a­proliferation­in­the­space­of­ele-\nments­ that­ the­ eye­ of­ the­ observer­ sees\ncombined­in­different­ways,­but­always­on\nthe­basis­of­structural­and­compositional­ru-\nles,­clearly­perceptible­and­therefore­basi-\ncally­simple.­The­eye­of­the­spectator­in­a\nsense­‘earns’­how­the­work­is­done­simply\nby­observing­its­development,­where­it­goes\nin­the­environment,­and­the­extravagant­way\nit­occupies­the­space.­The­nature­of­the­work\ninvolves­this­opening­to­investigation;­the\nwork­is­‘open’­in­the­sense­that­the­artist\nexplicitly­treats­her­materials­as­elements\non­a­stage­in­which­all­the­components­are\nrevealed­through­their­making:­much­like\nin­the­epic­theater­of­Brecht,­in­which­no­il-\nlusions­or­mystery­are­allowed.­At­each­mo-\nment­the­work­reveals­its­interior­grammar.­\nThe­complexity­of­the­work­is­the­same­that\nwe­ﬁnd­in­the­structure­of­things,­of­reality\nitself,­understood­as­an­experiential­horizon\nthat­includes­the­invisible­microcosm­as­well\nas­the­universe.­It­begins­from­a­simplicity\nthat­is­complicated­by­repetition­and­per-\nmutation­of­its­rules­of­construction­and­its\nstructural­links­that­are­always­present­and\nevident.­[...]­\nCattaneo’s­videos­are­playful­in­the­way­a\nsubtle­humor­snakes­through­that­comes\nfrom­unexpected­encounters­between­unas-\nsuming­gestures­and­everyday­objects.­They\ncreate­what­could­be­called­micro­or­mini-\nnarrative­structures.­An­early­series­of­work\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:21  Pagina 57\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",58,{"image":222,"text":219,"number":223},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.59.png",59,{"image":225,"text":215,"number":226},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.60.png",60,{"image":228,"text":211,"number":229},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.61.png",61,{"image":231,"text":207,"number":232},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.62.png",62,{"image":234,"text":203,"number":235},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.63.png",63,{"image":237,"text":199,"number":238},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.64.png",64,{"image":240,"text":195,"number":241},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.65.png",65,{"image":243,"text":191,"number":244},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.66.png",66,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.67.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 65\n80\nCristian­Chironi\nNato­nel­1974­a­Nuoro,­vive­e­lavora­in­Europa­\u002F­Born­in­1974­in­Nuoro,­lives­and­works­in­Europe\nPrincipali mostre personali \u002F Selected Solo Exhibitions \n2015\nMy House is a Le Corbusier, Studio-apartment­Le­Corbusier,­Paris\nMy House is a Le Corbusier, Pavilion­Esprit­Nouveau,­Bologna\n2014\nBroken English,­MAN,­Nuoro\n2013\nCutter,­a­cura­di­\u002F­curated­by­V.­Ferrero­Delacoste,­Le­Château­de­Nyon:­Musée­historique­et­des­porcelaines,­Nyon\n2012\nCROSS OVER,­Biagiotti­Art­Project,­Firenze\nCutter,­Artelibro­-­Book­Festival,­Palazzo­Re­Enzo,­Bologna\n2011\nCutter (con­\u002F­with­Cesare­Leonardi),­a­cura­di­\u002F­curated­by­\nL.­Panaro,­Betta­Frigeri­Gallery,­Festival­della­Filosoﬁa­\u002F­Philosophy­Festival,­Modena\n2010\nDK, in Ragionevoli dubbi,­MAN_extramuros­-­Sa­Domo­e­Sas­Lai,­Casa­Museo,­Gavoi­(NU)\nHypnerotomachia (con­\u002F­with­Davide­Rivalta),­a­cura­di­\u002F­curated­by­P.­Gaglianò,­Biagiotti­Art­Project,­Firenze\n2009\nDK,­in­Art Fall 09,­a­cura­di­\u002F­curated­by­S.­Fanti,­D.­Gasparinetti,­A.­Lissoni,­M.­L.­Pacelli,­Palazzo­Massari,­Ferrara\n2008\nPropp,­Placentia­Art­Gallery,­Piacenza­GAP,­a­cura­di­\u002F­curated­by­R.­Gavarro,­nt­art­gallery,­Bologna\n2007\nOffside,­a­cura­di­\u002F­curated­by­P.­F.­Frillici,­Contemporary­Gallery­42­-­42­Off,­Modena\n2006\nCosì vicini così lontani,­III­Festival­Letterario­della­Sardegna,­Casa­Museo,­Gavoi­(NU)\n2004\n1st (con­\u002F­with­Margherita­Moscardini),­a­cura­di­\u002F­curated­by­G.­Gavioli,­A.­Zanchetta,­Interno&dumdum,­Bologna\nPrincipali mostre collettive \u002F Selected Group Exhibitions \n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­A.­Bruciati,\nEsedra­di­Levante­-­­Villa­Manin­,­­Passariano­(U­D­)\n2014\nLe leggi dell’ospitalità,­a­cura­di­\u002F­curated­by­A.­Grulli,­P420­Gallery,­Bologna\nL’immagine del tempo,­a­cura­di­\u002F­curated­by­G.­Pisapia,­Galleria­Artopia,­Milano\nReal Track in Der Blitz 2014 | Research, action and contemporary culture,­a­cura­di­\u002F­curated­by­\nA.­Prandin,­MAG­Arco­-­Museum­Alto­Garda,­Galleria­Civica­G.­Segantini,­Arco­(TN)\n2013\nUntitled (As of Yet),­a­cura­di­\u002F­curated­by­S.­Szwed,­C.­Vassallo,­Flux­Factory,­Long­Island­\nChinese Whispers - a group show on the loss of control, a­cura­di­\u002F­curated­\nby­A.­Baccin,­L.­Francesconi,­I.­Gianni,­I.­Marotta,­C.­Paissan,­Cura.Basement,­Roma\nDifferent Pulses,­Festival­delle­Arti­Immateriali­–­I­Edizione­\u002F­Festival­of­Immaterial­Arts­–­\n1st Edition,­a­cura­di­\u002F­curated­by­E.­Comuzzi,­spaziocortequattro,­Cividale­del­Friuli­(UD)\n2012 \nLONTANO DA DOVE - uno sguardo sulla scena artistica sarda contemporanea, \nMACRO­Pelanda,­Roma,­a­cura­di­\u002F­curated­by­Maria­Rosa­Sossai,­IT.\nFUTURE, LANDSCAPE. A changing exhibition. I Part, a­cura­di­\u002F­curated­by­\nR.­Caldura­in­collaborazione­con­\u002F­in­collaboration­with­G.­D’inca­Levis,­G.­Molinari,­P.­Toffolutti,­\nParco­del­Contemporaneo,­Forte­Marghera­(VE);­Dolomiti­Contemporanee­-­laboratory­environment­\u002F­\nTaibon­Block,­Ex­Factory­Visibilia,­locality­Campagna­1­-­Taibon­Agordino­(BL)\n2011\nVersus XVII, a­cura­di­\u002F­curated­by­F.­Referza,­Velan­Center­for­Contemporary­Art,­Torino\nA History Out of Context,­a­cura­di­\u002F­curated­by­A.­Zanchetta,­The­Promenade­Gallery,­Vlorë\nDalla terra al cielo,­a­cura­di­\u002F­curated­by­G.­Demuro,­Time­in­Jazz­Festival,­Berchidda­(OT)­\nVolume Collection,­a­cura­di­\u002F­curated­by­N.­Cvijanovic,­Museum­of­Modern­and­Contemporary­Art,­Rijeka;­\nMultimedijalni­Kulturni­Centar,­Split;­Radionica­Lazareti,­Dubrovnik­[it.­ex.]\n2010\nCommunity. La ritualità collettiva prima e dopo il web,­a­cura­di­\u002F­curated­by­A.­Fiz,­L.­Panaro,­Marca,­Catanzaro\nSpectator is a worker, a­cura­di­\u002F­curated­by­D.­Capra,­Tina-B­Contemporary­Art,­Jòb­Gallery,­Prague\nCity Limits - Close your eyes and dream, a­cura­di­\u002F­curated­by­L.­Panaro,­Tongji­University,­Shanghai\nNon  totalmente  immemori,  né  completamente  nudi, a­cura­di­­\u002F­curated­­by­­\nA.­Bruciati,­­E.­Comuzzi,­GC.AC,­Monfalcone­(GO)\n2009\nInternational Festival for Arts and Media Yokohama 2009\u002FCREAM Competition,­\nGraduate­School­of­Film­and­New­Media,­Tokyo­University­of­the­Arts,­Bashamichi­Campus,­Yokohama\nSerrONE – Biennale Giovani Artisti, Serrone­della­Villa­Reale,­Monza\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 80\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",67,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.68.png","MOROSO catalogo 224 pagine        3 VOLTA (2 sedicesimi)     USOMANO\n66\nÈ­come­se­questi­artisti­ripartissero­da­un\ngrado­zero,­dalle­basi­e­dalle­poche­cose­si-\ncure­e­vere­che­si­hanno­nella­mente.­Sono\nartisti­che­basano­la­propria­pratica­su­di\nun’intensa­fase­lavorativa­in­studio,­in­cui­si\nriabbraccia­il­mezzo­(soprattutto­pittura­e\nscultura,­ma­anche­performance)­senza­sensi\ndi­colpa,­sperimentando­in­maniera­seria­e\ntentando­di­produrre­qualcosa­di­veramente\nnuovo.­È­evidente­nel­lavoro­di­questi­artisti\nanche­una­ricerca­nei­materiali­che­vengono\nutilizzati­e­che­sono­inseparabili­dalla­forma\nottenuta.\nLa­sua­mostra­personale­nella­Galleria­Spazio\nA­di­Pistoia­non­a­caso­era­intitolata­La terra\nbassa.­È­quasi­tutto­appoggiato­a­terra.­Le\ncose­nella­loro­leggerezza­sono­radicate,\nsalde,­ci­costringono­a­soffermarci­per­un\nbuon­lasso­di­tempo,­a­chinarci­leggermente\ncon­la­schiena,­facendo­un­po’­di­fatica­per\npoterle­percepire­nella­loro­complessità,­nelle\nloro­molte­sfaccettature,­nella­loro­sporcizia\nterrosa­e­ctonia,­nella­loro­salubre­volgarità\ndi­oggetti­popolari,­che­potresti­trovare­nei\ncortili­delle­nostre­mai­leziose­case­di­cam-\npagna,­in­cui­al­casale­del­seicento­viene­ag-\ngiunto­un­terrazzo­di­cemento­armato.­Sono\ngli­oggetti­di­questi­spazi,­di­questi­giardini\ndi­delizie­a­immagine­del­geometra­comunale,\nche­per­noi­italiani­sono­il­luogo­dell’accata-\nstamento­di­materiali­che­potrebbero­tornare\nutili,­dove­d’estate­invitiamo­gli­amici­per\nuna­grigliata,­sempre­in­bilico­tra­il­giardi-\nnetto­inglese­a­cui­aneliamo­e­il­retro­di­una\npiccola­ofﬁcina­di­cui­non­possiamo­fare­a\nmeno.\nMa­Giulia­non­gioca­con­l’aspetto­mondano\ne­passeggero,­presentando­il­fascino­dell’or-\nrido­di­questa­energia­folk.­Il­secchio­che­ve-\ndiamo­è­sempre­quel­secchio­che­conosciamo\ntutti,­quasi­con­la­stessa­forma­e­dimensione,\nma­di­questo­l’artista­ricerca­la­radice­come\nfonte­di­radicalità.­È­come­se­presentasse­la\npoesia­che­vi­è­al­cuore­delle­cose,­quella\nche­non­cambia­col­passare­degli­anni.­Non\nè­l’oggi­che­le­interessa,­ma­quello­che­di\neterno­è­possibile­trovare­anche­oggi.­In­al-\ncuni­titoli­appaiono­riferimenti­a­miti­classici,\nmagari­accostati­ad­una­scultura­dalle­fat-\ntezze­di­un­mozzicone­di­tubo.­Sembra­che­i\nsecoli­ci­siano­passati­sopra,­o­che­siano­rie-\nmersi­a­primavera­quando­il­livello­del­ﬁume\nscende.­Questo­tipo­di­percorso­potrebbe­ri-\nmandare­a­un’idea­dell’arte­simile­a­quella\ndi­un­Klee,­come­cammino­verso­una­verità\ninvisibile­ma­sempre­presente.­Ma­c’è­una\nprofonda­differenza­rispetto­a­questa­visione,\nin­cui­alcuni­aspetti­del­reale­sembra­che\nabbiano­una­nobiltà­di­sangue­rispetto­a­ciò\nche­li­circonda­e­di­cui­l’artista­è­chiamato­a\nripulirli­dopo­aver­atteso­paciﬁcamente­dalla\nnotte­dei­tempi.­La­poesia­o­la­verità­invisibile\ndelle­cose­su­cui­lavora­Giulia­Cenci­emerge\ndopo­aver­lottato,­è­ciò­che­sopravvive­dopo\nche­il­tempo­e­gli­elementi­hanno­fatto­pulizia\ndi­tutto­il­resto,­è­la­parte­più­forte,­tenace­e\ncombattiva­della­realtà.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 66\n79\nMy house is a Le Corbusier (Cité de refuge), \n2014\u002F15, video, carriola, cemento, sonoro, media elettrici, dimensioni ambientali \u002F \nvideo, wheelbarrow, concrete, sound, electric media, ambient dimensions\nCourtesy of the artist e \u002F and MAMbo, Bologna\nFoto \u002F Photo M. Monti © C. Chironi e \u002F and FLC\nUna carriola da muratore si trasforma in schermo per la proiezione del video realizzato dall’artista \nsulla demolizione e la ristrutturazione de La Cité de Refuge a Parigi. La visione dialoga con due sedute \nper il pubblico, formate da quotidiani de La Repubblica, che riportano in prima pagina, \nfatti di cronaca inerenti a problematiche sulla casa e l'accoglienza.\u002F\nA mason’s wheelbarrow is used as a screen for the projection of a video made \nby the artist during the demolition and renovation of La Cité des Réfugiés in Paris. \nThe vision dialogues with two seats for the public, formed by copies of La Repubblica, which show \non the ﬁrst page news items related to issues of the house and hospitality.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 79\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",68,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.69.png","MOROSO catalogo 224 pagine        3 VOLTA (2 sedicesimi)     USOMANO\n67\nThe­work­of­Giulia­Cenci­is­focused\nprimarily­on­sculpture,­but­she­is­also­not\nopposed­to­using­the­practices­of­drawing\nand­other­media­­available­to­artists­today.\nHer­works­are­almost­always­linked­to­simple\neveryday­objects­or­to­particular­spatial­and\narchitectural­details,­leaving­at­least­some\nreference­to­representative­functionality.\nThey­are­works­in­the­process­of­‘becoming’:\na­bucket,­a­chair,­a­tube,­or­an­architectural\nelement.­These­references­are­only­a­starting\npoint­from­which­the­artist­then­moves­away,\nrendering­the­work­into­a­strange­autono-\nmous­object,­somewhere­between­ﬁgure­and\nabstraction.­Lately­her­sculptures­have­been\ndivided­into­two­opposing­ways­of­working.\nOne­series­is­created­through­several­over-\nlapping­steps­that­begin­from­an­initial­mold\nof­an­object­that­serves­as­a­foundational\nmatrix.­In­each­phase­the­artist­intervenes\nby­making­small­but­signiﬁcant­and­percep-\ntible­alterations­both­to­the­forms­that­are\nobtained­and­to­the­surface,­making­the­ﬁnal\nsculpture­a­phantasmagorical­reality­of­trem-\nbling­and­uncertain­skin.­The­preferred­ma-\nterial­for­this­series­of­works­is­a­resin­that\nis­sometimes­milky­and­opaque,­and­some-\ntimes­transparent­and­glassy.­\nThe­second­series­instead­is­more­about­‘ta-\nking­away’.­She­starts­from­found­objects,\noften­made­of­plastic,­which­become­tran-\nsformed­through­intervention­mainly­with­a\ngrinding­wheel,­until­they­are­almost­two-\ndimensional­structures­that­continue­to­re-\npresent­or­recall­the­original­object.­These\nare­two­opposing­ways­to­obtain­results­that\nat­ﬁrst­glance­seem­similar.­These­are­ﬂan-\nked­by­drawings­that­can­portray­subjects\nsuch­ as­ the­ new­ skyscrapers­ that­ have\nsprung­up­in­Milan,­drawn­weakly­on­carbon\npaper,­or­reﬂections­of­water­deﬁned­with­a\nfew­marks­of­white­pencil­on­tracing­paper.\nThere­is­video­that­mimics­the­static­state\nof­a­photograph,­or­interventions­created\nwith­only­the­presence­of­a­light­source.­\nOne­of­the­most­interesting­aspects­of­the\nartist­is­that­she­is­a­sculptor­and­artist­in\nthe­most­classic­sense­of­the­term,­unlike\nmany­of­her­peers.­We­ﬁnd­ourselves­in­a\ntime­when­many­young­artists­are­looking\nover­their­shoulders,­reiterating­the­work­of\nartists­of­previous­generations,­with­each\nexhibition­completely­changing­their­works\nand­references,­and­thereby­rendering­them-\nselves­unrecognizable.­\nGiulia’s­work­has­resisted­all­this.­In­her,­as\nwith­a­few­other­artists­of­her­generation,­I\nnote­a­kind­of­healthy­barbaric­germ­of­pos-\nsible­recommencement­in­the­immediate­fu-\nture.­As­in­Cenci’s­works,­there­is­a­sort­of\ntabula­rasa­orientation­and­a­moving­away\nfrom­the­general­trends,­to­work­with­diffe-\nrent­times­and­modalities.­It­is­as­if­these­ar-\ntists­started­again­from­ground­zero,­from\nthe­basics,­and­from­the­few­things­that­are\nsecure­and­true­that­they­hold­in­mind.­They\nare­artists­who­base­their­practice­on­an­in-\ntense­phase­of­work­in­the­studio,­which­em-\nbraces­the­medium­(especially­painting­and\nsculpture,­but­also­performance)­without\nguilt,­experimenting­in­a­serious­manner­and\ntrying­to­produce­something­really­new.­It­is\nalso­evident­in­the­work­of­these­artists­that\nthere­is­research­in­the­materials­they­use\nthat­are­inseparable­from­the­resultant­form.­\nHer­solo­exhibition­in­the­gallery­space­in\nPistoia­was­titled,­not­coincidentally,­La terra\nbassa. Almost­everything­was­placed­on­the\nground.­These­things­in­their­lightness­were\nrooted­and­ﬁrm,­forcing­us­to­pause­for­a­pe-\nriod­of­time,­to­stand­back­a­bit,­to­do­a­little\nextra­work­to­perceive­their­complexity,­the\nmany­facets­of­their­chthonic­earthiness,­like\nthe­abundant­vulgarity­of­popular­objects\nfound­in­the­courtyards­of­our­affected­coun-\ntry­homes,­created­from­seventeenth­century\nhouses­that­have­had­terraces­of­reinforced\nconcrete­added­to­them.­These­are­the­ob-\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 67\n78\nMy house is a Le Corbusier (Notre-Dame du Haut\u002FPalais des Filateurs), \n2015, piega di pagine estrapolate da libro, poliplat, spilli, plexiglass, 24 x 30 x 6 cm \u002F \nfolded pages taken from a book, foamcore, pins, plexiglass, 9 ½” x 11 ¾” x 2 ½”\nCourtesy of the artist\nDue costruzioni di Le Corbuser sono innestate insieme semplicemente girando la pagina del libro\ne bloccandola con degli spilli. Il plexiglass colorato ne imbianca la facciata. My house is a \nLe Corbusier, un progetto di Cristian Chironi che ha al centro le numerose abitazioni progettate\nnel mondo dal celebre architetto, nelle quali l'artista trascorrerà un periodo di residenza. \u002F \nTwo constructions of Le Corbuser are grafted together by simply turning the page of a book\nand securing them with pins. Colored plexiglass whitens the facade. My house is a Le Corbusier\nis a project by Cristian Chironi that focuses on the many homes designed by the famous \narchitect around the world, in many of which the artist will spend a period of residence.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 78\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",69,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.70.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\njects­one­would­ﬁnd­in­these­spaces,­these\ngardens­of­delightful­images­of­communal\ngeometry,­that­for­us­Italians­are­where­we\ncollect­things­that­might­one­day­be­useful,\nwhere­in­summer­we­invite­friends­for­a­bar-\nbecue.­These­places­seem­to­be­hovering­bet-\nween­the­English­garden­we­yearn­for,­and\nthe­back­of­a­small­workshop­we­can’t­do­wi-\nthout.­\nBut­Giulia­does­not­play­with­this­worldly\nand­pedestrian­aspect,­by­presenting­the\ncharming­horror­of­this­folk­energy.­The­buc-\nket­we­see­is­the­one­that­everybody­already\nknows,­almost­of­the­small­shape­and­size,\nbut­the­artist’s­research­into­its­root­is­the\nsource­of­its­radicalism.­It­is­as­if­it­were­pre-\nsented­as­the­poetry­at­the­heart­of­all­things,\nwhich­doesn’t­change­with­the­passage­of\ntime.­It­is­not­the­things­of­today­that­are­of\ninterest,­but­the­eternal­things­that­can­also\nbe­found­today.­Some­titles­make­references\nto­classical­myths,­often­combined­with­scul-\nptures­that­feature­things­like­a­pipe-stub.­It\nseems­as­if­they­had­been­there­while­the\ncenturies­passed­over­them,­or­had­emerged\nin­the­spring­when­the­river­level­dropped.\nThis­type­of­work­leads­back­to­an­idea­of­­art\nsimilar­to­Klee,­like­a­path­toward­a­truth\nthat­is­invisible­but­always­present.­But­there\nis­a­profound­difference­with­this­vision,­in­\nwhich­some­aspects­of­reality­seem­to­have\nnobility­compared­to­what­is­around­them,\nand­the­artist­is­called­upon­to­unveil­them\nafter­they’ve­waited­peacefully­from­time­im-\nmemorial.­The­poetry­or­invisible­truth­of\nthings­emerges­from­Giulia­Cenci’s­works­af-\nter­a­struggle;­it­is­what­survives­after­time\nand­the­elements­have­cleaned­away­every-\nthing­else;­it­is­the­strongest,­most­tenacious,\nand­combative­part­of­reality.\n68\nAntonio Grulli\nRitratto basso #3, Ritratto basso #4, Autoritratto basso, \n2014,  poliestere, polvere di marmo, argilla, dimensioni variabili \u002F \npolyester, murble dust, clay, variable dimensions\nCourtesy of artist e \u002F and SpazioA, Pistoia\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 68\n77\nthen­there­was­an­echo­that­spread­outside\nthe­walls­of­the­building­across­the­city­(ECO,\n2012).­In­some­of­Chironi’s­works­you­perceive\na­veiled­feeling­of­nostalgia,­as­if­there­were\na­loss­of­something.­Here­perhaps­we­ﬁnd­the\ndesire­to­reinvent­the­ﬁgure,­its­role­and­mea-\nsure,­and­the­function­of­the­protagonist­in\nstories­old­and­new­that­originate­in­the­com-\nbination­between­presence\u002Fabsence­that­is\ndear­to­the­artist.­Recently,­in­a­performance\nthat­could­be­described­as­academic,­the­artist\nbrowsed­through­the­pages­of­books,­cutting\nout­images­of­endangered­species,­plants,­ani-\nmals,­sea­beds,­and­glaciers,­(Cutter,­2013)\nand­putting­aside­the­fragments­for­cataloging\nan­ideal­utopian­world­inside­display­cases\nthat­look­like­herbal­and­insect­scientiﬁc­col-\nlections­(DATA 2011\u002F12).­The­concept­of­re-\ndesign­for­Chironi­assumes,­not­only­in­ima-\nginary­ terms,­ the­ meaning­ of­ rethinking\nexistential­aspirations,­such­as­owning­a­place\nto­live,­a­concept­that­Le­Corbusier­called­the\n‘home­of­man’,­a­place­built­around­the­most\nbasic­needs.­Beginning­this­year­Chironi­will\nbe­involved­in­a­project­about­‘habitability’­in\nsome­European­homes­designed­by­the­great\nSwiss­architect.­My house is a Le Corbusier\nwill­allow­the­artist­to­spend­periods­of­time\nin­houses­designed­by­Le­Corbusier,­starting\nwith­the­Pavilion­Esprit­Nouveau­in­Bologna\nand­later­in­a­studio­apartment­in­the­rue\nNungesser­et­Coli­in­Paris.­Inside­the­houses,\nand­for­the­duration­of­the­project,­Chironi\nwill­offer­reﬂections,­ideas,­research,­and­exhi-\nbition­events­open­to­the­pu­blic,­in­a­kind­of\nprogrammed­performance­based­on­the­re-\nvealed­and­shared­experience­of­living.\nLaura Barreca\nnew­content­and­meaning.­For­example­he\nuses­childhood­memories­of­his­own­social\nlife,­whether­positive­or­conﬂicted:­dreams,\nsuggestions,­ aspirations­ become­ cues­ in\nwhich­the­past­and­present­collide­in­a­game\nof­paradoxical­references.­Often­Chironi­uses\nphotographic­images­reworked­through­the\nlanguage­of­performance,­as­when­the­artist\n‘wore’­photographs­of­his­mother­dressed­as\na­bride­(Lina,­2004)­arranging­himself­in­do-\nmestic­poses­that­call­into­question­the­per-\nception­of­family­memories.­With­the­same\ninterest­in­disorientation,­in­the­performance\nPoster (2006),­Chironi­appropriates­seven\nold­photos­from­an­album­of­his­father,­an\namateur­football­player,­and­blows­then­up\nto­life-size.­Then­dressed­in­the­jersey­of­the\nteam­he­poses­on­a­plexiglass­pedestal,­su-\nperimposing­his­image­on­the­group­photo­of\nthe­players.­This­representation­seems­like\na­tableau vivant,­a­vision­that­is­simultaneous\nand­suspended­in­time,­where­reality­and­ﬁc-\ntion­compete­on­the­stage­of­life.­Chironi’s\nstage­presence­is­almost­never­disassociated\nwith­his­work­and­it’s­functionality,­whether\nreal­or­imaginary.­In­the­sculpture-perfor-\nmance­Rubik (2008)­he­builds­oversized­cu-\nbes­to­the­surfaces­of­which­he­applies­photos\nof­news­stories­from­magazines­and­newspa-\npers,­including­pictures­of­different­geogra-\nphical­and­political­situations.­This­object\nrotates,­creating­an­architectural­construc-\ntion­of­images,­short­stories­in­which­Tak-\ntharova,­Kabul,­New­York,­Cannes,­Tianan-\nmen,­and­Jakharta,­when­they­are­combined,\nbecome­scenarios­of­possible­combinations\nbetween­a­personal­and­a­collective­vision­of\nthe­world.­Exceeding­all­limits­however­was\nChironi’s­intent­in­his­solitary­performance\nof­2012,­seated­on­the­ledge­of­the­grand­mu-\nseum­of­Naples­the­artist­emitted­a­scream,\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 77\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",70,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.71.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\n69\nGiulia­Cenci­\nNata­nel­1988­a­Cortona­(AR),­dove­vive­e­lavora­\u002F­Born­in­1988­in­Cortona­(AR),­where­she­lives­and­works\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2014\nMai,­Tile­projectspace,­Milano­\nLa Terra Bassa, SpazioA,­Pistoia­\nA petit fair, SpazioA,­ospitata­da­\u002F­­hosted­by­FRUTTA,­Roma\n2013\nIf you want me again look for me under your boot-soles, a­cura­di­\u002F­curated­by­\nQ.­Lim,­Present­Future,­Artissima,­Torino­\nDefault, a­cura­di­\u002F­curated­by­A.­Grulli,­Farnè­Spazio,­Milano­\nHalfground, SpazioA­Project­Space,­Pistoia­\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­\nA.­Bruciati,­Esedra­di­Levante­-­Villa­Manin,­Passariano­(UD)\nLumination, a­cura­di­\u002F­curated­by­A.­Bacon,­Patricia­Low­Contemporary,­Gstaad­\n2014\nLe leggi dell’ospitalità,­a­cura­di­\u002F­curated­by­A.­Grulli,­P420­Gallery,­Bologna­\nHost Interno 4,­a­cura­di­\u002F­curated­by­Host,­Private­ﬂat,­Bologna­\n2013\nXohouille,­a­cura­di­\u002F­curated­by­E.­Lambion,­w-o-l-k-e,­Brussels\nStill Light,­a­cura­di­\u002F­curated­by­T.­Elfving,­Augusta­Gallery,­Hiap,­Helsinki­\ncartabiancaxpalermo,­a­cura­di­\u002F­curated­by­S.­Cini,­Teatro­Garibaldi,­Palermo­\nPicasso d’Oro, a­cura­di­\u002F­curated­by­R.­Ago,­Studio­VP93,­Milano­\n2012\nNi Dieu Ni Maître, a­cura­di­\u002F­curated­by­A.­Bruciati,­GalleriamassimodeLuca,­Mestre­(VE)\nDifferenti Attitudini, a­cura­di­\u002F­curated­by­R.­Daolio,­Vero­Stoppioni­Museum,­Santa­Soﬁa,­Forlì\nCorso Aperto,­XVIII­Advanced­Course­in­Visual­Arts,­Visiting­Professor­Liliana­Moro,­a­cura­di­\u002F­curated­by­\nA.­Lissoni,­Fondazione­Antonio­Ratti,­Como­\nCasabianca,­a­cura­di­\u002F­curated­by­A.­Radovan,­Bologna­\ncartabianca_bologna, a­cura­di­\u002F­curated­by­S.­Cini,­Villa­Croce,­Genova­\n \n \n \n \n \n \n \n \n  \n \n  \n \n \n \n  \n \n \n \n \n \n  \n   \n \n \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 69\n76\ntetto­svizzero:­My house is a Le Corbusier\nporterà­l’artista­a­trascorrere­dei­periodi­al-\nl’interno­di­case­disegnate­da­Le­Corbusier,\niniziando­dal­Padiglione­Esprit­Nouveau­di\nBologna­e­in­seguito­nell’appartamento-studio\nin­rue­Nungesser­et­Coli­a­Parigi.­Dentro­la\ncasa,­e­per­l’intera­durata­del­progetto,­Chi-\nroni­darà­dimora­a­riﬂessioni,­idee,­ricerche\ne­momenti­espositivi­aperti­al­pubblico,­in\nuna­specie­di­performance­programmata,­ba-\nsata­sull’esperienza­dilatata­e­condivisa­del\nvivere.\nCristian Chironi. Practices, \nlanguages and formats out of the frame\nCristian­Chironi­creates­his­performances,\nsculpture,­video,­installations,­drawings,­and\nphotographs­by­indiscriminately­practicing­a\nvariety­of­forms­of­visual­communication.­A\nliberal­association­of­formats­has­always­been\na­part­of­the­artist’s­research,­also­in­relation\nto­the­variability­of­the­exhibition­spaces,­the\narchitecture,­the­social­context,­or­the­indi-\nvidual­conditions­in­which­the­theme­is­ex-\npressed:­for­example,­the­way­in­which­ima-\ngination,­projections,­memories,­and­reality\nmerge­into­one­often­playful­and­unsettling\nexperience.­There­is­in­fact­a­common­theme\nin­Chironi’s­work,­a­semiotic­code­that­selects\nthe­signs­of­the­time­and­recreates­them­with\nBroken English \u002F step 3 Connections or set, \n2013, tappeti differenti per origine, lavorazione \ne funzionalità, 190 x 70 cm \u002F\ncarpets of different origin, construction, and history, \n74 ¾” x 27 ½”. Courtesy of the artist \nL’interno di un appartamento:  \naccumuli di tappeti diversi per tipologia e funzione, di tessuti di varie provenienza. \u002F \nIn the interior of an apartment: \nlayered carpets of different types and features, fabrics of various origins.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 76\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",71,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.72.png","MOROSO catalogo 224 pagine        3 VOLTA (2 sedicesimi)     USOMANO\n70\nAlessandro­Ceresoli\nSelected by Fluxia - Milano\nNato­nel­1975­a­Romano­di­Lombardia­(BG),­vive­e­lavora­a­Berlino­\u002F\nBorn­in­1975­in­Romano­di­Lombardia­(BG),­lives­and­works­in­Berlin\nLinea Tagliero - Prototipo 05, \n2009, vetro, specchio, neon rosso, 102,6 x 90 x 55 cm \u002F \nglass, mirror, red neon, 40 ½” x 35 ½” x 21 ¾”\nCourtesy of the artist \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 70\n75\n75\n(2008)­costruisce­dei­cubi­sovradimensionati,\nsulle­cui­facce­applica­delle­foto­di­fatti­di\ncronaca­prese­da­riviste­e­giornali,­immagini\ndi­contesti­geograﬁci­e­situazioni­politiche\ndifferenti.­Questo­oggetto­ruota,­ricrea­archi-\ntetture­di­immagini,­storie­temporanee­in­cui\nTaktharova,­Kabul,­New­York,­Cannes,­Tie-\nnanmen,­Jakharta,­quando­si­incrociano,­di-\nventano­scenari­di­possibili­combinazioni­tra\nuna­visione­personale­e­una­collettiva­del\nmondo.­Abolire­i­conﬁni­è­l’intento­d’altronde\nche­Chironi­tentava­attraverso­un’azione­com-\npiuta­in­modo­solitario­nel­2012­seduto­sul\ncornicione­di­un­grande­museo­di­Napoli:­l’ar-\ntista­emette­un­urlo,­poi­un­eco­che­si­propaga\nfuori­dalle­mura­dell’architettura,­lontano,\nper­tutta­la­città­(ECO,­2012).­In­alcuni­lavori\ndi­Cristian­Chironi­si­percepisce­un­velato\nsentimento­di­nostalgia,­per­la­perdita­di­qual-\ncosa:­ecco­forse­il­desiderio­di­reinventarsi\nuna­ﬁgura,­un­ruolo,­una­misura,­una­funzione\nda­protagonista­in­storie­vecchie­e­nuove­ha\norigine­in­quel­binomio­tra­presenza\u002Fassenza\ncaro­all’artista.­Recentemente,­in­una­perfor-\nmance­dalla­dimensione­‘accademica’­l’artista\nsfoglia­dei­libri,­ritaglia­le­specie­in­estinzione,\nle­piante,­gli­animali,­i­fondali­marini,­i­ghiac-\nciai,­(Cutter,­2013)­e­mette­da­parte­i­fram-\nmenti­per­la­catalogazione­utopica­di­un\nmondo­ideale,­all’interno­di­teche­che­asso-\nmigliano­a­erbari­e­insettari­scientiﬁci­(DATA\n2011\u002F12).­Riprogettare,­non­solo­in­termini\nimmaginari,­per­Chironi,­assume­il­signiﬁcato\ndi­ripensare­ad­aspirazioni­esistenziali:­come\nad­esempio­possedere­uno­spazio­da­abitare,\nun­concetto­che­Le­Corbusier­aveva­deﬁnito\nla­“casa­dell’uomo”,­ovvero­un­luogo­costruito\nattorno­ alle­ esigenze­ più­ elementari.­ Da\nquest’anno­Chironi­sarà­impegnato­in­un­pro-\ngetto­di­‘abitabilità’­proprio­dentro­alcune­abi-\ntazioni­europee­progettate­dal­grande­archi-\nBroken English: step 3 Connections, \n2013, differenti tessuti \n(Royal inglese; belga; italiano; etc.), \n120 x 120 x 93 \u002F different fabrics \n(Royal English, Belgian, Italian, etc.), \n47 ¼” x 47 ¼” x 36 ½”\nProdotto dal MAN, Nuoro. Courtesy of the artist\n \n \n  \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n \n  \n  \n \n  \n \n \n \n \n \n \n \n \n \n  \n \n  \n \n \n \n \n \n  \n \n \n \n \n \n \n \n \n  \n \n \n  \n \n \n \n \n  \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n  \n \n \n  \n  \n \n \n \n \n \n \n  \n \n  \n  \n \n \n \n \n \n \n \n \n \n \n   \n  \n  \n  \n \n   \n \n  \n \n \n  \n  \n  \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n  \n \n  \n \n \nn\n \n \n \n \n  \n \n  \n \n \n \n \n \n  \n \n  \n \n \n \n \n  \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n   \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n \n \n \nTessuti di varia provenienza e funzionalità\nconvivono insieme. Mutando forma secondo\nil punto in cui li si guarda. Il progetto\nBroken English scaturisce dall’emersione di\nalcune domande fondamentali: una società\nche possiede diverse lingue, dunque diverse\nforme di espressione, è più o meno forte, più\no meno ricca, di una società che ne possiede\nuna soltanto? È ipotizzabile l’esistenza al\nmondo di una sola lingua, di un solo\nmercato, di una sola moneta? \u002F\nFabrics from various sources and with\ndifferent purposes are arranged together,\nchanging form according to the point \nof view. The project Broken English stems\nfrom the emergence of some fundamental\nquestions: is a society that uses several\nlanguages and therefore has many forms of\nexpression more or less strong and rich than\na society that has only one? Is the existence\nof a world with a single language, market,\nand currency conceivable?\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 75\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",72,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.73.png","MOROSO catalogo 224 pagine        3 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 71\nMy house is a Le Corbusier \n(centrotavola), \n2014, in collaborazione \ncon il muratore Aldo Chironi, \ncemento, 70 x 50 cm \u002F \nin collaboration with \nthe bricklayer Aldo Chironi, \ncement, 27 ¾” x 19 ¾”\nCourtesy of the artist\n74\n74\nOpera realizzata con la complicità del\nmaestro del muro Aldo Chironi. L'artista fa\nsua una tecnica che trova espressione\nnell’incontro tra un centro tavola fatto a\nmano e il cemento. Trasferendo lo spirito\nche li caratterizza, dall’ambiente popolare\nalla dimensione artistica. Riperpetuando il\nconcetto dell’arte che cambia valore secondo\nil contesto \u002F \nThis work was created with the help of\nmaster muralist Aldo Chironi. The artist uses\na technique that ﬁnds expression in the\nencounter between a handmade table\ncenterpiece and cement, transferring the\nspirit that characterizes them from popular\nto artistic, and perpetuating the concept of\nan art that changes in value according to\nits context.\nBroken English: step 4 Kangaroo or domestic animals, \n2013, divano inglese intagliato, XIX secolo, in mogano, \npelle di pecora conciata, 100 x 84 x 70 cm \u002F \nnineteenth century English carved mahogany sofa, \ntanned sheepskin, 39 ¼” x 33 ¼” x 27 ¾”\nProdotto dal MAN, Nuoro. Courtesy of the artist\nAnimali silenti rivivono in un divano inglese con il bracciolo rivestito di\npelle di pecora. Nel quadro del progetto, la vicenda del gallese Benjamin\nPiercy, che visse in Sardegna a ﬁne Ottocento, assume importanza per la\nsua capacità di innescare processi virtuosi di creazione di nuovi soggetti\nidentitari, nati dall’incontro tra caratteristiche, usanze e conoscenze in-\nglesi e sarde. A fare da sfondo l’idea che non nella purezza, bensì nell’in-\ntreccio, nell’incontro – di culture, di lingue, di usanze, di mestieri, di\ntecniche – si possano cogliere i semi della vita e sviluppare i potenziali \u002F \nSilent animals come alive in an English sofa with an armrest covered with\nsheepskin. The subject of the project is the story of the Welshman Benjamin\nPiercy, who lived in Sardinia at the end of the nineteenth century, and\nachieves importance because of its ability to inspire creative processes\nthrough new subjects of identity, created from the encounter \nof characteristics, customs, and knowledge between the English \nand Sardinians. The fundamental idea is that it is not from purity, \nbut from the interweaving and meeting—of cultures, languages, customs,\ncrafts, and techniques—that you can reap the seeds of life and develop \ntheir potential.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 74\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",73,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.74.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\nFinalist\nCristian­Chironi\nSelected by P420 - Bologna\nBroken English \u002F step 3 Connections or set, \n2013, tavolo rustico inglese a bandelle in rovere, XIX secolo, \ntovaglie di plastica, tubi da imballo, 140 x 79 x 115,5 cm \u002F \nnineteenth century rustic English table with oak strips, \nplastic tablecloths, wrapping tube, 55 ¼” x 31 ¼” x 45 ½”\nProdotto dal MAN, Nuoro. Courtesy of the artist \nTovaglie di plastica sono disposte su un tavolo inglese in rovere del XIX secolo, con una scansione di\nfantasie che va dal mare agli olivi delle campagne. Il termine Broken English indica le varianti\nincerte della lingua inglese, che, all’interno del progetto, da semplici elementi del linguaggio\ndiventano immagini, oggetti, suoni, video, installazioni declinate in un percorso multidisciplinare\nche integra problematiche linguistiche con quesiti di carattere socio-economico \u002F \nPlastic tablecloths are arranged on a nineteenth century English oak table, with a scan of\nfantasies that goes from the sea to the olive trees of the countryside. The term Borken English\nindicates the uncertain variants of the English language, which within the project, from simple\nelements of language become images, objects, sounds, videos, and installations presented in a\nmultidisciplinary way that integrates linguistic problems with questions \nof a socio-economic character.\nPratiche, linguaggi \ne formati fuori dalla cornice\nPraticare­indifferentemente­i­linguaggi­della\ncomunicazione­visiva­è­la­misura­con­la­quale\nCristian­Chironi­si­confronta­nella­produzione\ndi­performance,­sculture,­video,­installazioni,\ndisegni,­fotograﬁe.­La­libera­associazione­dei\nformati­accompagna­da­sempre­la­ricerca\ndell’artista,­anche­in­relazione­alla­variabilità\ndegli­ambiti,­allo­spazio­architettonico,­al­con-\ntesto­sociale­o­alla­condizione­individuale­in\ncui­questa­tendenza­si­esprime:­a­partire,­ad\nesempio­dal­modo­in­cui­immaginazione,­pro-\niezioni,­ricordi­e­realtà­si­fondono­in­una­di-\nmensione­spesso­ludica­e­spiazzante.­C’è­in-\nfatti­una­matrice­comune­nei­lavori­prodotti\nda­Chironi,­un­codice­semiotico­che­seleziona\ni­segni­del­tempo­e­li­riorganizza­in­un­nuovi\ncontenuti­e­in­nuovi­signiﬁcati.­Come­i­ricordi\nd’infanzia­o­del­proprio­vissuto­sociale,­posi-\ntivo­o­conﬂittuale:­sogni,­suggestioni,­aspira-\nzioni­diventano­spunti­su­cui­passato­e­pre-\nsente­si­incrociano­in­un­gioco­di­rimandi­pa-\nradossali.­Il­più­delle­volte­Chironi­usa­delle\nimmagini­fotograﬁche­rielaborate­attraverso\nil­linguaggio­performativo,­come­quando­l’ar-\ntista­‘indossa’­le­foto­della­madre­vestita­da\nsposa­(Lina,­2004)­ritraendosi­in­pose­dome-\nstiche­che­rimettono­in­discussione­la­perce-\nzione­della­memoria­familiare.­Con­la­stessa\nattitudine­allo­spaesamento,­nella­perfor-\nmance­Poster (2006),­Chironi­si­appropria­di\nsette­foto­storiche­dell’album­del­padre,­gio-\ncatore­di­calcio­dilettante,­le­ingrandisce­a\ndimensione­naturale,­e­abbigliato­con­la­ma-\nglia­della­squadra­sale­su­un­piedistallo­di\nplexiglass,­sovrapponendo­la­propria­imma-\ngine­alle­foto­di­gruppo­dei­calciatori.­La­rap-\npresentazione­sembra­un­tableau­vivant,­una\nvisione­simultanea­e­sospesa­nel­tempo,­dove\nrealtà­e­ﬁnzione­si­sﬁdano­sul­palcoscenico\ndella­vita.­La­presenza­scenica­di­Chironi\nquasi­mai­si­dissocia­dalle­opere­e­dalla­loro\nfunzionalità,­vera­o­presunta.­Quando­si­ci-\nmenta­ nella­ scultura-performance­ Rubik\n72\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 72\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 73\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",74,{"image":278,"text":275,"number":279},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.75.png",75,{"image":281,"text":271,"number":282},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.76.png",76,{"image":284,"text":267,"number":285},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.77.png",77,{"image":287,"text":263,"number":288},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.78.png",78,{"image":290,"text":259,"number":291},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.79.png",79,{"image":293,"text":255,"number":294},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.80.png",80,{"image":296,"text":251,"number":297},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.81.png",81,{"image":299,"text":247,"number":300},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.82.png",82,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.83.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\n81\nKurye - To Bring International Videos To Istanbul, a­cura­di­\u002F­curated­by­\nI.­Arkman,­Akbank­Sanat­e­\u002F­and­Istanbul­Bilgi­University,­Istanbul\nNew Italian Epic, a­cura­di­\u002F­curated­by­A.­Bruciati,­Brown­Project­Space,­Milano\nRereading the Image - Photography as storage of meaning (Italy 1970-2009),­a­cura­di­\u002F­curated­by­\nL.­Panaro,­Prague­Biennal­Art­4,­Karlin­Hall,­Prague\n2008\nvideoREPORT ITALIA 2006_07,­a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO)\nBack to the present,­a­cura­di­\u002F­curated­by­G.­Galati,­Appetite­Gallery,­Buenos­Aires\nSoft Cell: dinamiche nello spazio in Italia,­a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO)\nad’a - area d’azione,­a­cura­di­\u002F­curated­by­R.­Daolio,­Palazzo­Tozzoni,­Pinacoteca­di­Imola,­\nRocca­Sforzesca,­Imola­[it.­ex.]\n2007\nvideoREPORT ITALIA 2004_05,­a­cura­di­\u002F­curated­by­A.­Bruciati,­Film­Studio­1­e­2,­Roma;­\nMuseum­of­Modern­and­Contemporary­Art,­Rijeka­(Croatia);­V|07­-­Venice­VideoArt­Fair,­\nIsola­di­S.­Servolo,­Venezia­[it.­ex.]\n2006\nvideoREPORT ITALIA 2004_05,­a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO);­MAN,­Nuoro­[it.­ex.]\nSS9, Strade Blu Arte, a­cura­di­\u002F­curated­by­C.­Pilati,­GAM,­Bologna;­Galleria­Comunale­di­San­Pietro­Terme,­\nCastel­San­Pietro­Terme­(BO);­Pinacoteca­Comunale­di­Imola,­Imola­(BO)­[it.­ex.]\n2005\nLo sguardo altrove,­a­cura­di­\u002F­curated­by­F.­Bianchi,­L.­Inga-Pin,­Galleria­Luciano­Inga-Pin,­Milano\nStanze­2005,­VI­Edizione­–­Identità­in­prestito,­a­cura­di­\u002F­curated­by­I.­S.­Fenu,­Cittadella­dei­Musei,­Cagliari\n2002\nCasa dolce Casa, a­cura­di­\u002F­curated­by­C.­Collu,­I.­S.­Fenu,­C.­Leoni,­MAN,­Nuoro\nAnteprima - Giovani Artisti dell’Accademia di Belle Arti, a­cura­di­\u002F­curated­by­\nInstitute­of­Painting­Academy­of­Fine­Arts,­Guidi­Gallery,­Bologna\n2001\nCorsie – Rassegna d’arte in quattro tempi -­32­Giovani­Artisti,­a­cura­dell’­\u002F­curated­by­Atelier\nC.­Pozzati,­Granarolo,­Galleria­Sessantaquattro­Baricellarte,­Baricella­(BO)\n2000\nLa tua casa è un’automobile, a­cura­di­\u002F­curated­by­R.­Vidali,­Galleria­Parco­Foundation,­Casier­(TV)\nCorpus Operandi,­a­cura­di­\u002F­curated­by­A.­Zanchetta,­Galleria­Il­Campo­delle­Fragole,­Bologna\nPerformances selezionate \u002F Selected performances \n2014\nPoster, in­SUNNY  SIDE UP a­cur­di­\u002F­curated­by­H.­Bocxstael,­Netwerk­\u002F­center­for­contemporary­art,­Aalst\nBroken English, MAN,­Nuoro\n2013\nCutter, in­LE FAR° Festval des arts vivants,­a­cura­di­\u002F­curated­by­\nV.­Ferrero­Delacoste,­Le­château­de­Nyon:­Musée­historique­et­des­porcelaines,­Nyon\n2012\nCutter, in­Burning Ice, a­cura­di­\u002F­curated­by­K.­Van­Langendonck,­Kaaistudio’s,­Brussels­\nECO, in­CORPUS. Art in action, a­cura­di­\u002F­curated­by­A.­Rispoli,­E.­Viola,­MADRE,­Napoli\n2011\nCutter, in­Les Soirées Nomades de la Fondation Cartier pour l’art contemporain \u002F Nomadic Nights \nof the Cartier Foundation for Contemporary Art, Paris\nCutter, in Plateaux Festival (Neu Positions in International Performing Arts), a­cura­di­\u002F­curated­by­\nM.­Baasch,­Mousonturm,­Frankfurt\n2010\nRubik, in­Performances, a­cura­di­\u002F­curated­by­V.­Deulin,­Théâtre­d’Arles,­Arles\n2009\nRubik, in­Les urbaines - Festival des créations émergentes, a­cura­di­\u002F­curated­by­\nP.­de­Rham,­Sévelin­36­Theater,­Lausanne\nPoster (Porto version), in TRAMA - Festival De Artes Performativas, a­cura­di­\u002F­curated­by­\nC.­Grande,­P.­Rocha,­P.­Vinhas,­R.­Castro­Neves,­Fábrica­Social,­Porto\nRubik,­in­CARTA BIANCA - rencontres franco-italiennes,­Espace­Malraux­Scene­Nationale­\nde­Chambery­et­de­la­Savoie,­Chambery\n2008\nPoster (Athens version), a­cura­di­\u002F­curated­by­C.­Galanopoulou,­in­Mirfestival,­Akis­Davis­Theatre,­Athens\nad’a. area d’azione,­a­cura­di­\u002F­curated­by­R.­Daolio,­Palazzo­Tozzoni,­Pinacoteca,­Rocca­Sforzesca,­Imola\nPoster (Munchen version), in­transACTION, a­cura­di­\u002F­curated­by­W.­Heun,­Muffatwerk,­Munich­\nPoster, in­Uovo performing arts festival, a­cura­di­\u002F­curated­by­U.­Angelini,­Superstudio­Più,­Milano\nPoster  (Frankfurt  version),  in­­Plateaux  Festival  (Neu  Positions  in  International  Performing Arts), \na­cura­di­\u002F­curated­by­M.­Baasch,­Mousonturm,­Frankfurt\n2007\nPoster,­a­cura­di­\u002F­curated­by­V.­Sieni,­Festival­Oltrarno­Atelier,­Cango,­Firenze\nLiving Room #1, RED festival,­a­cura­di­\u002F­curated­by­S.­Fanti,­G.­Ottolini,­Reggio­Emilia\nSticker, Carnevale 07,­a­cura­di­\u002F­curated­by­C.­Pilati,­in­collaborazione­con­\u002F­in­collaboration­with­\nMAN­–­Nuoro,­Casa­Museo,­Ottana­(NU)\n­\n­\n­\n­ ­\n­\n­ ­\n­ ­\n­ ­\n­ ­\n­ ­\n­\n­\n­\n­ ­\n \n \n  \n \n \n \n \n   \n \n­\n­\n­\n \n   \n \n \n­\n­\n­\n \n­\n­\n­ ­\n­ ­ ­\n­\n­ ­\n­\n­\n­\n­\n­\n­\n­\n­ ­\n­\n­\n \n­\n­\n­\n­\n­\n­ ­\n­\n­\n­\n­\n­\n­ ­\n­\n­\n­ ­\n­ ­ ­\n­\n­\n­\n­\n­\n­\n­\n­\n­\n­ ­\n­\n­\n \n \n \n­\n­ ­\n­\n­ ­\n­\n­\n­\n­\n­\n­ ­\n­\n­\n­ ­\n­ ­ ­\n­\n­ ­\n­\n­\n­\n­\n­ ­\n \n \n­ ­\n­ ­ ­\n­\n­ ­\n­\n­\n­ ­\n­\n­ ­\n­\n­\n­\n­\n­\n­\n­\n­\n­ ­\n­ ­ ­\n­\n­ ­\n­\n­\n­\n­\n­ ­\n­ ­ ­\n­\n­ ­ ­\n­\n­\n­\n­ ­\n­\n­\n \n \n \n­\n­\n­\n­\n­\n­\n­\n­\n­\n­ ­\n­\n­\n­ ­\n­ ­ ­\n­\n­\n­\n­ ­\n­\n­\n \n \n  \n \n \n \n \n \n \n \n \n­ ­\n­ ­ ­\n­\n­ ­\n­ ­\n­ ­­\n­\n­­­\n­\n­ ­\n \n \n­ ­\n­ ­ ­\n­\n­ ­\n­\n­\n­\n \n \n­ ­\n­ ­ ­\n­\n­\n­\n­\n­\n­\n \n \n \n \n \n \n \n \n \n \n­ ­\n­ ­ ­\n­\n­\n­\n­\n­\n­ ­\n­\n­\n­\n­\n­\n­\n­\n­\n \n  \n­ ­\n­ ­ ­\n­\n­ ­\n­ ­\n­\n­\n­\n­\n­\n \n   \n \n \n \n \n  \n­\n­ ­ ­\n­\n­ ­\n­ ­\n­ ­\n­ ­\n­ ­\n­\n­\n \n­\n­\n­\n­\n­ ­ ­\n­ ­\n­ ­\n­\n­ ­\n­ ­\n­ ­ ­\n­\n­ ­\n­\n­\n­\n­\n­\n \n \n \n  \n \n \n \n \n \n \n \n­\n­\n­ ­\n­ ­ ­\n­\n­\n­\n­\n­\n \n  \n \n  \n ­\n­ ­ ­\n­\n­\n­\n­ ­\n­\n­ ­ ­\n­\n­\n­\n­\n­\n­\n­ ­\n­\n­\n­\n­\n­\n­\n­\n­\n­ ­\n­\n­ ­\n­\n­\n­\n­\n­\n­\n­ ­ ­\n­\n­\n \n­\n­ ­ ­\n­\n­ ­\n­\n­\n­\n­\n­\n­\n \n \n  \n­ ­\n­ ­ ­\n­\n­ ­\n­\n­\n­\n­\n \n  \n­ ­\n­ ­ ­\n­\n­\n­\n­\n­ ­\n­\n­\n­\n­\n \n­ ­\n­ ­ ­\n­\n­\n­\n­\n­ ­\n­\n­\n­\n­\n­\n­\n­\n­\n­\n­\n­\n­\n­\n \n \n \n \n  \n  \n­ ­\n­ ­ ­\n­\n­ ­\n­ ­\n­\n­\n   \n­\n­ ­ ­\n­\n­\n­\n­\n­\n­\n­\n­\n­\n \n  \n \n \n \n \n­\n­ ­ ­\n­\n­ ­\n­\n­\n­\n  \n  \n  \n  \n  \n ­\n­ ­­ ­\n­­\n­­\n­\n­­ ­\n­\n­\n­\n \n \n \n \n \n \n \n \n­\n­\n­ ­\n­\n­\n­\n­\n­\n­ ­\n­\n­\n­\n­\n  \n \n \n \n­\n­\n­\n­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 81\nSara­Enrico\nSelected by P420 - Bologna\nNata­nel­1979­a­Biella,­vive­e­lavora­a­Torino­\u002F­Born­in­1979­in­Biella,­lives­and­works­in­Turin\nCactus,\n2014, cemento e tela, 10 x 210 x 10 cm ciascuno \u002F concrete and canvas, 4” x 82 ¾” x 4” each \nVeduta della mostra, Fondazione Sandretto Re Rebaudengo, Torino, 2014 \u002F\nExhibition view Fondazione Sandretto Re Rebaudengo, Turin 2014\nCourtesy of the artist . Foto \u002F Photo: Cristina Leoncini\n96\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 96\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",83,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.84.png","MOROSO catalogo 224 pagine        3 VOLTA (2 sedicesimi)     USOMANO\nEmma­Ciceri\nSelected by La Veronica - Modica (RG)\nNata nel 1983 a Bergamo, dove vive e lavora \u002F Born in 1983 in Bergamo, where she lives and works\nZone, 2011, 6’30”\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 82\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 95\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",84,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.85.png","MOROSO catalogo 224 pagine        3 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 83\nGabriele­De­Santis\nSelected by Continua - San Gimignano (SI)\nNato­nel­1983­a­Roma,­vive­e­lavora­a­Londra­\u002F­Born­in­1983­in­Rome,­lives­and­works­in­London\nPenelope, \n2014, fotograﬁa, 18 x 16 cm \u002F photograph, 7 ¼” x 6 ¼”\nCourtesy of the artist, Frutta, Roma e \u002F and Limoncello, London\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 94\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",85,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.86.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\nLuca­De­Leva\nSelected by ZERO... - Milano\nNato­nel­1986­a­Milano,­dove­vive­e­lavora­\u002F­Born­in­1986­in­Milan,­where­he­lives­and­works\nPiede, \n2014, TPU rosso, aria, gesso colorato su pavimento, 170 x 120 cm \u002F red TPU, air, colored chalk on the ﬂoor, 66 ¾” x 47 ¼”\nCollezione \u002F Collection Emilio e \u002F and Stefania Giorgi, Milan. Courtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 84\nMuralismi I, \n2015, croste di grafﬁti, 35 x 45 cm \u002F \ngrafﬁti fragments,  13 ¾” x 17 ¾”\nCourtesy of the artist\n93\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 93\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",86,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.87.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 85\nGiulio­Delvè\nNato­nel­1984­a­Napoli,­vive­e­lavora­tra­Napoli­e­Berlino­\u002F­Born­in­1984­in­Naples,­lives­and­works­in­Naples­and­Berlin\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2013­­­­­­­­­­­­­­De Sculptura (con­\u002F­with­Namsal­Siedlecki),­a­cura­di­\u002F­curated­by­G.­Pisapia,­Fuori­Campo,­Siena\n                       Pugna est vita (con­\u002F­with­Federico­Del­Vecchio),­Museo­Apparente,­Napoli\n2012 ­­­­­­­­­­­­Azione meccanica,­Supportico­Lopez,­Berlin\n2011             Objects in mirror are closer than they appear,­Uno­solo­project­room,­Milano\nVilla del vecchio (con­\u002F­with­Federico­Del­Vecchio),­GUM­Studio,­Carrara\n2010            Giulio Delvè+Mauro Folci,­PAN,­Napoli\n2008            Four Rooms,­a­cura­di­\u002F­curated­by­G.­Del­Vecchio,­S.­Palumbo,­Project­Room­MADRE,­Napoli\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­\nA.­Bruciati,­Esedra­di­Levante­-­Villa­Manin,­Passariano­(UD)\n2014\nPer_formare una collezione#3,­a­cura­di­\u002F­curated­by­A.­Rabottini,­E.­Viola,­MADRE,­Napoli\nèdra,­a­cura­di­\u002F­curated­by­C.­Stolﬁ,­Reale­Istituto­Neerlandese,­Roma\nVideo Foverer 15 *Fantômes*,­Studio­Frank­Perrin,­Paris\nGreatest hits,­Museo­Apparente,­Napoli\nTrasguardare, a­cura­di­\u002F­curated­by­G.­Oberti,­Monza\nDisplay Mediating Landscape,­a­cura­di­\u002F­curated­by­Flip,­Sala­Murat,­Bari\n2013\nIl rituale del serpente,­a­cura­di­\u002F­curated­by­G.­Politi,­Pastiﬁcio­Cerere,­Roma\nAndata e Ricordo. Souvenir de Voyage,­a­cura­\u002F­curated­by­N.­Boschiero,­V.­Caciolli,­\nD.­Ferrari,­P.­Pettenella,­A.­Tiddia,­D.­Viva,­MART,­Rovereto­(TN)\nDie Dritte Dimension, a­cura­di­\u002F­curated­by­Supportico­Lopez,­Frutta­gallery,­Roma\nIl Teorema di Gauss,­CO2,­Roma\n2012\nSotto la strada, la spiaggia, a­cura­di­\u002F­curated­by­\nB.­Antille,­M.­Fiedler,­A.­Parshikov,­Fondazione­Sandretto­Re­Rebaudengo,­Torino\nVoyage Voyage,­a­cura­di­\u002F­curated­by­A.­de­Galbert,­Maison­de­l’Amérique­Latine,­Paris\nEpipedon,­a­cura­di­\u002F­curated­by­L.­Pratesi,­CO2,­Roma\n2011\nTalent Prize,­Centrale­Montemartini,­Roma\nLife jacket under seat,­Flip,­Toronto\nBased in Berlin,­a­cura­di­\u002F­curated­by­A.­Campens,­F.­Fischli,­M.­Magiera,­J.­Schillinger,­\nS.­Cameron­Weaver,­KW­Institute­for­Contemporary­Art­and­AtelierhauMonbijoupark,­Berlin\nItaliens, Junge Kunst in der Botschaft, a­cura­di­\u002F­curated­by­A.­Pace,­M.­Sorbello,­Ambasciata­Italiana,­Berlin\nAriane de Rotchild Prize, a­cura­di­\u002F­curated­by­L.­Barreca,­M.­Smarrelli,­Palazzo­Reale,­Milano\nBedtime stories Badtime stories,­Supportico­Lopez,­Berlin\n2010\nContemporary energy. Italian attitudes,­SUPEC­Shanghai­Urban­Planning­Exhibition­Center,­Shanghai\n2009\nAntipop,­a­cura­di­\u002F­curated­by­G.­Del­Vecchio,­Galleria­Alessandro­De­March,­Milano\nSupermegadrops 5,­a­cura­di­\u002F­curated­by­M.­Gorni,­Crac,­Cremona\nVideo.it, a­cura­di­\u002F­curated­by­F.­Bernardelli,­M.­Gorni,­F.­Poli,­P.­Nicita,­C.­Perrella,\nFondazione­Merz,­Torino\nMemories,­Circolo­degli­Artisti,­Napoli\n2008\nReal Presence,­a­cura­di­\u002F­curated­by­D.­Denegri,­B.­Tomic,­Castello­di­Rivoli,­Rivoli­(TO)\n92\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 92\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",87,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.88.png","MOROSO catalogo 224 pagine        3 VOLTA (2 sedicesimi)     USOMANO\nWinner\nGiulio­Delvè\nSelected by Continua - San Gimignano (SI)\nCast of a solos_05\n2015, calco in gesso, 124 x 60 x 13 cm \u002F \nplaster cast, 48 ¾” x 23 ¾” x 5 ¼”\nCourtesy of the artist\n86\nL’attitudine manipolatoria \ndi Giulio Delvè \nGiulio­Delvè­spazia­con­disinvoltura­dalla\nscultura­all’installazione,­dalla­fotograﬁa­alla\nperformance.­La­sua­mitologia­personale­è\nradicata­negli­oggetti­del­quotidiano,­il­cui\nsigniﬁcato,­ruolo­e­posizione­spesso­si­spinge\noltre­la­loro­mera­funzione­pratica­per­en-\ntrare­in­un­altro­ordine­di­idee,­apparente-\nmente­incongruo­ma­altamente­simbolico,\natto­a­creare­nuove,­possibili­associazioni.\nGran­parte­della­sua­ricerca­è­concentrata\nsull’idea­di­assenza,­in­cui­la­scultura­evoca\nlo­spazio­che­gli­oggetti­occupavano­all’in-\nterno­di­un­determinato­contesto­prima­di\nessere­rimossi,­ed­è­proprio­il­vuoto­che­ne\nesplicita­la­(passata)­esistenza­a­sfalsarne\nle­coordinate­spazio-temporali.­Di­qui­l’inte-\nresse­dell’artista­per­il­calco,­per­l’impronta\ndi­un­oggetto,­ovvero­per­la­materializzazione\ndello­spazio­che­esso\noccupava­prima­di­es-\nsere­spostato.­Il­calco\nè­una­pratica­che­risale\nall’alba­ della­ ﬁgura-\nzione,­forse­la­più­an-\ncestrale­per­imprimere\nuna­ ‘forma’­ che­ rac-\nconta­di­contatto­e­di\nperdita,­chiamando­in\nquestione­le­condizioni\nessenziali­della­somi-\nglianza­e­della­rappresentazione,­la­memoria\nduratura­di­una­traccia­e­il­suo­presente.\nD’altronde,­“l’impronta­è­meno­di­un’imma-\ngine,­perché­è­un­campo­di­tracce­indescri-\nvibili,­ed­è­più­di­un’immagine­perché­mani-\nfesta­qualcosa­di­assente­in­quanto­reale\npresenza”,­ci­ricorda­Didi-Huberman.­Il­calco\nassorbe­e­restituisce,­funge­da­conduttore,\nda­trasformatore­di­energia­e­di­stato­da­una\nforma­ad­un’altra.­Black Dog (2011)­ad­esem-\npio,­è­una­scultura­che­assume­l’aspetto­di\nun­monolite,­una­pietra­misteriosa,­un­re-\nperto­archeologico,­eppure­è­il­semplice­calco\ndi­un­cavolﬁore­romano,­connesso­dall’artista\nalle­teorie­alchemiche­legate­al­magnetismo\nmesmeriano,­all’alterazione­percettiva.­Ispi-\nrandosi­al­concetto­di­“auto-similarità”­alla\nbase­della­“Teoria­dei­Frattali”,­l’opera­ri-\nmanda­all’iconograﬁa­ed­al­simbolismo­della\npigna,­alla­ghiandola­pineale,­al­Terzo­Occhio\nche­consentirebbe­di­percepire­livelli­della\nrealtà­ ulteriori.­ Le\nstesse­urgenze­espres-\nsive­informano­Enigma\n(2014),­progetto­site-\nspeciﬁc­realizzato­per\nla­ ‘sala­ della­ musica’\ndel­museo­MADRE­di\nNapoli,­ una­ teoria­ di\nsculture\u002Fmonoliti­otte-\nnute­dal­calco­di­pan-\nnelli­insonorizzanti­ed\nutilizzati­ nella­ sala\n          Enigma, \n2014, calchi in gesso, luci al neon, sedie nude \u002F \nplaster casts, neon lights, naked chairs\nVeduta dell’installazione (dettaglio) al MADRE, Napoli, 2014 \u002F \nInstallation view ( detail), MADRE Museum, Naples, 2014\n             Courtesy of the artist \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 86\nHotel Tritone, (dettaglio\u002F detail), \n2010, ombrelloni, legno, motore elettrico, \ncuscinetti a sfera, 360 x 360 x 340 cm \u002F \n(detail), beach umbrellas, wood, electric motor, \nball bearings, 141 ¾” x 141 ¾” x 133 ¾” \nCourtesy of the artist\n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n \n  \n \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 91\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",88,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.89.png","MOROSO catalogo 224 pagine        3 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 87\nAnd if a double-decker bus crashes into us, \n2009, lucchetti e catene dell’amore \u002F \nlove locks and chains\nVeduta dell’installazione presso \nla Fondazione Sandretto\nRe Rebaudengo (TO), 2009 \u002F \nInstallation view Sandretto \nRe Rebaudengo Foundation, Turin, 2009\nCourtesy of the artist\nSurf in the kitchen, \n2008, C-Print,\n100 x 68 cm \u002F39” x 26 ¾”\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 90\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",89,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.90.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\nprove­di­una­band­napoletana.­Il­negativo\ncosì­ottenuto,­in­gesso,­contiene­tutte­le­in-\nformazioni­e­la­memoria­dell’oggetto­copiato,\nun­processo­di­trasmutazione­esaltato­dalla\nscelta­stessa­del­materiale­utilizzato:­il­gesso,\nche­a­sua­volta­passa­velocemente­dallo­stato\nliquido­a­quello­solido,­un­materiale­ossimo-\nrico,­la­cui­resistenza­è­imprescindibile­dalla\nsua­intrinseca­vulnerabilità.­Delvè­assimila\nla­forma­dei­pannelli­fonoassorbenti­alla­fac-\nciata­in­bugnato­‘a­cuspide’­del­Gesù­Nuovo,\ntra­le­chiese­basilicali­più­importanti­di­Na-\npoli,­sulla­cui­facciata­sono­stati­recente-\nmente­scoperti­venti­simboli­in­aramaico­in-\ncisi,­ che­ rimandano­a­simboli­ alchemici,\nsecondo­ alcuni­ un­ pentagramma­ a­ cielo\naperto,­una­partitura­musicale­ribattezzata\ndai­suoi­scopritori,­per­l’appunto,­Enigma:\nun­concerto­barocco­per­strumenti­a­plettro.\nQuesti­stessi­simboli­sono­restituiti­dall’arti-\nsta­in­forma­di­neon­che­‘alchemicamente’\nfungono­da­illuminazione­della­sala.­La­stra-\ntegia­estetica­di­Delvè­è­incline­a­privilegiare\nla­componente­evocativa­dell’oggetto,­imba-\nstisce­una­partitura­di­sensi­proiettivi­con-\nnessi­al­vissuto,­dilatati­in­una­visione­non\npriva­di­risonanze­ermetiche,­in­cui­non­conta\nl’esistenza­reale­delle­cose­ma­l’evidenza,­il\nfenomeno,­la­manifestazione­dell’essenza­del-\nl’oggetto­alla­coscienza­che­si­compie­in­re-\nlazione­agli­atti­che­costituiscono­l’opera.­È\nquesto­l’atteggiamento­adottato­dall’artista\nper­spingersi­oltre­la­sostanza­epidermica\ndelle­cose;­un­modo­di­ribadire­la­propria\npoetica,­la­propria­inconfondibile­cifra­stili-\nstica,­insita­nella­sovversiva­capacità­dell’arte\ndi­rivelare­e­presentare­nuove­alternative,\nnuove­attitudini­e­modi­di­pensare.­La­sua­è\ndunque­un’attitudine­manipolatoria,­tesa­a\nrestituire­brani­di­realtà­preesistenti­in­nuovi\ncontesti,­piegandoli,­in­sostanza,­a­nuovi­si-\ngniﬁcati.\nThe manipulative attitude \nof Giulio Delvè \nGiulio­Delvè­moves­nonchalantly­from­scul-\npture­to­installation­and­from­photography\nto­performance.­His­personal­mythology­is\nrooted­in­everyday­objects­whose­meaning,\nrole,­and­position­often­go­beyond­their­mere\npractical­function­to­enter­another­order­of\nideas,­seemingly­incongruous­but­highly­sym-\nbolic,­which­create­new,­possible­associations.\nMuch­of­his­research­is­focused­on­the­idea\nAzione meccanica di una roccia effusiva su un solido amorfo, \n2012, sanpietrino, vetro temperato, 15 x 15 x 18 cm \u002F \ncobblestone, tempered glass pane, 6” x 6” x 7 ¼”\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 88\n89\nof­absence,­where­the­sculpture­evokes­the\nspace­occupied­by­objects­within­a­given­con-\ntext­before­being­removed,­and­it­is­the­void\nitself­that­indicates­its­(past)­existence­by\nshifting­the­space-time­coordinates.­This­is\nthe­basis­for­the­artist’s­interest­in­the­idea\nof­the­mold,­the­impression­of­an­object,­or\nmore­exactly,­for­the­space­the­object­occu-\npied­before­being­removed.­Casting­is­a­prac-\ntice­that­dates­back­to­the­dawn­of­ﬁguration;\nperhaps­it­is­the­most­ancestral­method­to\nimpart­a­‘form’­which­speaks­of­contact­and\nloss.­It­calls­into­question­the­essential­con-\nditions­of­likeness­and­representation,­the\nrecord­of­an­act­and­its­present­form.­Moreo-\nver,­Didi-Huberman­reminds­us,­“The­impres-\nsion­is­less­than­an­image,­because­it­is­a\nﬁeld­of­indescribable­marks,­and­is­more­than\nan­image,­because­it­shows­something­about\nabsence­that­is­as­real­as­presence”.­The­mold\ngives­and­it­takes;­it­acts­as­a­conductor;­it\ntransforms­energy­and­state­from­one­form\nto­another.­Black Dog (2011)­for­example,­is\na­sculpture­that­takes­the­form­of­a­monolith,\na­mysterious­stone,­or­an­archaeological­ﬁnd,\nyet­it­is­the­simple­cast­of­a­Roman­cauliﬂo-\nwer,­connected­by­the­artist­through­the­al-\nchemical­theories­related­to­mesmeric­ma-\ngnetism­and­perceptual­alteration.­Inspiredby\nthe­concept­of­‘self-similarity’­at­the­base­of\nthe­“Theory­of­Fractals”,­the­work­refers­to\nthe­iconography­and­symbolism­of­the­pine-\ncone,­the­pineal­gland,­and­the­third­eye­that\nperceives­deeper­levels­of­reality.­The­same\nexpressive­urgency­informs­Enigma (2014),\na­site-speciﬁc­project­created­for­the­‘music\nroom’­of­the­museum­MADRE­in­Naples,­a\ntheory­of­sculptures\u002Fmonoliths­obtained­from\ncasts­of­soundprooﬁng­panels­and­used­in\nthe­rehearsal­room­of­a­Neapolitan­band.­\nThe­negative­thus­obtained,­in­plaster,­con-\ntains­all­the­information­and­memory­of­the\ncopied­object,­a­process­of­transmutation­en-\nhanced­by­the­very­choice­of­the­material\nused:­gypsum,­which­in­turn­quickly­passes\nfrom­the­liquid­state­to­the­solid,­an­oxymo-\nronic­material,­whose­resistance­is­insepa-\nrable­from­its­intrinsic­vulnerability.­Delvè\nassimilates­the­form­of­the­sound-absorbing\npanels­to­the­ashlar­facade­in­the­‘cusp’­of\nGesù­Nuovo,­among­the­most­important­ba-\nsilica­churches­of­Naples,­on­the­facade­of\nwhich­twenty­symbols­inscribed­in­Aramaic\nwere­recently­discovered­that­refer­to­alche-\nmical­symbols,­reportedly­including­a­penta-\ngram­in­open­view,­and­a­musical­score­re-\nnamed­by­its­discoverers­Enigma—a­baroque\nconcerto­for­plectrum­instruments.­These\nsame­symbols­are­incorporated­by­the­artist\nin­the­form­of­neon­that­‘alchemically’­serves\nas­the­room­lighting.­Delvè’s­aesthetic­stra-\ntegy­is­prone­to­emphasize­the­evocative­qua-\nlities­of­the­object,­by­sketching­out­a­score\nof­projective­ways­connected­to­experience,\ndilated­in­a­vision­not­without­hermetic­re-\nsonance,­in­which­the­real­existence­of­things\ndoesn’t­matter­as­much­as­the­evidence,­the\nphenomenon,­and­the­manifestation­of­the\nessence­of­the­object­to­the­consciousness\nthat­takes­place­in­relation­to­the­actions\nthat­constitute­the­work.­This­is­the­attitude\nadopted­by­the­artist­to­go­beyond­the­surface\nlevel­of­things;­a­way­to­reiterate­his­poetry,\nhis­unmistakable­signature­style­inherent­in\nthe­subversive­capacity­of­art­to­reveal­and\npresent­new­alternatives,­new­attitudes,­and\nnew­ways­of­thinking.­His­is­therefore­a­ma-\nnipulative­attitude;­he­aims­to­introduce­pie-\nces­of­existing­reality­in­new­contexts,­ben-\nding­them­in­essence­into­a­new­signiﬁcance.\nEugenio Viola\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 89\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",90,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.91.png","MOROSO catalogo 224 pagine        3 BIANCA (2 sedicesimi)     USOMANO\nprove­di­una­band­napoletana.­Il­negativo\ncosì­ottenuto,­in­gesso,­contiene­tutte­le­in-\nformazioni­e­la­memoria­dell’oggetto­copiato,\nun­processo­di­trasmutazione­esaltato­dalla\nscelta­stessa­del­materiale­utilizzato:­il­gesso,\nche­a­sua­volta­passa­velocemente­dallo­stato\nliquido­a­quello­solido,­un­materiale­ossimo-\nrico,­la­cui­resistenza­è­imprescindibile­dalla\nsua­intrinseca­vulnerabilità.­Delvè­assimila\nla­forma­dei­pannelli­fonoassorbenti­alla­fac-\nciata­in­bugnato­‘a­cuspide’­del­Gesù­Nuovo,\ntra­le­chiese­basilicali­più­importanti­di­Na-\npoli,­sulla­cui­facciata­sono­stati­recente-\nmente­scoperti­venti­simboli­in­aramaico­in-\ncisi,­ che­ rimandano­ a­ simboli­ alchemici,\nsecondo­ alcuni­ un­ pentagramma­ a­ cielo\naperto,­una­partitura­musicale­ribattezzata\ndai­suoi­scopritori,­per­l’appunto,­Enigma:\nun­concerto­barocco­per­strumenti­a­plettro.\nQuesti­stessi­simboli­sono­restituiti­dall’arti-\nsta­in­forma­di­neon­che­‘alchemicamente’\nfungono­da­illuminazione­della­sala.­La­stra-\ntegia­estetica­di­Delvè­è­incline­a­privilegiare\nla­componente­evocativa­dell’oggetto,­imba-\nstisce­una­partitura­di­sensi­proiettivi­con-\nnessi­al­vissuto,­dilatati­in­una­visione­non\npriva­di­risonanze­ermetiche,­in­cui­non­conta\nl’esistenza­reale­delle­cose­ma­l’evidenza,­il\nfenomeno,­la­manifestazione­dell’essenza­del-\nl’oggetto­alla­coscienza­che­si­compie­in­re-\nlazione­agli­atti­che­costituiscono­l’opera.­È\nquesto­l’atteggiamento­adottato­dall’artista\nper­spingersi­oltre­la­sostanza­epidermica\ndelle­cose;­un­modo­di­ribadire­la­propria\npoetica,­la­propria­inconfondibile­cifra­stili-\nstica,­insita­nella­sovversiva­capacità­dell’arte\ndi­rivelare­e­presentare­nuove­alternative,\nnuove­attitudini­e­modi­di­pensare.­La­sua­è\ndunque­un’attitudine­manipolatoria,­tesa­a\nrestituire­brani­di­realtà­preesistenti­in­nuovi\ncontesti,­piegandoli,­in­sostanza,­a­nuovi­si-\ngniﬁcati.\nThe manipulative attitude \nof Giulio Delvè \nGiulio­Delvè­moves­nonchalantly­from­scul-\npture­to­installation­and­from­photography\nto­performance.­His­personal­mythology­is\nrooted­in­everyday­objects­whose­meaning,\nrole,­and­position­often­go­beyond­their­mere\npractical­function­to­enter­another­order­of\nideas,­seemingly­incongruous­but­highly­sym-\nbolic,­which­create­new,­possible­associations.\nMuch­of­his­research­is­focused­on­the­idea\nAzione meccanica di una roccia effusiva su un solido amorfo, \n2012, sanpietrino, vetro temperato, 15 x 15 x 18 cm \u002F \ncobblestone, tempered glass pane, 6” x 6” x 7 ¼”\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 88\n89\nof­absence,­where­the­sculpture­evokes­the\nspace­occupied­by­objects­within­a­given­con-\ntext­before­being­removed,­and­it­is­the­void\nitself­that­indicates­its­(past)­existence­by\nshifting­the­space-time­coordinates.­This­is\nthe­basis­for­the­artist’s­interest­in­the­idea\nof­the­mold,­the­impression­of­an­object,­or\nmore­exactly,­for­the­space­the­object­occu-\npied­before­being­removed.­Casting­is­a­prac-\ntice­that­dates­back­to­the­dawn­of­ﬁguration;\nperhaps­it­is­the­most­ancestral­method­to\nimpart­a­‘form’­which­speaks­of­contact­and\nloss.­It­calls­into­question­the­essential­con-\nditions­of­likeness­and­representation,­the\nrecord­of­an­act­and­its­present­form.­Moreo-\nver,­Didi-Huberman­reminds­us,­“The­impres-\nsion­is­less­than­an­image,­because­it­is­a\nﬁeld­of­indescribable­marks,­and­is­more­than\nan­image,­because­it­shows­something­about\nabsence­that­is­as­real­as­presence”.­The­mold\ngives­and­it­takes;­it­acts­as­a­conductor;­it\ntransforms­energy­and­state­from­one­form\nto­another.­Black Dog (2011)­for­example,­is\na­sculpture­that­takes­the­form­of­a­monolith,\na­mysterious­stone,­or­an­archaeological­ﬁnd,\nyet­it­is­the­simple­cast­of­a­Roman­cauliﬂo-\nwer,­connected­by­the­artist­through­the­al-\nchemical­theories­related­to­mesmeric­ma-\ngnetism­and­perceptual­alteration.­Inspiredby\nthe­concept­of­‘self-similarity’­at­the­base­of\nthe­“Theory­of­Fractals”,­the­work­refers­to\nthe­iconography­and­symbolism­of­the­pine-\ncone,­the­pineal­gland,­and­the­third­eye­that\nperceives­deeper­levels­of­reality.­The­same\nexpressive­urgency­informs­Enigma (2014),\na­site-speciﬁc­project­created­for­the­‘music\nroom’­of­the­museum­MADRE­in­Naples,­a\ntheory­of­sculptures\u002Fmonoliths­obtained­from\ncasts­of­soundprooﬁng­panels­and­used­in\nthe­rehearsal­room­of­a­Neapolitan­band.­\nThe­negative­thus­obtained,­in­plaster,­con-\ntains­all­the­information­and­memory­of­the\ncopied­object,­a­process­of­transmutation­en-\nhanced­by­the­very­choice­of­the­material\nused:­gypsum,­which­in­turn­quickly­passes\nfrom­the­liquid­state­to­the­solid,­an­oxymo-\nronic­material,­whose­resistance­is­insepa-\nrable­from­its­intrinsic­vulnerability.­Delvè\nassimilates­the­form­of­the­sound-absorbing\npanels­to­the­ashlar­facade­in­the­‘cusp’­of\nGesù­Nuovo,­among­the­most­important­ba-\nsilica­churches­of­Naples,­on­the­facade­of\nwhich­twenty­symbols­inscribed­in­Aramaic\nwere­recently­discovered­that­refer­to­alche-\nmical­symbols,­reportedly­including­a­penta-\ngram­in­open­view,­and­a­musical­score­re-\nnamed­by­its­discoverers­Enigma—a­baroque\nconcerto­for­plectrum­instruments.­These\nsame­symbols­are­incorporated­by­the­artist\nin­the­form­of­neon­that­‘alchemically’­serves\nas­the­room­lighting.­Delvè’s­aesthetic­stra-\ntegy­is­prone­to­emphasize­the­evocative­qua-\nlities­of­the­object,­by­sketching­out­a­score\nof­projective­ways­connected­to­experience,\ndilated­in­a­vision­not­without­hermetic­re-\nsonance,­in­which­the­real­existence­of­things\ndoesn’t­matter­as­much­as­the­evidence,­the\nphenomenon,­and­the­manifestation­of­the\nessence­of­the­object­to­the­consciousness\nthat­takes­place­in­relation­to­the­actions\nthat­constitute­the­work.­This­is­the­attitude\nadopted­by­the­artist­to­go­beyond­the­surface\nlevel­of­things;­a­way­to­reiterate­his­poetry,\nhis­unmistakable­signature­style­inherent­in\nthe­subversive­capacity­of­art­to­reveal­and\npresent­new­alternatives,­new­attitudes,­and\nnew­ways­of­thinking.­His­is­therefore­a­ma-\nnipulative­attitude;­he­aims­to­introduce­pie-\nces­of­existing­reality­in­new­contexts,­ben-\nding­them­in­essence­into­a­new­signiﬁcance.\nEugenio Viola\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 89\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",91,{"image":338,"text":327,"number":339},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.92.png",92,{"image":341,"text":323,"number":342},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.93.png",93,{"image":344,"text":319,"number":345},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.94.png",94,{"image":347,"text":315,"number":348},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.95.png",95,{"image":350,"text":311,"number":351},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.96.png",96,{"image":353,"text":307,"number":354},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.97.png",97,{"image":356,"text":303,"number":357},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.98.png",98,{"image":359,"text":360,"number":361},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.99.png","MOROSO catalogo 224 pagine        4 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 97\n112\nDomenico­Mangano\nNato­nel­1976­a­Palermo,­vive­e­lavora­ad­Amsterdam­\u002F­Born­in­1976­in­Palermo,­lives­and­works­in­Amsterdam\nPrincipali mostre personali \u002F Selected Solo Exhibitions \n2014\nAvantieri,­FPAC,­Palermo\nDe Wissel,­Kunsthuis­Syb,­Beetsterzwaag\n2013\nWerken Is Leven,­a­cura­di­\u002F­curated­by­L.­Benedetti,­Magazzino,­Roma­\nRite and Surprise,­a­cura­di­\u002F­curated­by­M.­Novotny,­Karlin­Studios,­Prague­\n2012\nWar Game,­a­cura­di­\u002F­curated­by­G.­Eldarb,­LW56,­Vienna­\nFit,­a­cura­di­\u002F­curated­by­F.­Referza,­Velan­Center,­Torino\n2009\nTwinkle Twiddle,­a­cura­di­\u002F­curated­by­V.­Ciarallo,­P.­P.­Pancotto,­­\nComplesso­Monumentale­Santo­Spirito­in­Sassia,­Roma\n2008\nOver the Blurring Shine,­a­cura­di­\u002F­curated­by­T.­Macrì,­Museo­Endrik­C.­Andersen,­Roma­\nDON’T DISTURB THE GROWING GRASS,­Galleria­dell’Arco,­Shanghai­\n2007\nHAPPY ENDING,­a­cura­di­\u002F­curated­by­C.­Y.­Lew,­Magazzino,­Roma­\n2004\nPreview. Film e video d’artista,­a­cura­di­\u002F­curated­by­M.­R.­Sossai,­Magazzino,­Roma\nPrimo maggio,­a­cura­di­\u002F­curated­by­M.­Smarrelli,­Galleria­Alberto­Peola,­Torino\n2001\nArchivio,­a­cura­di­\u002F­curated­by­M.­R.­Sossai,­Magazzino,­Roma\nLa Folie De La Villa Medicis,­a­cura­di­\u002F­curated­by­C.­Parisi,­Villa­Medici,­Roma\nLa Storia Di Mimmo,­a­cura­di­\u002F­curated­by­M.­R.­Sossai,­Luciano­Inga-Pin­Contemporary­art,­Milano\nViaggio Straordinario di J.,­a­cura­di­\u002F­curated­by­T.­Ollat,­Tohu-Bohu,­Marseille\nVoyage Extraordinarie de J.,­a­cura­di­\u002F­curated­by­a­cura­di­\u002F­curated­by­\nE.­Di­Stefano,­P.­Nicita,­I.­Parlavecchio,­Cantieri­Culturali­alla­Zisa,­Palermo\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­\nA.­Bruciati,­Esedra­di­Levante­-­Villa­Manin,­Passariano­(UD)\nProjections,­Art­Rotterdam,­Rotterdam\n2014\nCeleste Prize,­Assab­One,­Milano\nKunsthuis­Syb,­Beetsterzwaag\n2013\nThe Margulies Collection at­the­Warehouse,­Miami\nTrip And Traveling,­a­cura­di­\u002F­curated­by­L.­Bruni,­KCCC,­Klaipeda­\nParallel Vienna 2013,­LWZ­Projekte,­Vienna\nA Love Meal,­Collection­Sandretto­Re­Rebaudengo,­Whitechapel­Gallery,­London\nRite and Surprise a Screening by Domenico Mangano,­Karlin­Studios,­Prague\n2012\nDotek\u002FTouch,­a­cura­di­\u002F­curated­by­M.­Novotny,­Futura,­Prague­\nLandscape on the Move,­a­cura­di­\u002F­curated­by­L.­Benedetti,­De­Kabinetten­van­De­Vleeshal,­Middelburg­\n2011\nStorie,­Deutsche­Bank­Collection,­Piazza­del­Calendario,­Milano\nItalian Video Today: Double Identity,­Macy­Art­Gallery,­Columbia­University,­New­York\nPigs Case,­a­cura­di­\u002F­curated­by­L.­And­Behold,­supermarket­Art­Fair,­Stockholm\nSocial Identity, Italian Video Art Today, Between Ethic And Esthetic:­Crane­Arts,­Philadelphia\n2010\nvideoREPORT ITALIA 2008_09,­a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO)\nOthers, Le Biennali d’Arte di Marrakech, Istabul, Atene a Palermo e Catania,­\na­cura­di­\u002F­curated­by­XYZ,­Fondazione­Puglisi­Cosentino,­Catania­\nYou-We + Ablo - 25 Video dalla Collezione Sandretto Re Rebaudengo,­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 112\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",99,{"image":363,"text":364,"number":365},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.100.png","MOROSO catalogo 224 pagine        4 VOLTA (2 sedicesimi)     USOMANO\nSilvia­Hell\nSelected by Lia Rumma - Milano \u002F Napoli\nNata nel 1983 a Bolzano, vive e lavora a Milano \u002F Born in 1983 in Bolzano, lives and works in Milan \nA FORM OF HISTORY \u002F Markgraf \u002F Marchese \u002F Markiz \u002F Markgraf, Marquis, \nMarchese \u002F Markgraf \u002F Μαρκήσιος \u002F Marquis \u002F Маркіз \u002F Márki,\n2011-2012, alluminio, dimensioni variabili \u002F alluminium, variable dimensions\nVeduta della mostra, Panorama4, Forte Basso, Fortezza (BZ), 2012 \u002F \nExhibition view, Panorama4, Forte Basso, Fortezza (BZ), 2012 \nCourtesy of the artist. Foto \u002F Photo: Jan Kliewer\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 98\nWerken is leven, \n2013, C-Print su carta Hahnemühle, 150 x 100 cm \u002F \nC-Print on  paper, 59” x 39 ¼” \nCourtesy of the artist e \u002F and Magazzino, Roma\nQuesto lavoro presenta il villaggio di Veenhuizen, situato\nnel nord-est dei Paesi Bassi, che è un ex colonia rieduca-\nzione e conta oggi ancora quattro prigioni. Caratteristica\ndi questo villaggio sono le scritte moralistiche poste sulle\ncase, che mirano ad educare le persone che lavorano e vi-\nvono nel villaggio \u002F \nThis work is inspired by the village of Veenhuizen situated\nin the North East of the Netherlands, which is a former re-\neducation colony and nowadays still counts four prisons.\nCharacteristic of this village are the moralistic writings on\nthe houses, which aimed at educating the people who were\nworking and living in the village.\n111\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 111\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",100,{"image":367,"text":368,"number":369},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.101.png","MOROSO catalogo 224 pagine        4 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 99\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 110\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",101,{"image":371,"text":372,"number":373},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.102.png","MOROSO catalogo 224 pagine        4 BIANCA (2 sedicesimi)     USOMANO\nRenato­Leotta\nSelected by Franco Noero - Torino\nNato­nel­1982­a­Torino,­dove­vive­e­lavora­\u002F­Born­in­1982­in­Turin,­where­he­lives­and­works\nMUSEO (Cavalli e Cavalle, Cavalli Cavalli), \n2014, Veduta dell’installazione, Cripta747, Torino, 2014 \u002F Installation view, Cripta747, Turin, 2014 \nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 100\n109\nof­America­after­his­experience­at­ISCP­in\nNew­York.­A­series­of­minimal­and­‘poveri’\ninterventions,­photos,­and­a­video­are­pre-\nsented­in­contrast,­saturating­a­museum­al-\nready­strong­in­character.­A­stream­of­images,\nsimulacra,­and­sensations­of­displacement,\ncaptured­in­the­land­of­abundance­demon-\nstrate­how­short­the­shift­is­from­hope­to­the\nmythological­fall.­\nDo not disturb the growing grass (2008),­is\na­video­work­made­during­a­period­of­resi-\ndence­in­China.­The­title­comes­from­the\ntext­that­is­written­on­public­ﬂowerbeds­in\nthe­country.­The­vigilant­yet­distant­eye­of\nthe­artist­has­woven­a­tale­of­particulars,­of\nsecrets,­of­stolen­moments,­and­of­transitions.\nSuperﬂuous­details­and­their­residue­are\nmade­active­to­declaim­the­extraordinary­vi-\nsionary­composition­of­these­fragments.­\nHis­recent­move­to­the­Netherlands­(from\n2010­Mangano­has­lived­and­worked­in­Am-\nsterdam)­has­enriched­his­research­with­ex-\nposure­to­the­utopian­and­tolerant­organiza-\ntional­and­communal­systems­of­Holland.\nVideos­such­as­War Game (2012)­and­also\nOrderliness (2013)­observe­situations­under\ncontrol,­and­investigate­how­Dutch­culture\nand­society­studied­and­experimented­with\nthe­system­to­build­a­strong­social­structure.­\nVeenhuizen (2013)­was­originally­a­colony\nfor­the­re-education­of­the­homeless,­built\nin­the­nineteenth­century,­it­later­was­tran-\nsformed­into­a­penal­colony­and­now­is­a­na-\ntural­park.­It­is­a­stratiﬁed­place,­marked­by\nthe­passage­of­tourists­and­the­presence­of\nnew­residents.­The­only­traces­that­remain\nof­what­was­are­inscriptions­that­adorn­the\nfacades­of­the­period­houses,­still­inhabited.\nThese­are­dozens­of­austere­moral­judgments,\nsuspended­in­metaphysical­clarity­like­im-\nmaterial­captions.­\nRecently,­the­artist­has­been­working­on­a\ntrilogy­of­ﬁlms­that­explore­mental­illness\nand­anti-psychiatry­from­the­seventies­to­the\npresent.­Mangano­created­the­ﬁrst­ﬁlm­in\nthe­series­during­an­artist’s­residency­at­the\nKunsthuis­Syb­in­Friesland,­supported­by­the\nMondriaan­Fonds.­The­artist­spent­ﬁve­weeks\nin­the­De­Wissel,­a­specialized­center­that\nhouses­people­with­mental­and­multiple­di-\nsabilities.­The­result­of­this­endeavor­can­be\nfound­in­the­ﬁlm­Bird singing, sandy ground,\n(2014).­The­ﬁlm­shows­us­an­autonomous\nand­poetic­microcosm­lost­in­time,­the­por-\ntrait­of­a­‘magical­village’­hidden­behind­a\nforest.­The­second­ﬁlm­is­in­progress;­the­ar-\ntist­is­currently­an­artist-in­residence­sup-\nported­by­the­Mondriaan­Fonds,­at­Het­Vijfde\nSeizoen,­an­historical­psychiatric­institution\nnear­Utrecht.­The­third­and­last­part­will­be\nin­Curacao,­former­Netherlands­Antilles.­\nThe­art­of­Mangano­collects,­registers,­tran-\nslates,­reveals,­and­in­the­end­initiates­an­al-\nternative­space:­a­place­where­reality­and\nartiﬁce­are­combined­to­form­a­new­world\nand­stimulate­an­independent­vision.­The­ar-\ntist­does­not­reproduce­conventions,­but­sets\nin­motion­the­imagination,­enlivening­a­space\nthat­is­freed­from­its­everyday­role.­Mangano\nseems­to­rework­Lefebvre’s­thought,­extrac-\nting­the­imaginary­potential­in­everyday­life\nand­producing­a­new­space­that­points­to­a\ndifferent­perception­of­reality.\nIlaria Gianni\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 109\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",102,{"image":375,"text":376,"number":377},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.103.png","MOROSO catalogo 224 pagine        4 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 101\n108\nOften it was Sicily, the birthplace of the artist,\nwith all its contradictions, that became the\nprotagonist. He doesn’t narrate stories and\nrecollections or create protagonists in his\nwork, but rather opens them up and reveals\nthem. This is how Merano (2000), Encastrolo\n(2001) and Pizzosella (2004) were formed,\nlived situations full of sincerity and natural-\nness, composed by someone with an eye for\nthe contrasts of reality. \nThe act of directly recording the world beco-\nmes a moment to grasp what otherwise esca-\npes in a reﬂection on the extraordinary. In\nDark Messages (2006) an accident occurring\nat night, shot by the artist, is laden with dar-\nkness and suspicion, transforming the real\ninto the abnormal. \nIn his solo exhibition Over the Blurring Shine\n(2008) to Hendrik Christian Andersen Mu-\nseum in Rome, the artist presented his vision\n515, \n2011,  5’\nCourtesy of the artist e \u002F \nand Magazzino, Roma\nIl progetto s’ispira alla storia dell'anarchico Gaetano Bresci emigrato negli Stati Uniti che tornò in Italia \nper assassinare il re Umberto I nel palazzo Reale di Monza. 515 è una visione ironica del ritorno di Bresci \nal palazzo oggi, alludendo alla situazione politica attuale in Italia. Il lavoro è stato realizzato per la Biennale\ndi Monza, che ha avuto luogo proprio nel Palazzo Reale \u002F \nThis project is inspired on the story of the anarchist Gaetano Bresci who emigrated to the United States and\nreturned in Italy to assassinate king Umberto I in the Royal palace of Monza. 515 is an ironic vision of the\nreturn of Bresci to the palace today, alluding the actual political situation in Italy. The work was made for the\nbiennale in Monza that took place in the Royal palace.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 108\n108\nOften it was Sicily, the birthplace of the artist,\nwith all its contradictions, that became the\nprotagonist. He doesn’t narrate stories and\nrecollections or create protagonists in his\nwork, but rather opens them up and reveals\nthem. This is how Merano (2000), Encastrolo\n(2001) and Pizzosella (2004) were formed,\nlived situations full of sincerity and natural-\nness, composed by someone with an eye for\nthe contrasts of reality. \nThe act of directly recording the world beco-\nmes a moment to grasp what otherwise esca-\npes in a reﬂection on the extraordinary. In\nDark Messages (2006) an accident occurring\nat night, shot by the artist, is laden with dar-\nkness and suspicion, transforming the real\ninto the abnormal. \nIn his solo exhibition Over the Blurring Shine\n(2008) to Hendrik Christian Andersen Mu-\nseum in Rome, the artist presented his vision\n515, \n2011,  5’\nCourtesy of the artist e \u002F \nand Magazzino, Roma\nIl progetto s’ispira alla storia dell'anarchico Gaetano Bresci emigrato negli Stati Uniti che tornò in Italia \nper assassinare il re Umberto I nel palazzo Reale di Monza. 515 è una visione ironica del ritorno di Bresci \nal palazzo oggi, alludendo alla situazione politica attuale in Italia. Il lavoro è stato realizzato per la Biennale\ndi Monza, che ha avuto luogo proprio nel Palazzo Reale \u002F \nThis project is inspired on the story of the anarchist Gaetano Bresci who emigrated to the United States and\nreturned in Italy to assassinate king Umberto I in the Royal palace of Monza. 515 is an ironic vision of the\nreturn of Bresci to the palace today, alluding the actual political situation in Italy. The work was made for the\nbiennale in Monza that took place in the Royal palace.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 108\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",103,{"image":379,"text":380,"number":381},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.104.png","MOROSO catalogo 224 pagine        4 VOLTA (2 sedicesimi)     USOMANO\n102\nFinalist \nDomenico Mangano\nSelected by ZERO... - Milano\nBirds singing, sandy ground, \n2014, 50’,\nCourtesy of the artist e \u002F and Magazzino, Rome\nCogliere e registrare, tradurre e di-\nschiudere sono alcune delle voci che possono\nessere impiegate per introdurre il lavoro di\nDomenico Mangano. I ﬁlm, le sequenze foto-\ngraﬁche, le installazioni e le pitture dell’artista\nsono trasposizioni di storie colte da un attento\ne curioso sguardo sul reale, interpretate da\nuna narrazione capace di renderle straordi-\nnarie e inﬁne svelate a un pubblico che con-\ntinua il ﬂusso, proiettandoci ulteriori letture. \nIl suo percorso prende avvio già alla ﬁne degli\nanni novanta con La storia di Mimmo (1999),\nil cui protagonista, leggendario e istrionico\nex pescivendolo della Vucciria di Palermo, è\normai entrato a far parte di uno script relativo\nalla nostra Italia raccontata per immagini.\nFin dall’esordio Mangano decide di cantare\nstorie e dischiudere visioni, partendo da una\ncostante esplorazione e messa in discussione\ndella complessità di ciò che lo circonda, la-\nvorando in quel territorio in cui Gilles Deleuze\nha scorto le “pieghe” del reale, ossia quel ri-\nsvolto (il più profondo e ruvido) della realtà\nstessa. Inizialmente documenta frammenti di\nvita, soggetti relegati ai margini del sistema. \nSpesso è stata la Sicilia, terra natale dell’ar-\ntista, con le sue contraddizioni, ad essere pro-\ntagonista. Non narra storie, le raccoglie e i\nprotagonisti dei suoi lavori, più che aprirsi,\nvengono svelati. Nascono così Merano (2000),\nEncastrolo (2001) o Pizzosella (2004), situa-\nzioni vissute, intrise di sincerità, e natura-\nlezza, composte da uno sguardo rivolto ai con-\ntrasti presenti nel reale. \nL’atto del registrare in presa diretta il mondo\ndiventa così il momento per cogliere ciò che\nsi sottrae in una riﬂessione sull’extra-ordina-\nrio. Un incidente avvenuto di notte, ripreso\ndall’artista si carica di oscurità e sospetto in\nDark Messages (2006), dove il reale si tra-\nsforma inconsueto. \nNella sua mostra personale Over the Blurring\nShine (2008) al Museo Hendrik Christian An-\ndersen di Roma, L’artista ha presentato la sua\nvisione dell’America dopo l’esperienza all’ISCP\ndi New York. Una serie di interventi minimali\ne poveri, una serie di foto e un video entrarono\nin contrasto, saturandolo, un museo già ben\nfortemente connotato. Un ﬂusso di immagini,\nsimulacri e sensazioni di spaesamento, cat-\nturati nella terra dell’abbondanza stavano a\ntestimoniare quanto è breve il passaggio dalla\nsperanza alla caduta delle mitologie. \nDon’t disturb the growing grass (2008), è un\nlavoro video realizzato durante un periodo di\nresidenza in Cina. Il titolo riprende un testo\nche si trova scritto sulle aiuole pubbliche nel\npaese. L’occhio vigile, coinvolto ma distante\ndell’artista ha intessuto un racconto fatto di\nparticolari, di segreti, di momenti rubati e di\npassaggi. Il superﬂuo, il dettaglio, il residuo\nvengono resi attivi per declamare la straordi-\nnarietà visionaria della composizione per\nframmenti. \nVOLUMETTO 20 marzo corretto.qxp_Layout 1  23\u002F03\u002F15  09:16  Pagina 102\n107\nCu Avi Lingua Passa U Mari, \n2012, banner 400 x 150 cm \u002F 157 ½” x 59”\nCourtesy of the artist e \u002F and Francesco Pantaleone, Arte Contemporanea, Palermo\nUna tipica espressione siciliana, tradotto come “Chi ha verbo attraversa i mari”, è diventato lo slogan per\nil primo gruppo di sostenitori di lesbiche, gay, bisessuali e transgender per il calcio a Palermo e in\nItalia. L'opera è stata presentata nell'ambito di una mostra collegata al gay pride e offre un'altra\nimmagine sulla cultura maschilista che circonda il calcio in Italia. Il gruppo di supporter ha presentato\nil banner nel popolare programma televisivo Quelli che il calcio, trasmesso il 7 aprile 2013 su Rai 2 \u002F\nA typical Sicilian expression, translated as “Whoever has the language crosses the sea”, became the\nslogan for the ﬁrst supporter group of Lesbians, Gays, Bisexuals and Transgenders for soccer in Palermo\nand Italy. The work was made in the context of an exhibition connected to the gay pride and offers\nanother image on the masculine culture that surrounds soccer in Italy. The supporter group presented the\nbanner in the popular Sunday afternoon television program Quelli che il calcio RAI 2. This is an\nextract of the program, broadcasted on the 7th of April 2013.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 107\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",104,{"image":383,"text":384,"number":385},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.105.png","MOROSO catalogo 224 pagine        4 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 103\n106\nTo­collect,­register,­translate,­and­re-\nveal­are­some­of­the­terms­that­can­be­used\nto­introduce­the­work­of­Domenico­Mangano.\nHis­ﬁlms,­photographic­sequences,­installa-\ntions,­and­paintings­are­transpositions­of­sto-\nries­selected­with­an­attentive­and­curious\nview­of­reality.­Interpreted­through­a­narra-\ntive­that­can­make­them­seem­extraordinary,\nthey­provoke­the­audience­to­continue­the\ninvestigation­through­projecting­alternative\nreadings.­His­journey­starts­at­the­end­of­the\nnineties­with­La storia di Mimmo (1999),\nwhose­protagonist,­the­legendary­and­ﬂam-\nboyant­former­ﬁshmonger­of­the­Vucciria­in\nPalermo­has­now­become­part­of­a­relevant\nscript­for­our­Italy,­recounted­in­images.­From\nhis­debut­Mangano­sang­his­stories­and­re-\nvealed­his­visions,­beginning­with­his­con-\nstant­exploration­and­questioning­of­the­com-\nplexity­ around­ him,­ he­ worked­ in­ that\nterritory­where­Gilles­Deleuze­found­the\n‘folds’­of­the­real,­or­rather,­the­ﬁssures­(and\nthe­deepest­and­most­rough)­of­reality­itself.\nHe­began­by­documenting­fragments­of­life,\nthose­subjects­relegated­to­the­margins­of\nthe­system.­\nWalk with a donkey (de wissel), \n2014, C-Print su carta Hahnemühle, 75 x 50 cm \u002F \nC-Print on Hahnemühle paper, 29 ½” x 19 ¾”\nCourtesy of the artist e \u002F and Magazzino, Roma\nFotograﬁa appartenente alla serie De Wissel.\nRealizzata all’interno di un istituto di assistenza\nsanitaria per persone con disabilità mentale \nnel nord dei Paesi Bassi \u002F \nPhotograph belonging to the series De Wissel. \nRealized in a health care institute for people \nwith mental health disability in the North \nof the Netherlands. \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 106\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",105,{"image":387,"text":388,"number":389},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.106.png","MOROSO catalogo 224 pagine        4 BIANCA (2 sedicesimi)     USOMANO\nAvantieri, \n1’30”, 2014, installazione, ﬁle audio, 4 altoparlanti, \nposter e pavimento di argilla, dimensioni variabili \u002F \ninstallation, audio ﬁle, 4 speakers, poster and argil ﬂoor, variable dimensions\nCourtesy of the artist e \u002F and Francesco Pantaleone, Arte Contemporanea, Palermo\n104\nAvantieri è un'installazione dedicata alla lingua siciliana. Una ricerca per introdurre un ipotetico tempo futuro\nche in dialetto siciliano non esiste. Un gruppo di esperti del dialetto siciliano, attori, cantanti e poeti sono stati\ninvitati a discutere rigorosamente in siciliano, secondo una serie di regole che sono state pubblicate in un\nmanifesto. L'esperimento ha rivelato le difﬁcoltà della evoluzione della lingua siciliana e la lotta nell'esprimere\nconcetti rivolti al futuro in generale, nel sud Italia \u002F\nAvantieri is an installation dedicated to the Sicilian language. A research for a hypothetic introduction of the\nfuture tense which does not exist in the Sicilian dialect. A group of experts of the Sicilian dialect such as actors,\nsingers and poets were invited to debate in Sicilian, according to a set of rules which were published in a\nmanifesto. The experiment revealed the difﬁculties of the evolution of the Sicilian language and the struggle of\nexpressing concepts regarding the future in general in the South of Italy.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 104\nDe Wissel è nascosto nella zona verde di Beetsterzwaag\nin Frisia e appare come un tipico quartiere\nresidenziale. Questo paese è tutt'altro che ordinario.\nBirds Singing, sandy Ground è il ritratto della vita\nquotidiana degli abitanti di questa istituzione\nsanitaria olandese, che si sforza di consentire alle\npersone con disabilità e problemi di salute mentale di\ncondurre una vita indipendente. Attraverso una serie\ndi combinazioni associative di paesaggi e personaggi\nsi ha un'idea di questo microcosmo dove il tempo\nsembra essersi fermato e dove le azioni si ripetono\nIl­suo­recente­trasferimento­nei­Paesi­Bassi\n(dal­2010­Mangano­vive­e­lavora­ad­Amster-\ndam)­ha­arricchito­la­sua­ricerca­con­l’ag-\ngiunta­delle­utopie­e­tolleranze­dei­sistemi\norganizzativi­e­comunitari­olandesi.­Video\ncome War Game (2012)­e­ancora­Orderliness\n(2013)­osservano­situazioni­sotto­controllo,\nindagano­come­la­cultura­e­la­società­olan-\ndese­studia­e­sperimenta­il­sistema­per­co-\nstruire­una­solida­struttura­sociale.­\nIl­progetto­Veenhuizen (2013)­in­origine­co-\nlonia­di­rieducazione­per­i­senza­tetto,­co-\nstruita­nel­XIX­sec.,­poi­trasformata­in­colonia\npenale­e­oggi­divenuta­un­parco­naturale.\nUn­luogo­stratiﬁcato,­scandito­dal­passaggio\ndei­turisti­e­dalla­presenza­dei­nuovi­resi-\ndenti.­Unica­traccia­del­tempo­che­fu­sono­le\nscritte­che­adornano­le­facciate­delle­case\nd’epoca,­regolarmente­abitate.­Decine­di­au-\nstere­sentenze­morali,­sospese­in­un­nitore\nmetaﬁsico,­come­didascalie­dell’immateriale.\nDi­recente­l’artista­sta­lavorando­a­una­trilo-\ngia­di­ﬁlm­che­scandaglia­la­malattia­mentale\ne­l’antipsichiatria­dagli­anni­settanta­a­oggi.\nMangano­ha­realizzato­il­primo­ﬁlm­della­se-\nrie­durante­la­residenza­d’artista­presso­la\nKunsthuis­Syb­in­Friesland­,­supportata­dal\nMondriaan­Fonds.­L’artista­ha­trascorso­cin-\nque­settimane­nel­De­Wissel,­un­centro­spe-\ncializzato­che­ospita­persone­con­disabilità\nmentali­e­handicap­multipli.­Il­risultato­di\nquest’operazione­si­è­concretata­nella­rea-\nlizzazione­ del­ ﬁlm­ Bird singing, sandy\nground,­(2014).­Il­girato­ci­mostra­un­mi-\ncrocosmo­autonomo­e­poetico­senza­tempo,\nil­ritratto­di­un­‘villaggio­magico’­nascosto\ndietro­una­foresta.­Il­secondo­ﬁlm­è­in­fase\ndi­realizzazione,­l’artista­attualmente­è­ar-\ntist-in­residence­supportato­dal­Mondriaan\nFonds,­presso­Het­Vijfde­Seizoen,­storica­isti-\ntuzione­psichiatrica­nei­pressi­di­Utrecht.­La\nterza­e­ultima­parte­sarebbe­a­Curacao,­ex\nAntille­olandesi.­\nL’arte­di­Mangano­coglie,­registra,­traduce,\ndischiude­e­inﬁne­avvia­uno­spazio­alterna-\ntivo:­un­luogo­ove­realtà­e­artiﬁzio­si­sposano\nper­comporre­un­nuovo­mondo­e­stimolare\nuno­sguardo­autonomo.­L’artista­non­ripro-\nduce­le­convenzioni,­ma­mette­in­moto­la\nfantasia,­animando­così­lo­spazio­che­si­af-\nfranca­dal­suo­ruolo­quotidiano.­Mangano\nsembra­rielaborare­un­pensiero­lefebvriano,\nestraendo­le­potenzialità­immaginarie­nel\nquotidiano­e­producendo­un­nuovo­spazio\nche­punta­verso­una­diversa­percezione­del\nreale.­\n105\nHidden in the green area of Beetsterzwaag in Friesland \nis what looks like a typical residential neighbourhood: \nDe Wissel. But this village is far from ordinary.\nThe video Birds singing, sandy ground is a portrait of the\ndaily life of the inhabitants of this Dutch health care\ninstitution, which strives to allow people with a mental health disability to lead independent lives. \nThrough a series of associative combinations of landscapes and portraits an insight is given in this microcosm\nwhere the time seems to have stopped and where actions repeat itself until the absurd. \nBirds singing, sandy ground, \n2014, 50’\nCourtesy of the artist e \u002F \nand Magazzino, Roma\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 105\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",106,{"image":391,"text":388,"number":392},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.107.png",107,{"image":394,"text":384,"number":395},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.108.png",108,{"image":397,"text":380,"number":398},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.109.png",109,{"image":400,"text":376,"number":401},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.110.png",110,{"image":403,"text":372,"number":404},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.111.png",111,{"image":406,"text":368,"number":407},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.112.png",112,{"image":409,"text":364,"number":410},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.113.png",113,{"image":412,"text":360,"number":413},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.114.png",114,{"image":415,"text":416,"number":417},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.115.png","MOROSO catalogo 224 pagine        4 BIANCA (2 sedicesimi)     USOMANO\n113\na­cura­di­\u002F­curated­by­F.­Bonami,­Rotonda­di­Via­Besana,­Milano­\nLinguaggi e Sperimentazioni. Giovani artisti in una collezione contemporanea,­\na­cura­di­\u002F­curated­by­G.­Verzotti,­MART,­Rovereto­(TN)\n2009\nVIDEO ARTE IN PESCHERIA,­a­cura­di­\u002F­curated­by­L.­Pratesi,­Centro­Arti­Visive­Pescheria,­Pesaro­\nIl Cielo in una Stanza. Per una osservazione eccentrica del paesaggio,­\na­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO)\nItalics. Arte italiana fra tradizione e innovazione, 1968-2008,­a­cura­di­\u002F­curated­by­\nF.­Bonami,­Chicago­(USA)­[it.­ex.]\nDie Heiterkeit der Kunst (The sublime gaiety of Art), Seven young Italian artists in Linz,­\nKunstpfad­&­Studio­für­Bewegung­&­Kunst,­Linz­\nInterplay: LIV Mostra Nazionale d’Arte Contemporanea Premio Termoli 2009,\na­cura­di­\u002F­curated­by­M.­Mirolla,­C.­Subrizi,­Galleria­Civica­d’Arte­Contemporanea,­Termoli­(CB)\n2nd Athens Biennale 2009,­HEAVEN,­Athens\nPASSAGGI IN SICILIA: La Collezione di Riso e oltre,­a­cura­di­\u002F­curated­by­\nV.­Bruschi,­P.­Falcone,­RISO­-­Museo­d’Arte­Contemporanea,­Palermo­\nSoleluna Film Festival,­Galleria­d’Arte­Moderna,­Palermo\nBLICK – Luogo e relazione,­a­cura­di­\u002F­curated­by­L.­Aiello,­neon>campobase,­Bologna­\nTHE BUFFER ZONE,­a­cura­di­\u002F­curated­by­C.­Canziani,­L.­Eberspacher,­American­Academy­in­Rome,­Roma\nFILM D’ARTISTA: Arte e Cinema un incontro sui crinali della catastrofe,­\na­cura­di­\u002F­curated­by­L.­Aiello,­Cineteca­di­Bologna­e­\u002F­and­dèja.vu,­\nin­collaborazione­con­\u002F­in­collaboration­with­Museo­MAMbo,­Cinema­Lumière­Bologna,­Bologna\n2008\nvideoREPORT ITALIA 2006_07,­a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO)\nItalics. Arte italiana fra tradizione e innovazione, 1968-2008,­\na­cura­di­\u002F­curated­by­F.­Bonami,­Palazzo­Grassi,­Venezia­[it.­ex.]\nWorlds on video – International Video Art,­Centro­di­Cultura­Contemporanea­Strozzina,­\na­cura­di­\u002F­curated­by­A.­Beckers,­Palazzo­Strozzi,­Firenze\nIX Premio Cairo,­Palazzo­della­Permanente,­Milano\nTalent Prize 2008,­Museo­del­Corso,­Roma\nVideocracy,­a­cura­di­\u002F­curated­by­M.­Giovanotti,­Tina­B.­The­Prague­Contemporary­Art­Festival,­Prague­\nZoom_Inside the human space,­Isola­di­San­Servolo,­Venezia\nDu Dialogue Social,­Riesa­Efau­Kulturverein,­Dresden\nCall and response,­a­cura­di­\u002F­curated­by­J.­Gregory,­Scope­NY,­New­York\nThe Unfair Fair,­a­cura­di­\u002F­curated­by­C.­Canziani,­V.­Honoré,­Loto­Arte,­Roma\nBigones,­Magazzino­d’Arte­Moderna,­Roma\nFuori Contesto: un osservatorio-laboratorio di arte pubblica,­a­cura­di­\u002F­curated­\nby­D.­Filardo,­G.­Gianuizzi,­C.­Guida,­sedi­varie­\u002F­differents­venues,­Bologna;­Milano;­Bolzano;­Trento­\n2007\nART IN GENERAL: Screening of videos by Domenico Mangano and Rä di Martino,­\na­cura­di­\u002F­curated­by­S.­Reisman,­New­York­\nI.S.C.P. International Studio & Curatorial Program,­Open­studio,­New­York\nPan Screening. Opere e Documenti 2005-2007,­a­cura­di­\u002F­curated­by­M.­Vergiani,­PAN,­Napoli\nBUSINESS AND PLEASURE VOLUME 2,­a­cura­di­\u002F­curated­by­\nR.­Palma,­ISCP:­International­Studio­&­Curatorial­Program,­New­York­\n                        ROUND TRIP: An itinerary between Paris, Milan and New York,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­F.­di­Nardo,­Dena­Foundation­for­Contemporary­Art,­Paris\n                        Bellavita,­a­cura­di­\u002F­curated­by­D.­Isaia,­C.­Natalicchio,­New­Chinatown­Barber­Shop,­Los­Angeles­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 113\nGianadrea­Poletta\nSelected by Franco Noero - Torino\nNato­nel­1984­a­Venezia,­vive­e­lavora­a­Milano­\u002F­Born­in­1984­in­Venice,­lives­and­works­in­Milan\nThe Weekender’s N Red Cap, \n2014, taglio e incisione a laser su plexiglass \u002F \ncutting and laser engraving on plexiglass\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 128\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",115,{"image":419,"text":420,"number":421},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.116.png","MOROSO catalogo 224 pagine        4 VOLTA (2 sedicesimi)     USOMANO\n114\n                        Sottovetro, a­cura­di­\u002F­curated­by­P.­Pancotto,­Dagnino­pasticceria,­Roma­\n                        In the Edge of Vision, a­cura­di­\u002F­curated­by­M.­C.­Bastante,­L.­Canova,­R.­Lochan,­Victoria­Memorial­Hall,­\n­­­­­­­­­­­­­­­­­­­­­­­­Calcutta;­National­Gallery­of­Modern­Art,­New­Delhi;­National­Gallery­of­Modern­Art,­Mumbai­[it.­ex.]\n                        videoREPORT ITALIA 2004_05,­a­cura­di­\u002F­curated­by­A.­Bruciati,­Film­Studio­1­e­2,­Roma;­Museum­of­Modern­\n­­­­­­­­­­­­­­­­­­­­­­­­and­Contemporary­Art,­Rijeka;­V|07­-­Venice­VideoArt­Fair,­Isola­di­S.­Servolo,­Venezia­[it.­ex.]\n                        ART RADIO LIVE &­PAN SCREENING,­ART RADIO LIVE,­un­progetto­a­cura­del­\u002F­a­project­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­PAN,­Napoli­in­collaborazione­con­\u002F­in­collaboration­with­P.S.1­MoMA,­Perna­Foundation­alla­\u002F­at­\n­­­­­­­­­­­­­­­­­­­­­­­­52.­Esposizione­Internazionale­d’Arte­–­La­Biennale­di­Venezia,­P.S.1­Boat,­Venezia\n­­­­­­­­­­­­­­­­­­­­­­­­Art in General: Screening by Domenico Mangano,­New­York\n2006            videoREPORT ITALIA 2004_05,­a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO);­MAN,­Nuoro­[it.­ex.]\n                         Heavy Food_Time in Jazz,­a­cura­di­\u002F­curated­by­G.­Demuro,­A.­Fresu,­PAV,­Berchidda­(SS)\n                        Sicilia!,­a­cura­di­\u002F­curated­by­M.­Meneguzzo,­Galleria­del­Credito­Siciliano,­Acireale­(CT)\n                        Il gioco è fatto!,­Ravello­Festival,­a­cura­di­\u002F­curated­by­A.­Bonito­Oliva,­Villa­Rufolo,­Ravello­(SA)\n                        Videoart Yearbook 2006,­a­cura­di­\u002F­curated­by R.­Barilli,­Chiostro­di­Santa­Cristina,­Bologna;­\n­­­­­­­­­­­­­­­­­­­­­­­­Museo­Nazionale­Archeologico,­Taranto­[it.­ex.]\n                        FRAME. a selection of Italian artists. M.M.M. milano.melbourne.milano.,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­C.­Agnello,­R.­Tenconi,­Gertrude­Contemporary­Art­Spaces,­Melbourne­[it.­ex.]\n                        Videopassages,­a­cura­di­\u002F­curated­by­S.­Bordone,­M.­Gorni,­via­Torino­e­\u002F­and­C\u002FO­Careof,­Milano\n                        Transeuropeennes, Theatre­Charles­Dullin,­Grand­Quevilly­-­Rouen­\n                        I costruttori - Il corpo del lavoro,­a­cura­di­\u002F­curated­by­M.­Margozzi,­L.­Martini,­A.­Negri,­\n­­­­­­­­­­­­­­­­­­­­­­­­Castel­Sismondo,­Rimini\n                        Art Unlimited video Section,­Art­|­37­|­Basel\n2005            Intramoenia\u002FExtra Art,­a­cura­di­\u002F­curated­by­A.­Bonito­Oliva,­G.­Caroppo,­Castel­del­Monte,­Andria­(BA)\n                        Illuminazione,­Maison­de­la­Culture­d´Amiens,­a­cura­di­\u002F­curated­by­O.­Grasser,­Amiens\n                        Poesia Ultima. generazione ‘68-’78,­RomaPoesia­2005,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­l.­Gianni,­F.­Ventrella,­Fondazione­Baruchello,­Roma­\n                        Il grande Teatro del Mediterraneo. Atto primo: differenti visioni,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­M.­Coccia,­V.­Sansone,­Trevi­Flash­Art­Museum;­Teatro­Clitunno,­Trevi­(PG)­[it.­ex.]\n                        Modern Times_volume 1,­a­cura­di­\u002F­curated­by­M.­R.­Sossai,­MAN,­Nuoro\n                        Non ci sei solo tu,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­F.­Naldi,­Galleria­Comunale­d’Arte­Contemporanea,­Castel­San­Pietro­Terme­(BO)\n                        Heavy Food,­a­cura­di­\u002F­curated­by­P.­Tognon,­L.­Nozza,­Teatro­Sociale,­Bergamo\n                        Diverse attitudini - Report,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­M.­Corbello,­L.­Farinati,­C.­Parisi,­Villa­delle­Rose,­Bologna\n                        Immagin[azione],­a­cura­di­\u002F­curated­by­M.­R.­Sossai,­Palazzo­Comunale­di­Isernia,­Isernia\n                        Le vie dell’arte,­a­cura­di­\u002F­curated­by­S.­Lacagnina,­Parco­delle­Madonie,­Palermo\n                        Fuori tema, XIV­Esposizione­Quadriennale­d’Arte,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­V.­Dehò,­G.­Di­Pietrantonio,­G.­Verzotti,­GNAM,­Roma\n2004            Paesaggio italiano\u002FItalian landscape. Videozone 2 -­The­Second­International­\n­­­­­­­­­­­­­­­­­­­­­­­­Video­Art­Biennal­in­Israel,­a­cura­di­\u002F­curated­by­C.­Perrella,­Tel­Aviv;­\n­­­­­­­­­­­­­­­­­­­­­­­­Sainsbury­Lecture­Theatre,­The­British­School­at­Rome,­Roma­[it.­ex.]\n                        Sasà 2004,­International­Film­Awards,­Roma;­Barcelona;­Berlin;­New­York­[it.­ex.]\n                        Primo Festival del Cinema diversamente abile,­Cinema­Azzurro­Scipioni,­Roma\n                        P.C.\u002FA.C Palermo Change Autori Cambi, Art Events,­ex­deposito­locomotive­Sant’Erasmo,­Palermo\n                        Art\u002FOmi International Artists’ Colony,­Open­Day,­Omi\u002FHudson,­New­York\n                        Empowerment \u002F Cantiere Italia,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­M.­Scotini,­Museo­d’Arte­Contemporanea­Villa­Croce­e­\u002F­and­Villa­Bombrini,­Genova\n                        Fuori Uso,­a­cura­di­\u002F­curated­by­L.­Beatrice,­Ferrotel,­Pescara\n                        Retentiva: funzioni e disfunzioni della fotograﬁa italiana attuale,­\n­­­­­­­­­­­­­­­­­­­­­­­­Veneziaimmagine04,­Padiglione­Italia,­Giardini­della­Biennale,­Venezia\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 114\n127\nAndrea­Nacciarriti\nNato­nel­1976­a­Ostra­Vetere­(AN),­vive­e­lavora­a­Milano­\u002F­Born­in­1976­in­Ostra­Vetere­(AN),­lives­and­works­in­Milan\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2013\nAnd the Ship Sails On,­a­cura­di­\u002F­curated­by­L.­Pratesi,­Centro­Arti­Visive­-­Pescheria,­Pesaro­\n2011\nNo One Knew What Anyone Else Was Doing...,­a­cura­di­\u002F­curated­by­\nV.­Verlè,­CAB,­Grenoble­\nKeep the Lights on,­Pro­Artibus­Foundation,­Ekenäs­in­Raseborg,­Raseborg\n2010\nCrystallize,­Franco­Sofﬁantino­Gallery,­Torino\n2007\nSleepingtime,­Franco­Sofﬁantino­Gallery,­Torino\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­\nA.­Bruciati,­Esedra­di­Levante­-­Villa­Manin­di­Passariano­(UD)\n2014\nLux,­a­cura­di­\u002F­curated­by­M.­Nuridsany,­Le­Fresnoy­-­Studio­national­des­arts­contemporains,­Tourcoing­cedex\nProgetto italiano n. 2 - La religione del mio tempo,­a­cura­di­\u002F­curated­by­\nP.­Di­Lecce,­Kunsthalle­Eurocenter,­Lana­(BZ)\nRoaming. Riposizionamenti,­a­cura­di­\u002F­curated­by­A.­Castiglioni,­Fabbrica­Rosa,­\nEx­Harold­Szeemann­Archive,­Maggia,­Locarno\nse di-segno,­a­cura­di­\u002F­curated­by­S.­Avveduti,­I.­Guzman,­Esprit­Nouveau­Pavilion,­Bologna­\n2012\nNeon. La materia luminosa dell’arte,­a­cura­di­\u002F­curated­by­B.­Pietromarchi,­D.­Rosenberg,­MACRO,­Roma\nTerna Prize 03,­a­cura­di­\u002F­curated­by­C.­Collu,­G.­Marziani,­MAMM,­Moscow\nNeon. Who’s afraid of red, yellow and blue?, a­cura­di­\u002F­curated­by­D.­Rosenberg,­La­Maison­Rouge,­Paris\n2011\nPremio Celeste,­Civico­Museo­Archeologico,­Bologna\nCasamatta,­a­cura­di­\u002F­curated­by­A.­Castiglioni,­E.­Zanella,­47ma­Edizione­Premio­Suzzara­\u002F­\nEdition­of­Suzzara­Prize,­Galleria­del­Premio­Suzzara,­Suzzara­(MN)\n2010\nPremio Terna 03,­a­cura­di­\u002F­curated­by­C.­Collu,­G.­Marziani,­Tempio­di­Adriano,­Roma­\nPersona in meno,­a­cura­di­\u002F­curated­by­Campens,­E.­Cooke,­C.­Fitzpatrick,­Palazzo­Re­Rebaudengo,\nGuarene­d’Alba­(CN);­Loggia­degli­Abati­-­Palazzo­Ducale,­Genova­\nArs,­a­cura­di­\u002F­curated­by­M.­Farronato,­A.­Vettese,­Fondazione­Arnoldo­Pomodoro,­Milano­\nIbrido,­a­cura­di­\u002F­curated­by­G.­Di­Pietrantonio,­F.­Garutti,­PAC,­Milano\n2009\n4 WAYS TO…,­evento­satellite­satellite­event­of­the­fourth­edition­of­TICAB­Tirana­International­Contemporary\nArt­Biennial,­Zenit­Gallery,­Tirana\nPremio Lum,­a­cura­di­\u002F­curated­by­L.­Cerizza,­A.­Marino,­F.­Stocchi,­Teatro­Margherita,­Bari­\nRoaming. Slim Cities,­a­cura­di­\u002F­curated­by­A.­Castiglioni,­Stazione­Rogers,­Trieste­\n2008\nSoft Cell. Dinamiche nello Spazio in Italia, a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO)\n2006\nConﬁni - Boundaries,­a­cura­di­\u002F­curated­by­S.­Cincinelli,­C.­Collu,­R.­Pinto,­MAN,­Nuoro\nTracce di un seminario,­XI­Corso­di­Arte­Visiva­\u002F­Advanced­Course­for­Visual­Arts,­visiting­professor­Alfredo\nJaar,­a­cura­di­\u002F­curated­by­A.­Daneri,­R.­Pinto,­ASSAB­ONE,­Milano­\n2005\nUntitled,­a­cura­di­\u002F­curated­by­A.­Ascari,­E.­Bonaspetti,­Ex­Faema,­Milano­\nThe Aesthetics of Resistance,­XI­Corso­di­Arte­Visiva­\u002F­Advanced­Course­for­Visual­Arts­\u002F­\nAdvanced­Course­for­Visual­Arts,­visiting­professor­Alfredo­Jaar,­Como­\na­cura­di­\u002F­curated­by­A.­Daneri,­R.­Pinto,­Fondazione­Antonio­Ratti,­Como\n2004\nSuburbia,­a­cura­di­\u002F­curated­by­M.­Paderni,­M.­Senaldi,­Chiostro­San­Domenico,­Art­Workshop,­Reggio­Emilia­\nad’a. Area d’azione,­a­cura­di­\u002F­curated­by­R.­Daolio,­Rocca­Sforzesca,­Imola­\n2003\nLab.03,­a­cura­di­\u002F­curated­by­R.­Daolio,­Viafarini,­Milano­\nratio,­a­cura­di­\u002F­curated­by­A.­Bruciati,­Galleria­Comunale­d’Arte­Contemporanea,­Monfalcone­(GO)­\n2002\nBeyond the Garden,­a­cura­di­\u002F­curated­by­R.­Daolio,­Parco­Cervi-Renzi,­Rimini­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 127\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",116,{"image":423,"text":424,"number":425},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.117.png","MOROSO catalogo 224 pagine        4 VOLTA (2 sedicesimi)     USOMANO\n115\n                        Elettricità,­Premio­città­di­Terni,­a­cura­di­\u002F­curated­by­G.­Stella,­Convento­della­Compagnia­di­Gesù,­Terni\n                        Space is the Place_03,­a­cura­di­\u002F­curated­by­M.­Altavilla,­Ofﬁcinema,­Cinema­Lumière,­Bologna\n                        on air: video in onda dall’Italia,­a­cura­di­\u002F­curated­by­A.­Bruciati,­A.­Crippa,­\n­­­­­­­­­­­­­­­­­­­­­­­­Galleria­Comunale­d’Arte­Contemporanea,­Monfalcone­(GO);­Kunst­Meran­im­haus­\n­­­­­­­­­­­­­­­­­­­­­­­­der­Sparkasse,­Merano­\u002F­Meran­(BZ);­MACRO,­Roma;­Fortino­di­Sant’Antonio,­Bari;­\n­­­­­­­­­­­­­­­­­­­­­­­­Galleria­Comunale,­Lugo­(RA);­varie­sedi­\u002F­different­venues,­Ovada­(AL);­\n­­­­­­­­­­­­­­­­­­­­­­­­C\u002FO­Careof,­Milano;­BELEF­–­Istituto­Italiano­di­Cultura,­Belgrade­[it.­ex.]\n2003            imago,­a­cura­di­\u002F­curated­by­A.­Bruciati,­Galleria­Comunale­d’Arte­Contemporanea,­Monfalcone­(GO)\n                        Mobilitalyarte,­a­cura­di­\u002F­curated­by­C.­Piccoli,­DARC­–­MAXXI,­Roma­\n                        Progetto Video. Nuove tendenze nel video d’artista in Italia,­a­cura­di­\u002F­curated­by­M.­R.­Sossai,­Sala­Murat,­Bari\n                        Torino Film Festival,­Sezione­Falsi­Raccordi,­Torino\n                        L’épreuve de l’étranger,­a­cura­di­\u002F­curated­by­S.­Chiodi,­Nuit­Blanche,­\n­­­­­­­­­­­­­­­­­­­­­­­­École­Nationale­Supérieure­des­Beaux-Arts,­Paris­\n                        7 Sieben,­a­cura­di­\u002F­curated­by­L.­Aiello,­Galerie­Rachel­Haferkamp,­Cologne­\n                        Prague Biennal,­a­cura­di­\u002F­curated­by­H.­Kontowa,­G.­Politi,­Veletrzni­Palac,­Prague­\n                        Mosche da Bar,­a­cura­di­\u002F­curated­by­M.­Smarrelli,­Rotonda­a­Mare,­Senigallia­(AN)\n                        In faccia al mondo: il ritratto contemporaneo nel medium fotograﬁco,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­M.­Fochessati,­S.­Solimano,­Museo­Villa­Croce,­Genova­\n                        Moltitudini-Solitudini,­a­cura­di­\u002F­curated­by­S.­Risaliti,­MUSEION,­Bolzano­\u002F­Bozen\n                        FAME. Leggi in inglese read in italian,­IV­Premio­Querini­Stampalia­–­FURLA­per­l’arte,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­C.­Bertola,­Fondazione­Querini­Stampalia,­Venezia­\n                        Il genio di Palermo, V­Edizione,­a­cura­di­\u002F­curated­by­E.­Di­Stefano,­P.­Nicita,­I.­Parlavecchio,­Palermo\n2002            Unisci i punti,­a­cura­di­\u002F­curated­by­D.­Filardo,­T.­Ollat,­Ateliers­d’Artistes­de­la­ville­de­Marseille,­Marseille\n                        RAM,­Radio­Arte­Mobile­Zerynthia,­a­cura­di­\u002F­curated­by­M.­R.­Sossai,­Villa­Medici­Accademia­di­Francia,­Roma­\n                        Première Vue,­a­cura­di­\u002F­curated­by­M.­Nuridsany,­Passage­de­Retz,­Paris­\n                        EXIT:­Nuove geograﬁe della creatività italiana,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­F.­Bonami,­Fondazione­Sandretto­Re­Rebaudengo,­Torino­\n                        Fullcontact,­a­cura­di­\u002F­curated­by­C.­Corbetta,­S.­Lacagnina,­S.­Risaliti,­\n­­­­­­­­­­­­­­­­­­­­­­­­Galleria­Civica­Arte­Contemporanea­Montevergini,­Siracusa­\n                        Verso il futuro: identità nell’arte italiana 1990-2002,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­C.­D’Orazio,­L.­Pratesi,­Museo­del­Corso,­Roma­\n                        The (Research) Room,­Manifesta­4,­Europaische­biennale­Zeitgenossischer­Kunst,­Frankfurt­\n                        Assab One: La generazione emergente dell’arte in Italia,­a­cura­di­\u002F­curated­\n­­­­­­­­­­­­­­­­­­­­­­­­by­L.­Garbarino,­R.­Pinto,­via­Assab­1,­Milano­\n                        Il conﬁne delle parole,­a­cura­di­\u002F­curated­by­F.­Cavallucci,­Galleria­Civica­di­Arte­Contemporanea,­Trento\n                        PROTOTIPI 01,­a­cura­di­\u002F­curated­by­S.­Chiodi,­B.­Pietromarchi,­Fondazione­Adriano­Olivetti,­Roma­\n2001             Colori dal Mediterraneo:­installazioni permanenti di opere di artisti contemporanei,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­Zerynthia,­Ospedale­Sant’Andrea,­Roma­\n                        VIDEONIGHT rassegna di opere video: Present Continuos,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­D.­Filardo,­Palazzo­delle­Papesse,­Siena­\n                        Invasione Italiana,­a­cura­di­\u002F­curated­by­S.­Lacagnina,­Galleria­Civica­di­Arte­Contemporanea­Montevergini,­\n­­­­­­­­­­­­­­­­­­­­­­­­­Siracusa­\n                        Collezione d’Arte Contemporanea per il Castello di Aci,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­­G.­Frazzetto,­Museo­dei­Giovani­Artisti­-­Castello­Normanno,­Acicastello­(CT)­\n2000            PREVIEW,­a­cura­di­\u002F­curated­by­D.­Filardo,­G.­Gianuizzi,­M.­Manara,­Castel­San­Pietro­Terme­(BO)­\n                        L’occhio in fuga:percorsi della giovane fotograﬁa contemporanea,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­S.­Scalia,­Galleria­Civica­d’Arte­Moderna,­Palermo­\n1998              La ripetizione creativa: il sofﬁo, la voce, il ritorno nel testo poetico e visivo,­\n­­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­M.­Faletra,­E.­Fiammetta,­Orestiadi­di­Gibellina­(TP)­\n­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:22  Pagina 115\n126\nT-102, \n2013, legno, bicchiere di plastica, acqua, 45 x 97 x 52 cm \u002F \ndriftwood, plastic glass, water, 17 ¾” x 38 ¼” x 20 ½”\nCourtesy of the artist e \u002F and Franco Sofﬁantino, Torino\nFoto \u002F Photo: Fulvio Richetto\nabout 9000 [the Gustloff], \n2011, sabbia, dimensioni variabili \u002F \nsand, variable dimensions \nCourtesy of the artist e \u002F \nand Franco Sofﬁantino, Torino\nFoto \u002F Photo: Eva Trodera\nVeduta della mostra Crystallize, Sofﬁantino Gallery, Turin, 2010 \u002F\nExhibition view Crystallize, Sofﬁantino Gallery, Turin, 2010\nCourtesy of the artist e \u002F and Franco Sofﬁantino, Torino\nFoto \u002F Photo: Fulvio Richetto\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 126\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",117,{"image":427,"text":428,"number":429},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.118.png","MOROSO catalogo 224 pagine        4 BIANCA (2 sedicesimi)     USOMANO\nBeatrice­Marchi\nSelected by Francesca Minini - Milano\nNata­nel­1986­a­Gallarate­(VA),­vive­e­lavora­a­Milano­\u002F­Born­in­1986­in­­Gallarate­(VA),­lives­and­works­in­Milan\nOcchi tristi, \n2014, foto digitale su poliestere, polistirene, raso, ﬁnta pelle, imbottitura, legno, \n62 x 80 x 14 cm; 82 x 20 x 1 cm \u002F \ndigital print on polyester, polystyrene, satin, faux leather, padding, wood, \n24 ½” x 31 ½” x 5 ½”; 32 ¼” x 8 x ½”\ncourtesy dell’Artista e Gasconade, Milano \u002F courtesy of the Artist and Gasconade, Milan\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 116\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 125\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",118,{"image":431,"text":432,"number":433},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.119.png","MOROSO catalogo 224 pagine        4 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 117\nShahinaz, Yvonne A, Voriais Sporadais, \n2013, tanica, acqua, cemento a presa rapida, dimensioni variabili \u002F \ntote tank, water, rapid hardening cement, variable dimensions\nCourtesy of the artist e \u002F and Franco Sofﬁantino, Torino\nFoto \u002F Photo: Giovanni Ghiandoni\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 124\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",119,{"image":435,"text":436,"number":437},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.120.png","MOROSO catalogo 224 pagine        4 VOLTA (2 sedicesimi)     USOMANO\nDaniele­Milvio\nSelected by Frutta - Roma\nNato­nel­1988­a­Genova,­vive­e­lavora­tra­Milano­e­Ansedonia­(GR)­\u002F­\nBorn­in­1988­in­Genoa,­lives­and­works­in­Milan­and­Ansedonia­(GR)\nTesta di Aquila su testa di Kuros, \n2014, guazzo su gesso, 57 x 30 x 18 cm \u002F gouache on gypsum, 22 ½” x 11 ¾” x 7”\nCourtesy of the artist. Collezione \u002F Collection: Sciarretta, Roma. Foto \u002F Photo: Roberto Apa\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 118\n123\nIt­contains­codes­of­information­about­our\nwasted­age­and­the­price­to­avert­our­colli-\nsion­course­toward­a­compromised­future.­\nThe­design­of­water­melted­from­ice­on­tis-\nsue­draws­the­map­of­a­new­territory.­It­ﬂows,\ncollects,­and­abandons­its­deposits­in­the\ncourse­and­stream­of­its­journey,­creating\nnew­geographies­and­under­the­microscope\nforming­bodies­and­sculptures,­and­starting\nagain.­There­is­a­transformation­from­on\nthing­to­another,­from­one­state­to­another,\nthrough­gradual­release­until­things­evapo-\nrate,­dissolve,­and­disappear.­In­the­back-\nground­we­ﬁnd­hands­in­yellow­gloves;­the\nartist­is­a­new­Mickey­Mouse\u002FWalt­Disney\nwho­says­if­you­can­dream­it­you­can­do­it,\nand­so­he­does.­But­the­hand,­as­a­form­of\nmemory,­is­never­innocent,­even­when­wea-\nring­gloves,­when­it­tries­to­take­precautions\nand­have­a­ﬁrm­grip­on­the­present­or­to­iso-\nlate­itself­to­avoid­inexorable­contagion.­It\nis­of­the­present­and­represents­an­irrepa-\nrable­gesture.­Its­gaze­can­only­observe­the\nprocess­as­a­judge­or­sinister­scientist­(who\nserves­only­one­hemisphere­in­viewing­the\nworld).­This­marks­the­difference­between\nimagination­and­measurement,­as­Massimo\nCacciari­remarked:­“Thought­is­imaginative,\neven­in­its­most­‘violent’­abstractions.­The\nmind­measures­the­unbridgeable­distance\nbetween­the­image­and­the­‘object’­of­its­de-\nsire,­between­representation­and­what­is­re-\npresented”.­\nThe­hand­that­places­the­block­of­ice­is­the\nsame­one­that­can­open­up­the­world;­his\ngesture­is­a­turning­point,­the­gap­in­the\npresent­that­cannot­be­viewed­directly­if­you\nwant­to­make­any­sense­of­it.­But­it­is­always\ndeferred;­it­is­a­question­in­absentia,­as­if­it\nhad­the­answer,­but­not­quite,­not­yet.­It­is\nthe­drop­that­oozes­from­the­destroyed­sin-\nking­ship,­from­the­melting­ice­at­the­poles,\nwhich­ends­with­what­has­been­placed­on\nthe­table­in­the­work­of­Andrea­Nacciarriti.\nWe­do­not­know­where­to­ﬁnd­ourselves­and\nwhere­ we­ have­ traveled.­ We­ don’t­ know\nwhich­caves­are­under­our­feet,­and­where\nthe­storms­over­our­heads­will­originate.­We\nremain­ourselves,­enervated­inventors­of­the\nshipwreck,­always­within­the­vertigo­of­error,\nthe­vortex­that­swallows­us­up­like­a­portal\nto­take­us­somewhere­else­in­a­instant,­with\na­unique­force­that­imagines­and­measures\nat­the­same­time.­\nThe­strategy­of­the­natural­design­of­Andrea\nNacciarriti­creates­an­expanded­ﬁeld­that\nrequires­many­languages­??from­contempo-\nrary­practices­including­sculpture,­installa-\ntion,­photography,­moving­images,­and­mo-\nvement­ itself.­ The­ movement­ is­ unique,\nassertive­but­not­deﬁnitive,­and­takes­the\nresponsibility­of­the­story­and­experience\nthat­is­always­live­lived­and­alive.­It­is­what\nI­have­seen­in­the­work­of­artists,­now­and\nalways.­I’ve­seen­it­in­the­work­that­has­tou-\nched­me­a­lot,­a­little,­and­not­at­all,­that­so-\nmetimes­remains­when­you­forget,­despite\neverything­else­it­is­there­yet.­It­is­in­a­pile\nof­sand­made­of­grains­so­small­they­can­be\ntransported­anywhere­in­the­wind­and­wel-\ncomed­in­a­drop­of­water­that­I­hope­will\nnot­stop­dripping­from­the­hands­of­those\nwho­can­still­do­something­better­than­di-\nsperse­it­in­a­desert.\nCristina Collu\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 123\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",120,{"image":439,"text":440,"number":441},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.121.png","MOROSO catalogo 224 pagine        4 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 119\nsenso.­Ma­è­sempre­in­differita,­è­una­do-\nmanda­ex­post,­come­se­avesse­la­risposta\nma­non­del­tutto,­non­ancora.­È­la­goccia\ncarsica­che­stilla­dalla­disgrazia­della­nave\nche­affonda,­dal­ghiaccio­che­si­scioglie­al\npolo­ﬁno­a­quello­che­si­disfa­sul­tavolo­dello\nstudio­di­Andrea­Nacciarriti,­non­sappiamo\ndove­la­ritroveremo­e­quali­distanze­avrà\npercorso,­non­sappiamo­a­quali­caverne­sotto\ni­nostri­piedi­e­quali­tempeste­sopra­la­nostra\ntesta­darà­origine.­Rimaniamo­noi,­sﬁbrati\ninventori­del­naufragio,­sempre­dentro­la\nvertigine­dell’errore,­vortice­che­ci­inghiotte\ncome­un­portale,­per­portarci­da­un’altra\nparte­con­un­guizzo,­con­l’unica­forza­che\nimmagina­e­misura­nello­stesso­tempo.\nLa­strategia­del­disegno­naturale­di­Andrea\nNacciarriti­crea­un­campo­espanso­che­pre-\nsuppone­molti­linguaggi­dalle­pratiche­con-\ntemporanee,­dalla­scultura­all’installazione\nalla­fotograﬁa­all’immagine­in­movimento,\nal­movimento­stesso,­all’unico­movimento,\nassertivo­ma­non­deﬁnitivo,­quello­che­si\nprende­la­responsabilità­del­racconto­di­una\nesperienza­che­è­sempre­live lived and alive.\nÈ­quello­che­ho­visto­fare­agli­artisti,­ora­e\nsempre,­che­ho­visto­nelle­opere­che­mi\nhanno­toccato­nel­molto­o­nel­poco­e­nel\nniente­che­a­volte­resta­quando­ti­dimentichi\nche­al­posto­di­qualcos’altro­che­nonostante\ntutto­c’è­ancora,­c’è­invece­un­cumulo­di\nsabbia,­fatta­di­granelli­talmente­piccoli­che\npossono­essere­trasportati­ovunque­dal­vento\ne­accolti­dentro­una­goccia­d’acqua­che­io\nspero­non­smetta­di­sgocciolare­tra­le­mani\ndi­chi­può­ancora­farne­qualcosa­di­meglio\nche­disperderla­in­un­deserto.\nDis\u002Fappearance\nWithin­the­discussion­of­new­strategies­in\ncontemporary­drawing­there­hovers­the­idea\nthat­there­is­a­dark­and­inexplicable­side­in\nthe­process­of­creating­a­work;­that­after­the\ngesture­something­happens.­As­soon­as­the\ngesture­occurs­we­can­only­retrace­it,­leave\nit,­or­create­it­a­second­time,­because­before\nand­after­are­already­realized.­These­resem-\nble­drifting­fragments,­like­slippery­sheets\nof­ice­or­a­sinking­ship,­they­move­away­from\ntheir­origin­to­be­points­of­germination­that\ncan­no­longer­be­controlled.­This­withdrawal\nmakes­room­for­another­and­leaves­a­trace,\nan­imprint,­or­a­mark.­The­sign­on­the­paper\nor­on­the­world­is­however­unstable­and\ntends­to­melt­like­ice­or­disperse­like­sand.\nBut­something­remains:­a­piece­of­debris,­a\ngap,­something­irreducible,­an­irrepressible\nmoment.­It’s­not­only­memory­that­swings\ntoward­oblivion­or­often­toward­removal,­but\nlike­grains­on­the­paper,­the­ﬁeld,­or­the\nground,­it­scrapes­and­scratches­and­is­felt.\n122\ndrawing # 000000008 [lampi sull’Eni], \n2011, pompa di benzina, rame, carta, feltro, \n120 x 95 x 96 cm \u002F \ngas pump, copper, paper, felt, \n47 ¼” x 37 ½” x 37 ¾”\nCourtesy of the artist e \u002F and Franco Sofﬁantino, Torino\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 122\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",121,{"image":443,"text":444,"number":445},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.122.png","MOROSO catalogo 224 pagine        4 BIANCA (2 sedicesimi)     USOMANO\nFinalist\nAndrea­Nacciarriti\nSelected by Monitor - Roma\n120\nDis\u002Fapparizione\nSi­aggira­nei­pressi­della­ricerca­di­una­nuova\nstrategia­del­disegno­contemporaneo­l’idea\nche­ci­sia­un­lato­oscuro­e­inspiegabile­nel\nprocesso­della­creazione­di­un’opera­e­che\ndopo­il­gesto­qualcosa­accada,­che­prima­del\ngesto­qualcosa­sia­accaduto­e­che­dopo­ci­si\npossa­solo­ritrarre,­rilasciando,­lasciando­an-\ndare­una­seconda­volta,­prima­e­dopo­essere\nstati­incipit.­Frammenti­alla­deriva­che­si­so-\nmigliano,­come­il­ghiaccio­che­scivola­sul­fo-\nglio­o­la­nave­che­affonda,­e­si­allontanano\ndall’origine­per­essere­punti­di­germinazione\ndi­cui­non­si­può­avere­più­nessun­controllo.\nIl­ritrarsi­fa­spazio­ad­altro­e­questo­altro­la-\nscia­una­traccia,­un’impronta,­un­segno­ap-\npunto.­Il­segno­sul­foglio­o­sul­mondo­è­però\nlabile,­tende­a­sciogliersi­come­il­ghiaccio­o\na­disperdersi­come­sabbia.­Ma­qualcosa­ri-\nmane.­Un­detrito,­uno­scarto,­qualcosa­di­ir-\nriducibile,­un­resto­insopprimibile.­Non­solo\ndi­memoria­che­oscilla­verso­l’oblio­e­prima\nancora­spesso­verso­la­rimozione,­ma­granello\nsul­foglio,­sul­campo,­sulla­terra­che­raschia\ne­grafﬁa­e­si­fa­sentire.­Racchiude­codici­di\ninformazioni­su­questo­nostro­tempo­guasto\ne­la­cifra­per­aggiustare­la­rotta­di­collisione\ncon­un­futuro­compromesso.­\nIl­disegno­dell’acqua­di­ghiaccio­sulla­velina\ndisegna­la­mappa­di­un­nuovo­territorio,­tra-\nscina,­raccoglie,­abbandona­nei­corsi­e­nei\nrivoli­del­suo­tragitto­i­resti­che­ora­fanno\nnuove­geograﬁe­e­sotto­il­microscopio­fanno\ncorpo,­scultura­e­ricominciano.­Da­una­tra-\nsformazione­all’altra,­da­uno­stato­all’altro,\ndal­rilascio­graduale­sino­all’evaporazione,\ndissolvenza,­disapparizione.­Sullo­sfondo­le\nmani­sono­dentro­guanti­gialli,­l’artista­è­il\nnuovo­Mickey­Mouse\u002FWalt­Disney­che­dice\nse­puoi­sognarlo­puoi­farlo­e­dunque­lo­fa.\nMa­la­mano­come­il­ricordo­non­è­mai­inno-\ncente,­ neppure­ quando­ indossa­ i­ guanti,\nquando­cerca­di­prendere­precauzioni­e­avere\nuna­presa­salda­sul­presente­o­di­isolarsi­per\nevitare­inesorabili­contagi.­È­il­qui­e­ora­del\ngesto­irreparabile­e­lo­sguardo­non­può­che\nosservare­il­processo­come­un­giudice­o­uno\nscienziato­sinistro­(che­si­serve­di­un­solo\nemisfero­per­guardare­il­mondo).­Si­da­qui\nla­differenza­tra­immaginazione­e­misura,\ncome­ricorda­infatti­Massimo­Cacciari­“Il\npensiero­immagina­–­anche­nelle­sue­più\n‘violente’­astrazioni.­La­mente­misura­–­mi-\nsura­la­distanza­incolmabile­tra­l’immagine\ne­l’’oggetto’­del­suo­desiderio,­tra­rappresen-\ntazione­e­rappresentato”.\nLa­mano­che­appoggia­il­blocco­di­ghiaccio\nè­la­stessa­che­si­può­spalancare­sul­mondo\ne­il­suo­gesto­è­il­punto­di­svolta,­lo­scarto\nsul­presente­che­non­può­essere­guardato­in\ndiretta­se­sene­vuole­cogliere­un­qualsiasi\ndrawing #000000011 [Juno], \n2015, legno, carta velina, ghiaccio di strada NY, dimensioni variabili \u002F \nwood, tissue paper, ice from a NY street, variable dimensions\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 120\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 121\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",122,{"image":447,"text":444,"number":448},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.123.png",123,{"image":450,"text":440,"number":451},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.124.png",124,{"image":453,"text":436,"number":454},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.125.png",125,{"image":456,"text":432,"number":457},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.126.png",126,{"image":459,"text":428,"number":460},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.127.png",127,{"image":462,"text":424,"number":463},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.128.png",128,{"image":465,"text":420,"number":466},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.129.png",129,{"image":468,"text":416,"number":469},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.130.png",130,{"image":471,"text":472,"number":473},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.131.png","MOROSO catalogo 224 pagine        5 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 129\n144\nErik­Saglia\nSelected by Continua - San Gimignano (SI)\nNato­nel­1989­a­Torino,­dove­vive­e­lavora­\u002F­Born­in­1989­in­Turin,­where­he­lives­and­works­\nSnifﬁnglue, \n2014, nastro di carta, resina epodissica su pannello \u002F paper tape, epoxy resin on panel\nCourtesy of the artist e \u002F and Thomas Brambilla, Bergamo\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 144\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",131,{"image":475,"text":476,"number":477},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.132.png","MOROSO catalogo 224 pagine        5 VOLTA (2 sedicesimi)     USOMANO\nLuca­Pozzi\nSelected by Tucci Russo - Torre Pellice (TO)\nNato­nel­1983­a­Milano,­dove­vive­e­lavora­\u002F­Born­in­1983­in­Milan,­where­he­lives­and­works\nThe Big Jump Experiment – Eternal Internet Brotherhood, \n2014, stampa a getto d’inchiostro su D-bond, proiezione video, dimensioni variabili \u002F\nink jet print on D-bond and video projections, variable dimensions\nCourtesy the artist e \u002F and The Eternal Internet Brotherhood\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 130\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 143\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",132,{"image":479,"text":480,"number":481},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.133.png","MOROSO catalogo 224 pagine        5 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 131\nMatteo­Rubbi\nSelected by Gio’ Marconi - Milano\nNato­nel­1980­a­Seriate­(BG),­vive­e­lavora­ad­Albano­Sant’Alessandro­(BG)­\u002F­\nBorn­in­1980­in­Seriate­(BG),­lives­and­works­in­Albano­Sant’Alessandro­(BG)\nCarta del cielo,\n2014, workshop, video\ncon \u002F with: Collège Vernier, Astrosafari, Nizza\nCourtesy of the artist e \u002F and Thankyouforcoming,\nConseil régional PACA, CAC Arts Visuels, Provence-Alpes-Côte d’Azur\nFoto \u002F Photo: Leonardo Chiappini\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 142\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",133,{"image":483,"text":484,"number":485},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.134.png","MOROSO catalogo 224 pagine        5 BIANCA (2 sedicesimi)     USOMANO\nFinalist\nAndrea­Romano\nSelected by Francesca Minini - Milano\nClaque & Shill (Ingrid) è­un­disegno\na­graﬁte­su­carta­che­Andrea­Romano­ha­rea-\nlizzato­nel­2014,­e­racchiuso­in­una­spessa\ncornice­di­marmo­nero­che­misura­40­x­40­x\n4­cm.­L’inquadratura­sul­viso­è­molto­stretta,\nun­primissimo­piano­che­include­nell’imma-\ngine­soltanto­i­capelli­attorno­al­viso,­tutto­il\nresto­è­tagliato­fuori,­anche­la­punta­del\nmento.­Ingrid­e­la­sua­bellezza­nitida­fanno\ncapolino­da­un­dispositivo­–­la­cornice­di\nmarmo­–­che,­con­la­presenza,­è­a­tal­punto\nparte­integrante­di­questo­lavoro­da­far­pen-\nsare­a­quelle­cornici­che,­nelle­pale­d’altare\nrinascimentali,­replicano­elementi­di­archi-\ntettura­e­ampliﬁcano,­estendono­l’inquadra-\nmento­prospettico­della­scena­e,­di­conse-\nguenza,­la­continuità­tra­immagine­e­spazio.­­\nIn­una­foto­che­documenta­l’installazione­di\nun’altra­opera­della­stessa­serie­–­ovvero­Cla-\nque & Shill (Irene) –­nella­cava­di­marmo­di\nZanbobbio­(a­pochi­chilometri­da­Bergamo),\nun­altro­di­questi­ritratti­a­graﬁte­racchiusi\nin­una­pesante­cornice­di­marmo­scuro­è\nadagiato­a­terra,­insieme­a­alcune­lastre­di\npietra­dalle­dimensioni­quasi­identiche.­In-\ngrid e Irene fanno­parte­della­serie­Claque &\nShill che­Andrea­Romano­ha­iniziato­nel­2011\ne­che­porta­tuttora­avanti:­disegni­a­graﬁte\nincorniciati­in­massicce­cornici­di­pietra­i\ncui­colori­e­venature­riprendono­e­“prose-\nguono”­alcune­caratteristiche­formali­dei­de-\nsigni­stessi,­come­nel­caso­delle­immagini­di\ntigri­e­della­relazione­osmotica­che­si­stabi-\nlisce­tra­il­pattern­maculato­del­manto­dei\nfelini,­le­venature­del­marmo­o­i­cristalli­del\ngranito. Ingrid e Irene,­però,­ampliﬁcano­a\nloro­volta­la­relazione­tra­l’immagine­e­il­di-\nspositivo­che­la­isola­dal­resto­dello­spazio­–\nla­cornice,­appunto­–­perché­estendono­que-\nsto­meccanismo­di­continuità­allo­spazio\nstesso,­che­è­uno­spazio­di­lavoro­e­di­produ-\nzione­dove­quelle­cornici­sono­state­fatte­e\ndove­sono­ora­mostrate.\nAndrea­Romano,­come­altri­artisti­della­sua\ngenerazione,­sembra­reagire­a­quello­che\nsembra­essere­un­concetto­ormai­acquisito\n–­ovvero­la­pervasività­delle­immagini­di­na-\ntura­digitale,­la­loro­ubiquità­intangibile­–\nfocalizzando­la­sua­attenzione­su­ciò­che,­al\ncontrario,­sembra­essere­destinato­a­diven-\ntare­sempre­più­irrilevante,­ossia­l’irriducibile\nmaterialità­delle­informazioni­visive.­In­modo\nancora­più­speciﬁco,­si­potrebbe­dire­che­il\nlavoro­di­Andrea­Romano­esplora­l’ambiguità\ninsita­ nel­ concetto­ stesso­ di­ immagine\nquando­la­concepiamo­come­‘informazione’,\nquindi­come­un­insieme­di­dati­trasmessi­che\ntransitano­da­un­medium­all’altro,­da­un­sup-\nporto­all’altro.­Nei­confronti­di­quest’assunto,\nl’artista­dimostra­per­lo­meno­scetticismo­o,\nmeglio­ancora,­un­desiderio­indagatore.­Del\nregime­delle­immagini­che­ci­circonda,­Ro-\nmano­coglie­valori­estremamente­sottili,­che\npotremmo­deﬁnire­quasi­‘impalpabili’­se­non\n132\nJelena Pillow Cast (1), \n(in collaborazione con \u002F in collaboration with Delﬁno Sisto Legnani), \n2013, stampa digitale, dimensioni variabili \u002F digital print, variable dimensions\nCourtesy of the artist. Foto \u002F Photo: Andrea Rossetti\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 132\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 141\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",134,{"image":487,"text":488,"number":489},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.135.png","MOROSO catalogo 224 pagine        5 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 133\n140\nMarzia­­Corinne­Rossi\nSelected by Lia Rumma - Milano \u002F Napoli\nNata­nel­1984­a­Novafeltria­(RN),­dove­vive­e­lavora­\u002F­Born­in­1984­in­Novafeltria­(RN),­where­she­lives­and­works\nVeduta della mostra, Flesh Out, Néon - Diffuseur d’Art Contemporain, Lione, 2014 \u002F \nInstallation view, Flesh Out, Néon - Diffuseur d’Art Contemporain, Lyon, 2014\nCourtesy of the artist e \u002F and Néon, Lyon. Foto \u002F Photo: Anne Simonnot\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 140\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",135,{"image":491,"text":492,"number":493},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.136.png","MOROSO catalogo 224 pagine        5 VOLTA (2 sedicesimi)     USOMANO\nfosse­per­la­densità­percettiva­delle­opere\nche­questa­sua­ricerca­genera.­\nCon­un­atteggiamento­formale­e­concettuale\nche­mi­appare­limpido­come­lo­sguardo­di\nIngrid,­Andrea­Romano­ha­ﬁno­ad­ora­pro-\ndotto­una­serie­di­lavori­concisi,­netti­nella\nloro­qualità­estetica­e­che­esplorano­lo­spazio\ndella­rappresentazione­come­uno­spazio­di\ntransito­tra­il­dominio­del­visivo­e­il­dominio\ndel­tattile.­Ed­è­questo­il­caso­delle­due­serie\ndi­lavori­che­l’artista­ha­presentato­nella­sua\nprima­mostra­personale­presso­la­galleria\nFluxia­di­Milano­nel­2013. Potsherds & Gaze\nè­il­titolo­di­una­serie­di­disegni­a­matita­in\ncui­particolari­di­scene­del­cartone­animato\nThe Flintstones dove­le­sagome­dei­perso-\nnaggi­si­sﬁorano­o­si­toccano­sono­isolati­e\nresi­astratti,­ridotti­a­pure­line.­La­serie­fo-\ntograﬁca­Cast of Pillow (realizzata­in­colla-\nborazione­con­il­fotografo­Delﬁno­Sisto­Le-\ngnani)­vede,­invece,­brani­di­giovani­corpi­–\nmani,­braccia­e­ventri­–­colti­nell’atto­di­in-\nteragire­con­il­calco­in­poliuretano­di­un­cu-\nscino.­Ciò­che­salda­queste­due­serie­di­lavori\nall’interno­di­un’economia­espositiva­coesa\nnon­è­soltanto­il­tema­del­contatto,­quanto\npiuttosto­la­tensione­con­cui­l’elemento­della\ntattilità­è­traslato­in­una­qualità­puramente\nvisiva,­ai­limiti­dell’astrazione.\nAl­di­là­di­quello­che­può­sembrare­un­motivo\noccasionale,­il­lavoro­di­Andrea­Romano­sem-\nbra­guardare,­in­maniera­più­generale,­a­una\nforma­acutizzata­della­nostra­attuale­sensi-\nbilità:­le­immagini,­infatti,­non­sono­sempli-\ncemente­‘ovunque’,­le­immagini­oggi­sono\nintense­e­ampliﬁcate,­sature­di­una­perfe-\nzione­formale­e­di­un­eccesso­strutturale­di\npost-produzione­che­le­rende­allo­stesso\ntempo­acute,­percettive­e­astratte.­Immate-\nriali­eppure­tattili.­\nRomano,­come­altri­artisti­nel­più­ampio\ncontesto­internazionale,­sta­rivolgendo­la\nsua­attenzione­a­quanto­di­minuto­e­di­im-\npalpabile­gravita­attorno­a­un’immagine,­po-\nnendo­i­margini­al­centro,­non­soltanto­con-\ncentrandosi­su­ciò­che­potrebbe­sembrare\ntrascurabile­ma,­in­modo­più­radicale,­por-\ntando­questa­marginalità­su­un­piano­for-\nmale­che­della­forma­scruta­tanto­l’ambi-\nguità­quanto­l’acutezza­percettiva.\nJelena Pillow Cast (2)\n(in collaborazione con \u002F in collaboration with Delﬁno Sisto Legnani), \n2013, stampa digitale, dimensioni variabili \u002F digital print, variable dimensions\nCourtesy of the artist. Foto \u002F Photo: Andrea Rossetti\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 134\nAndrea­Romano­\nNato­nel­1984­a­Milano,­dove­vive­e­lavora­\u002F­Born­in­1984­in­Milan,­where­he­lives­and­works\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2014\nClaque&Shill,­San­Paolo­D’Argon,­cave­di­marmo­di­\u002F­marble­caves­Zandobbio,­Bergamo\nII Stile (con­\u002F­with­Dario­D’Aronco),­progetto­di­\u002F­project­by­P.­Chiasera,­studio­Patrick­Tuttofuoco,­Berlin­\n2013\nDOORKIJKJE,­Fluxia,­Milano\nUntitled,­Gaudel­de­Stampa,­Paris\n2012\nRamosissimo,­a­cura­di­\u002F­curated­by­G.­Brivio,­Gaff,­Milano\n2011\nClaque&Shill,­Gasconade,­Milano\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nPremio MOROSO per l’Arte Contemporanea_2015,­a­cura­di­\u002F­curated­by­\nA.­Bruciati,­Esedra­di­Levante­-­Villa­Manin,­Passariano­(UD)\n2014\nPre Post Alphabet,­a­cura­di­\u002F­curated­by­\nG.­Del­Vecchio,­E.­Fabbris,­Fondazione­Morra-Museo­Nitsch,­Napoli\nItalia Summer,­Monica­De­Cardenas,­Zuoz\n-MCZ + VIA FARINI DOCVA,­Museo­Carlo­Zauli,­Faenza;­Viafarini­DOCVA,­Milano\n2013\nRosa titanica,­a­cura­di­\u002F­curated­by­M.­D’Aurizio,­Roma\n2012\nFW2013RTW (Kudos),­a­cura­di­\u002F­curated­by­M.­D’Aurizio,­Federica­Schiavo­Gallery,­Roma\nRetour à l’intime, la­collection­Giuliana­et­Tommaso­Setari,­La­Maison­Rouge,­Paris\nOrlando,­a­cura­di­\u002F­curated­by­L.­Francesconi,­Fondazione­Brodbeck,­Catania\nSous les paves,­la­plage,­Fondazione­Sandretto­Re­Rebaudengo,­Torino\nPose Position,­a­cura­di­\u002F­curated­by­M.­D’Aurizio,­Galerie­1M3,­Lausanne\nTake the Leap,­Peep-Hole­Annual­Beneﬁt,­Peep-Hole,­Milano\nIO TU LUI LEI,­a­cura­di­\u002F­curated­by­F.­Urbano-Ragazzi,­Palazzetto­Tito,­Venezia\n2011\nOn stage. I numeri primi,­a­cura­di­\u002F­curated­by­A.­Bruciati,­ArtVerona,­Verona\n139\nClaque & Shill (Ingrid), \n2014, graﬁte su carta, marmo, 40 x 40 x 4 cm \u002F \ngraphite on paper, marble, 15 ¾” x 15 ¾” x 1 ½”\nCourtesy of the artist. Foto \u002F Photo: Andrea Rossetti\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 139\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",136,{"image":495,"text":496,"number":497},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.137.png","MOROSO catalogo 224 pagine        5 VOLTA (2 sedicesimi)     USOMANO\n135\nClaque & Shill (Ingrid)­is­a­graphite\ndrawing­on­paper­that­Andrea­Romano­crea-\nted­in­2014,­and­encased­in­a­thick­frame­of\nblack­marble­which­measures­13­¾”­x­15­¾”\nx­1­½”.­The­view­of­the­face­is­very­cropped;\nit­includes­a­close-up­image­with­only­the\nhair­around­the­face;­everything­else­is­cut\noff,­even­the­tip­of­the­chin.­Ingrid,­with­her\nclear­beauty,­peers­out­from­a­standard­de-\nvice—the­marble­frame—that,­with­its­pre-\nsence,­is­an­integral­part­of­this­work.­Its\nresemblance­to­those­frames­in­Renaissance\naltarpieces­that­replicate­and­amplify­ele-\nments­of­the­architecture­extends­the­per-\nspective­framing­of­the­scene­and­conse-\nquently­the­continuity­between­the­image\nand­the­space.­\nIn­a­photo­that­documents­the­installation\nof­another­work­of­the­same­series, Claque\n& Shill (Irene),­set­in­the­marble­quarry­of\nZanbobbio­(a­few­kilometers­from­Bergamo),\nanother­one­of­these­graphite­portraits­en-\ncased­in­a­heavy­frame­of­dark­marble­is\nlying­on­the­ground,­along­with­some­stone\nslabs­of­almost­identical­size. Ingrid and\nIrene are­part­of­the­series­Claque & Shill\nthat­Andrea­Romano­started­in­2011­and­is\nstill­developing:­graphite­drawings­presented\nin­massive­stone­frames­whose­colors­and\nveins­pick­up­and­continue­some­formal­cha-\nracteristics­of­the­drawings­themselves,­as\nin­the­case­of­the­images­in­his­series­of­ti-\ngers,­and­the­osmotic­relationship­that­is\nestablished­between­the­speckled­pattern\nof­the­tiger’s­mane­and­the­veins­of­marble\nor­granite­crystals. Ingrid and Irene,­howe-\nver,­amplify­the­relationship­between­the\nimage­and­the­thing­that­isolates­it­from­the\nrest­of­the­space—the­frame—because­of\nthe­continuity­that­extends­between­it­and\nthe­space­itself,­which­is­the­place­of­pro-\nduction­where­the­frames­were­made­and\nwhere­they­are­now­displayed.­\nAndrea­Romano,­like­other­artists­of­his­ge-\nneration,­reacts­to­what­seems­a­generally\naccepted­concept—the­pervasiveness­of­di-\ngital­images­and­their­intangible­ubiquity—\nby­focusing­his­attention­on­what,­on­the\ncontrary,­seems­intended­to­become­increa-\nsingly­irrelevant,­the­irreducible­materiality\nof­visual­information.­To­be­even­more­spe-\nciﬁc,­you­could­say­that­the­work­of­Andrea\nRomano­explores­the­ambiguity­inherent­in\nthe­very­concept­of­the­picture,­when­we\nconceive­of­it­as­‘information’­or­as­a­set­of\ntransmitted­data­that­passes­from­one­me-\ndium­to­another,­or­one­frame­to­another.\nConfronted­with­this­assumption­the­artist\nMarco Mother Mold (1)\n(in collaborazione con \u002F in collaboration\nwith Delﬁno Sisto Legnani), \n2013, stampa digitale,\ndimensioni variabili \u002F \ndigital print, variable dimensions\nCourtesy of the artist. Foto \u002F \nPhoto: Andrea Rossetti\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 135\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 138\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",137,{"image":499,"text":500,"number":501},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.138.png","MOROSO catalogo 224 pagine        5 BIANCA (2 sedicesimi)     USOMANO\n136\ndemonstrates­restrained­skepticism,­or­bet-\nter­yet,­an­investigative­desire.­From­the­sy-\nstem­of­images­around­us­Romano­collects\nimages­­that­are­extremely­reﬁned,­and­which\ncould­be­deﬁned­as­almost­‘impalpable’­if­it\nwere­not­for­the­perceptual­density­of­the\nworks­his­research­generates.­\nWith­a­formal­and­conceptual­process­that\nis­as­clear­as­Ingrid’s­gaze,­Andrea­Romano\nhas­so­far­produced­a­number­of­concise\nworks,­consistent­in­their­aesthetic­quality,\nthat­explore­representation­as­a­transitional\nspace­between­the­domain­of­the­visual­and\ntactile.­This­was­the­case­with­the­two­series\nof­works­that­the­artist­presented­in­his­ﬁrst\nsolo­exhibition­at­the­Fluxia­gallery­in­Milan\nin­2013.­Potsherds & Gaze is­the­title­of­a­se-\nries­of­pencil­drawings­in­which­particular\nimages­from­the­animated­cartoon­The Flin-\ntstones,­in­the­places­where­the­shapes­of\nthe­characters­graze­or­touch,­are­isolated\nand­rendered­abstract,­reduced­to­pure­line.\nIn­the­photographic­series­Cast of Pillow\n(created­in­collaboration­with­photographer\nDelﬁno­Sisto­Legnani),­we­see­instead­young\npeople’s­ bodies—hands,­ arms,­ and­ sto-\nmachs—captured­in­the­act­of­interacting\nwith­ a­ cast­ polyurethane­ cushion.­ What\nwelds­these­two­series­of­work­together­eco-\nnomically­in­a­cohesive­exhibition­is­not­just\nthe­theme­of­contact,­but­rather­the­tension\nwith­which­the­element­of­tactility­is­tran-\nslated­into­a­purely­visual­quality,­reaching\nthe­limits­of­abstraction.­\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 136\n137\nBeyond­what­may­appear­to­be­his­occasional\nmotive,­Andrea­Romano’s­work­seems­to\nlook,­more­generally,­to­a­more­acute­form\nof­our­current­sensitivity.­Images,­in­fact,\nare­not­simply­‘everywhere’.­Images­are­now\nintense­and­ampliﬁed,­saturated­with­a­for-\nmal­perfection­and­structural­excess­through\npost-production­that­makes­them­at­the\nsame­time­acute,­perceptual,­and­abstract.\nThey­are­intangible­yet­tactile.­\nRomano,­like­other­artists­in­the­wider­in-\nternational­context,­is­turning­his­attention\nto­the­minute­and­impalpable­details­that\ngravitate­around­an­image,­drawing­the­out-\nside­into­the­center,­not­by­only­focusing­on\nwhat­might­seem­insigniﬁcant­but,­more­ra-\ndically,­bringing­this­marginality­to­a­formal\nplane­ where­ form­ is­ scrutinized­ with­ as\nmuch­ambiguity­as­perceptual­acuity.\nAlessandro Rabottini\nVeduta dell’installazione Highlight (Summer 2013), \nFluxia, Milano, 2013 \u002F \nInstallation view of Highlight (Summer 2013), \nFluxia, Milan, 2013\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:23  Pagina 137\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",138,{"image":503,"text":500,"number":504},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.139.png",139,{"image":506,"text":496,"number":507},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.140.png",140,{"image":509,"text":492,"number":510},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.141.png",141,{"image":512,"text":488,"number":513},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.142.png",142,{"image":515,"text":484,"number":516},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.143.png",143,{"image":518,"text":480,"number":519},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.144.png",144,{"image":521,"text":476,"number":522},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.145.png",145,{"image":524,"text":472,"number":525},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.146.png",146,{"image":527,"text":528,"number":529},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.147.png","MOROSO catalogo 224 pagine        5 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 145\n160\nThe­ﬁlm­thus­operates­as­a­promise­for­the\nparticipants;­it­is­a­result­to­be­obtained,\nand­achieved­only­through­the­collective\ncommitment.­The­path­to­the­fulﬁllment­of\nsuch­a­promise­is­a­process­during­which\nthe­roles­of­extras,­actors,­directors,­engi-\nneers,­costume­designers,­writers,­etc.­are\npermeable,­and­their­mutual­learning­is­do-\ncumented­as­part­of­the­ﬁlm­itself.\nFrom cinema to school: \nThe School of Narrative Dance \nThe­meeting­between­the­disciplines,­the\nexchange­of­knowledge­and­skills,­and­the\nnon-hierarchical­nature­of­the­roles­and­the\nrethinking­of­the­relationship­between­tea-\nchers­and­students­have­always­been­placed\nat­the­center­of­the­communication­accom-\npanying­the­production­of­any­work­by­Ma-\nrinella­Senatore.­The­potential­that­these\n‘constructive’­communities­have­within­all\nof­her­projects­could­go­on­autonomously,\nbut­instead­becomes­the­focus­of­her­ambi-\ntion­in­her­practice­as­an­artist.­It­is­the\nbasis­around­which­Senatore­founded­the\nSchool­of­Narrative­Dance:­a­means­for­gi-\nving­a­durable­‘sustainability’­to­the­proces-\nses­temporarily­created­during­artistic­pro-\njects.\nCurrently­seven­of­these­schools­are­esta-\nblished­in­different­parts­of­the­world,­from\nthe­artist­having­been­invited­to­visit­by­in-\nstitutions­and­biennials.­The­‘school’­is­de-\nsigned­as­a­location­(with­no­building­and\nopen­to­all)­in­which­the­educational­goal­is\nachieved­through­learning­how­to­construct\nan­appropriate­narrative­that­is­both­shared\nand­autonomous.­The­dance­and­the­move-\nment­are­presented­as­special­languages­­be-\ncause­they­are­able­to­liberate­these­educa-\ntional­ ideas­ from­ a­ verbal­ and­ dialectic\ndimension­that­is­more­useful­to­understan-\nding­(together)­than­to­knowledge.\nCinema as a school: \nNui Simu (That’s Us) and Variations\nProduced­respectively­in­2010­and­2011 Nui\nSimu (That’s Us) e Variations are­two­pro-\njects­in­which­the­collaborative­methodology\nthat­Marinella­Senatore­learned­by­studying\nproduction­processes­of­cinema­at­the­Cen-\ntro­Sperimentale­in­Rome,­clearly­emerge.\nAt­Enna,­with­a­group­of­elderly­retired­mi-\nners,­as­well­as­in­New­York­with­the­diffe-\nrent­communities­that­live­on­the­Lower­East\nSide,­the­artist­has­used­the­fascination­and\n“magic”­that­the­camera­arouses­worldwide,\nto­mobilize­people,­groups,­and­associations\naround­the­search­for­a­common­narrative.­\nBoth­videos,­as­in­other­works­by­the­artist,\nbegan­with­the­call­to­participate­in­an­au-\ndition­to­make­a­collective­ﬁlm.­The­method\nfor­communicating­with­potential­collabo-\nrators­was­reinvented­from­place­to­place\nand­Senatore­was­able­to­move­between­the\natmosphere­of­Nuovo Cinema Paradiso­and\nFame (Saranno Famosi):­using­a­car­loud-\nspeaker­to­announce­in­strict­Sicilian­dia-\nlect,­going­door-to-door,­using­the­radio­news\nof­the­district,­and­social­events.­These­are\namong­the­apparatus­through­which­the\n“spectacular”­builds­expectation,­and­Sena-\ntore­from­the­beginning­revealed­strategies\nfor­transforming­it­into­a­method­to­force\nthe­establishment­of­art­to­rethink­its­com-\nmunication­system,­its­proper­audience,­and\nhow­they­interact.­Even­the­casting was­bent\nto­the­logic­of­the­artist­and­the­competitive\nprocess­of­selection­becomes­the­ﬁrst­mo-\nment­of­meeting­and­listening­to­those­who\ndecided­to­show­up­and­have­already­become\npart­of­the­narrative.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 160\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",147,{"image":531,"text":532,"number":533},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.148.png","MOROSO catalogo 224 pagine        5 VOLTA (2 sedicesimi)     USOMANO\nManuel­Scano­Larrazàbal\nSelected by ZERO... - Milano\nNato­nel­1981­a­Padova,­vive­e­lavora­a­Milano­\u002F­Born­in­1981­in­Padua,­lives­and­works­in­Milan\nSenza titolo (clunk, clunk), \n2014, inchiostro e acqua su carta, 400 x 300 cm \u002F ink and water on paper, 157 ½” x 118 ¼”\nVeduta della mostra Basti che non si sassi in giro, Fondazione per l’Arte, Roma, 2014 \u002F \nExhibition view Basti che non si sassi in giro, Fondazione per l’Arte, Rome, 2014\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 146\n159\nThe political chorus \nin the theater of Marinella Senatore \nBetween narration and communication \nIn­his­recent­essay­Politica nell’era dello sto-\nrytelling,­the­French­writer­Christian­Sal-\nmon­deﬁnes­the­relationship­that­has­deve-\nloped­recently­between­the­new­political\nclass­(narrators)­and­the­immense­audience\nof­the­public­(listeners)­as­cannibalism.\nStarved­for­reassuring­stories,­the­latter­is\nalways­constrained­by­the­convincing­state-\nments­in­the­performance­of­the­former.­This\nrelentless­pursuit­of­a­narrative­that­mana-\nges­to­renew­this­contract­is­therefore­the\nway­in­which­the­audience­constantly­seeks\nveriﬁcation­of­its­(electoral)­choice,­and­the\nonly­recourse­left­to­the­politicians­to­certify\ntheir­legitimacy­in­front­of­the­general­public.­\nThe­relationship­between­storytelling­and\npolitical­action­emerges­differently­in­the\npractice­of­Marinella­Senatore,­who­uses\ncommunication­not­as­a­unique,­persuasive,\nand­legitimizing­strategy,­but­as­an­effective\nway­to­produce­relations­that­are­founded\non­reciprocal­listening.\nThe School of Narrative Dance, Ecuador, \n2014, still da produzione \u002F production stills\nProdotto da \u002F Produced by 12th Bienal De Cuenca, Ecuador\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 159\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",148,{"image":535,"text":536,"number":537},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.149.png","MOROSO catalogo 224 pagine        5 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 147\nmobile­con­altoparlante­che­annuncia­in\nstretto­dialetto­siciliano,­il­porta­a­porta,\nl’utilizzo­di­giornali­radio­di­quartiere,­ﬁno\nai­social,­appartengono­a­quell’apparato­at-\ntraverso­cui­lo­‘spettacolo’­costruisce­l’aspet-\ntativa­e­di­cui­la­Senatore­svela­sin­dal­prin-\ncipio­ le­ strategie­ trasformandolo­ in­ un\nprocesso­per­costringere­l’istituzione­del-\nl’arte­a­ripensare­il­proprio­sistema­di­co-\nmunicazione,­il­proprio­pubblico­e­la­media-\nzione­con­esso.­\nAnche­il­casting si­piega­alla­logica­dell’artista\ne­da­procedura­di­selezione­competitiva­di-\nventa­il­primo­momento­di­incontro­ed­ascolto\ncon­chi­ha­deciso­di­presentarsi­ed­è­già­quindi\nentrato­a­far­parte­della­narrazione.\nIl­ﬁlm­opera­quindi­come­promessa­per­i\npartecipanti,­come­risultato­da­ottenere,­e\nottenibile,­solo­attraverso­l’impegno­collet-\ntivo.­Il­percorso­verso­il­mantenimento­di\ntale­promessa­è­un­processo­durante­il­quale\ni­ruoli­delle­comparse,­attori,­registi,­mac-\nchinisti,­costumisti,­sceneggiatori,­ecc.­sono\npermeabili­e­l’apprendere­reciprocamente­è\ndocumentato­come­parte­del­ﬁlm­stesso.\nDal cinema alla scuola: \nThe School of Narrative Dance \nL’incontro­tra­le­discipline,­lo­scambio­di­sa-\nperi­e­competenze,­la­non­gerarchia­dei­ruoli\ned­il­ripensamento­del­rapporto­tra­docente\ne­discente­sono­sempre­state­messe­al­centro\ndella­comunicazione­che­accompagna­la­pro-\nduzione­di­qualsiasi­lavoro­di­Marinella­Se-\nnatore.­Il­potenziale­che­le­comunità­‘co-\nstruitesi’­ intorno­ ad­ ogni­ suo­ progetto\npossano­continuare­un­percorso­autonomo,\nè­invece­il­desiderio­e­l’ambizione,­che­ac-\ncompagna­la­pratica­dell’artista­e­sulla­base\ndella­ quale­ la­ Senatore­ ha­ fondato­ The\nSchool­of­Narrative­Dance:­un­percorso­che\nintende­dare­una­svolta­“sostenibile”­e­du-\nratura­a­quei­processi­attivati­temporanea-\nmente­durante­progetti­artistici.­\nAttualmente­sette­di­queste­scuole­sono\nstate­fondate­in­diverse­parti­del­mondo­in\nconcomitanza­con­gli­inviti­rivolti­all´artista\nda­parte­di­Istituzioni­e­Biennali.\nLa­‘scuola’­è­pensata­come­luogo­(senza­edi-\nﬁcio,­aperto­a­tutti)­in­cui­la­dimensione\neducativa­è­ﬁnalizzata­all’apprendere­come\ncostruire­una­propria­narrazione­e­narrati-\nvità­condivisa­ed­autonoma.­La­danza­ed­il\nballo­sono­proposti­come­linguaggi­privile-\ngiati­­perché­in­grado­di­liberare­l’idea­stessa\ndi­scuola­da­una­dimensione­verbale­e­dia-\nlettica­che­sia­più­utile­al­conoscersi­(in-\nsieme)­che­al­conoscere.­\nIl­coro­nel­“teatro­della­sovranità­perduta”­\nSempre­Salmon­deﬁnisce­il­paesaggio­me-\ndiatico­come­“teatro­della­sovranità­perduta”,\ndove­il­politico­contemporaneo,­ormai­pri-\nvato­del­suo­potere­da­potenze­economiche\nsovranazionali,­tenta­ancora­di­comprovare\nil­suo­ruolo­attraverso­una­continua­narra-\nzione.­\nLa­pratica­della­Senatore­costruisce­invece\nun­‘teatro’­diverso,­dove­un’altra­enuncia-\nzione­è­possibile­e­si­cerca­di­ricostituire\nuna­sovranità­differente:­quella­del­coro­che,\ncome­alle­origini­del­teatro­greco,­era­l’unico\nattore­in­scena­e,­danzando­e­cantando,­rac-\ncontava­ai­cittadini­e­ai­politici,­i­desideri,\nle­insoddisfazioni­e­gli­umori­della­città.­\nThe School of Narrative Dance è­stata­aperta­a­Roma,\nCagliari,­Rivoli,­St.­Gallen,­Berlino,­Ecuador,­Svezia.­\n158\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 158\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",149,{"image":539,"text":540,"number":541},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.150.png","MOROSO catalogo 224 pagine        5 BIANCA (2 sedicesimi)     USOMANO\nFrancesco­João­Scavarda\nSelected by Francesca Minini - Milano\nNato­nel­1987­a­Milano,­vive­e­lavora­San­Paolo­(Brasile)­\u002F­\nBorn­in­1987­in­Milan,­lives­and­works­in­Sao­Paulo­(Brazil)\nChicks, \n2014, gouache e smalto su tela, 205 x 145 cm \u002F \ngouache and enamel on canvas, 80 ½” x 57”\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 148\n157\nMarinella Senatore\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 157\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",150,{"image":543,"text":544,"number":545},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.151.png","MOROSO catalogo 224 pagine        5 BIANCA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 149\nThe School of Narrative Dance: Little Chaos #1, \n2013, Fine Art Prints on Hahnemühle paper, frame, 160 x 300 cm \u002F \ncarta Hahnemühle, cornice, 63” x 118 ¼”\nProdotto da Musei Civici e Comune di Cagliari \u002F \nProduced by Musei Civici and Comune of Cagliari\nCourtesy of the artist, Peres Projects, Berlin e \u002F \nand MOTInternational, London-Brussels \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 156\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",151,{"image":547,"text":548,"number":549},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.152.png","MOROSO catalogo 224 pagine        5 VOLTA (2 sedicesimi)     USOMANO\nLorenzo­Scotto­di­Luzio\nSelected by Lia Rumma - Milano \u002F Napoli\nNato­nel­1972­a­Pozzuoli­(NA),­vive­e­lavora­tra­Napoli­e­Berlino­\u002F­\nBorn­in­1972­in­Pozzuoli­(NA),­lives­and­works­in­Naples­and­Berlin\nBesser Einkaufen Besser Leben, \nVeduta dell’installazione, Galleria Fonti, Napoli, 2014 \u002F \nInstallation view, Galleria Fonti, Naples, 2014\nCourtesy of the artist e \u002F and Galleria Fonti, Napoli\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 150\nNel 2013 Marinella Senatore ha fondato The School of Narrative Dance: una scuola basata sull’idea di narrazione come\nesperienza approfondibile attraverso il lavoro coreograﬁco. Nomade, gratuita e ogni volta allestita a seconda degli spazi che\noccupa temporaneamente, la scuola propone un sistema didattico alternativo, incentrato sui valori dell’emancipazione,\ndell’inclusione e dell’autoformazione degli studenti. La scuola è aperta alla più ampia varietà di argomenti, tra cui\nletteratura, storia orale,  carpenteria, storia dell’arte, artigianato, fotograﬁa, aritmetica, teatro, teatro danza, ecc...,\nfavorendo la condivisione di competenze individuali a livello comunitario e collettivo. Ad oggi, la scuola ha operato in sette\nnazioni, coinvolgendo attivisti politici, artigiani, analfabeti, studenti, casalinghe, sindacati, società operaie, pensionati e\ninsegnanti. I progetti della scuola sono stati prodotti da più istituzioni, tra cui i Musei Civici e il Comune di Cagliari, il\nCastello di Rivoli, la Biennale di Göteborg, il MAXXI di Roma e la Biennale di Cuenca, Ecuador \u002F \nIn 2013 Marinella Senatore founded The School of Narrative Dance, centered on the idea of storytelling as an experience\nthat can be explored choreographically. Nomadic and free of charge, the school takes different forms depending on the\nspaces it temporarily occupies, and proposes an alternative system of education, based on emancipation, inclusion, and\nself-cultivation. The school has offered a wide range of classes in subjects such as literature, oral history, carpentry, art\nhistory, crafts, photography, arithmetic, drama, movement theater, etc., encouraging individuals to share their skills\nwithin groups and communities. To date, the school has operated in seven countries, with the involvement of political\nactivists, artisans, illiterate people, students, housewives, labor unions, retirees, and teachers. As of today, the school’s\nprojects have been produced by several institutions, including Musei Civici and Comune di Cagliari, Castello di Rivoli,\nGöteborg Biennial, MAXXI, Rome, and Bienal de Cuenca, Ecuador.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 155\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",152,{"image":551,"text":552,"number":553},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.153.png","MOROSO catalogo 224 pagine        5 VOLTA (2 sedicesimi)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 151\nFinalist \nMarinella­Senatore\nSelected by Monitor  - Roma\n154\nIl coro politico nel teatro \ndi Marinella Senatore \nTra narrazione e comunicazione \nNel­suo­recente­saggio­Politica nell’era dello\nstorytelling, l’autore­francese­Christian­Sal-\nmon­deﬁnisce­cannibale­il­rapporto­che­si­è\ninstaurato­di­recente­tra­la­classe­di­nuovi\npolitici­(narratori)­e­l’immensa­platea­del\npubblico­(ascoltatore).­Sempre­più­famelico\ndi­storie­rassicuranti­il­secondo­e­sempre\npiù­costretti­nel­ruolo­di­performers­di­sta-\ntement convincenti­i­primi.­La­ricerca­in-\ncessante­di­una­narrazione­che­riesca­a­rin-\nnovare­questo­contratto­è­quindi­il­modo\nattraverso­cui­l’audience cerca­costante-\nmente­la­veriﬁca­della­propria­scelta­(elet-\ntorale)­e­l’unico­espediente­rimasto­per­i\npolitici­di­attestare­la­propria­legittimità­di\nfronte­all’opinione­pubblica.­\nLa­relazione­tra­storytelling e­agire­politico\nemerge­differentemente­nella­pratica­di­Ma-\nrinella­Senatore­che­utilizza­la­comunica-\nzione­non­come­strategia­univoca,­persuasiva\ne­legittimante­ma­come­modalità­entusiasta\nper­produrre­relazioni­che­si­fondano­sul-\nl’ascolto­reciproco.­\nIl cinema come scuola: \nNui Simu (That’s Us) e Variations\nProdotti­rispettivamente­nel­2010­e­nel­2011\nNui Simu (That’s Us) e­Variations sono­due\nprogetti­in­cui­emerge­chiaramente­quella\nmetodologia­collaborativa­che­Marinella­Se-\nnatore­ha­imparato­studiando­il­linguaggio\ned­i­processi­produttivi­del­cinema­al­Centro\nSperimentale­di­Roma.­\nAd­Enna­con­un­gruppo­di­anziani­minatori\nin­pensione,­così­come­a­New­York­insieme\nalle­diverse­comunità­che­popolano­il­Lower\nEast­Side,­l’artista­ha­utilizzato­la­fascina-\nzione­ed­‘il­magico’­che­la­macchina­del­ci-\nnema­suscita­universalmente,­per­mobilitare\npersone,­gruppi­ed­associazioni­intorno­alla\nricerca­di­una­narrazione­comune.­\nEntrambi­i­video,­come­in­altri­lavori­del-\nl’artista,­iniziano­con­la­chiamata­a­parteci-\npare­ad­un­audizione­per­realizzare­un­ﬁlm\ncollettivo.­La­comunicazione­per­raggiungere\ni­potenziali­collaboratori­è­reinventata­di\nluogo­in­luogo­e­la­Senatore­è­abile­a­muo-\nversi­tra­le­atmosfere­alla­Nuovo Cinema\nParadiso e­Fame (Saranno­Famosi):­l’auto-\nThe School of Narrative Dance, MAXXI, Rome\n2014, still da produzione \u002F production stills\nCourtesy of the artist \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 154\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",153,{"image":555,"text":556,"number":557},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.154.png","MOROSO catalogo 224 pagine        5 BIANCA (2 sedicesimi)     USOMANO\nGabriele­Sedda\nSelected by Lia Rumma - Milano \u002F Napoli\nNato nel 1970 a Torino, vive e lavora a Livorno \u002F \nBorn in 0 in Turin, lives and works in Livorno\nThe Broadway Street Crossings: 213 W 260th St,\n2011, fotograﬁa digitale, dimensioni varie \u002F \ndigital photography, variable dimensions \nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 152\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 153\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",154,{"image":559,"text":556,"number":560},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.155.png",155,{"image":562,"text":552,"number":563},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.156.png",156,{"image":565,"text":548,"number":566},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.157.png",157,{"image":568,"text":544,"number":569},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.158.png",158,{"image":571,"text":540,"number":572},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.159.png",159,{"image":574,"text":536,"number":575},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.160.png",160,{"image":577,"text":532,"number":578},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.161.png",161,{"image":580,"text":528,"number":581},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.162.png",162,{"image":583,"text":584,"number":585},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.163.png","MOROSO catalogo 224 pagine        6 BIANCA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n161\nThe chorus in the “theater of lost \nsovereignty” \nSalmon­often­deﬁnes­the­media­landscape\nas­a­\"theater­of­lost­sovereignty,\"­where­con-\ntemporary­politics,­already­deprived­of­its\npower­by­international­economic­powers,­is\nstill­trying­to­establish­its­role­through­a\ncontinuous­narrative.­\nIn­her­work,­Senatore­instead­constructs­a\ndifferent­kind­of­‘theater’­where­another­kind\nof­statement­is­possible­and­she­can­recon-\nstruct­a­different­sovereignty:­that­of­the\nchoir,­like­in­original­Greek­theater,­which\nplayed­the­part­of­the­only­actor­on­stage,\nand­danced­and­sang,­recounting­to­the­ci-\ntizens­and­politicians­the­desires,­frustra-\ntions,­and­mood­of­the­city.­\nEmanuele Guidi\nThe School of Narrative Dance was­opened­in­Rome,\nCagliari,­Rivoli,­St.­Gallen,­Berlin,­Ecuador,­and­Sweden.\nThe School of Narrative Dance: Ongoing Documentary, \n      2013\nstill da video, canale singolo, video HD, \nsuono, durata variabile \u002F \nvideostill, single channel HD video, sound, \nvariable length\n       Courtesy of the artist, Peres Projects, Berlin e \u002F\n       and MOTInternational, London-Brussels \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 161\n176\nGroup show, \n2014, argilla, olio su tela, acrilico su tela, dimensioni variabili \u002F\nclay, oil on canvas, acrlilic on canvas, variable dimensions\nCourtesy of the artist\nLa mia collezione di quadri dipinti da animali assieme \na delle mie sculture. Capire le dinamiche con cui l’animale\nimita l’uomo e di quando invece è l’uomo a ritornare ad essere\nanimale. Le sculture di argilla, materia primaria per\neccellenza, evidenziano il rapporto ancestrale tra la terra \ne l’uomo. Far regredire l’uomo, riportandolo attraverso\nun’esperienza ﬁsiologica alle proprie origini. \nAddentando la materia l’uomo plasma, nutrendosi \ndelle proprie radici. La capacità dell’argilla di mutare\ncromaticamente, mimetizzandosi lentamente come un\nanimale. L’argilla muta nel colore ﬁno a giungere alla\ntonalità del cemento su cui è poggiata \u002F My collection \nof paintings painted by animals along with my sculptures.\nUnderstanding the dynamics in which the animal imitates the\nman and those in which instead is the man to go back to\nbeing animal. The clay sculptures, clay being an\nexemplary prime matter, highlight the ancestral relationship\nbetween the earth and man. It makes man regress, bringing\nhim back to his origins through a physiological experience.\nBiting into that primary matter man models and feeds \non his own roots. The ability of the clay to change\nchromatically, blending slowly like some camuﬂaged\nanimal. The clay color changes until it develos into \nthat shade of the cement on which it is resting. \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 176\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",163,{"image":587,"text":588,"number":589},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.164.png","MOROSO catalogo 224 pagine        6 VOLTA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n162\nScritto da trenta ex minatori in pensione della città di Enna, in collaborazione con gli studenti dell’Università\ndi Catania, il progetto ha funzionato come un workshop aperto, dove il pubblico è diventato attore, sceneggiatore,\ncostumista, operatore di camera, scenografo, ecc... Numerosi membri della comunità di Enna hanno condiviso a\ntitolo gratuito le loro competenze ed esperienze (i panettieri hanno offerto la ristorazione, i tassisti i  trasporti,\nparrucchieri ed estetiste locali hanno preparato gli attori per le riprese), e hanno concordato con l’artista il\nruolo che desideravano ricoprire all’interno del progetto. Il video è stato prodotto da Museo RISO, Palermo \u002F \nWritten by thirty retired miners from the Sicilian town of Enna in collaboration with students from the\nUniversity of Catania, the project was an open workshop where the participants took on the roles of non-\n??professional actors, scriptwriters, costume designers, camera operators, set  designers, etc. The local community\nwas involved in different ways: residents shared their skills and expertise (i.e., bakers offered free catering for the\nentire crew, taxi drivers provided transportation, local hairdressers prepared actors for the shoot every day),\nnegotiating with the artist to determine the part each person would play in the project. The video was produced by\nthe RISO Museum, Palermo.\nNui Simu (That’s us), \n2010, 15’, still da video, canale singolo, video HD su Blu-Ray, stereo, colore \u002F \nvideostill, single channel HD video on Blu-Ray Disc, stereo, color\nProdotto da \u002F Produced by RISO, Palermo\nCourtesy of the artist e \u002F and MOTInternational, London-Brussels\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 162\n175\nnishingly­similar­in­composition,­one­could\nregard­the­gesture­as­an­appeal­for­a­unity\nof­modern­metallurgy­with­cosmic­forces.\nBut­the­substances­never­sufﬁciently­join\ntogether,­instead­the­collision­degrades­and\nmodiﬁes­both­materials,­demonstrating­a\ncertain­violence­in­juxtaposition.­\nThe­historical­implications­of­his­work­is­per-\nhaps­most­apparent­in­the­vessel­Olla (2015).\nWorking­with­the­assistance­of­an­experi-\nmental­archaeologist,­the­artist­ﬁrst­produced\na­ceramic­vase­using­historically­accurate\nmaterials,­kilning­methods,­and­pottery­te-\nchniques­available­to­ancient­Neolithic­arti-\nsans.­Once­again­contrasting­inside­and­out-\nside,­ and­ the­ archaic­ and­ the­ artiﬁcial,\nSiedlecki­then­coated­the­interior­of­the­ves-\nsel­with­Cernit,­a­synthetic­polymer­mode-\nling-compound.­Together,­these­materials\nspan­the­entirety­of­the­history­of­ceramics\nfrom­the­realm­of­ancient­artisans­to­the­con-\ntemporary­consumer­hobbyist.­The­object­is\ndisplaced­from­time­and­place,­an­out-of-\nplace­artifact­that­correlates­the­contempo-\nrary­world­with­primeval­phenomena.­­­Here\nthe­artist,­as­in­­other­of­his­works,­speaks­to\nthe­transmission­of­materials,­energy­and\nprocedures­across­time­and­space,­charting\nphysical­and­social­legacies.­\nSimilarly,­Siedlecki’s­Gomba Kalap (2014)\nis­literally­a­‘mushroom­cap’,­a­baseball-style\nhat­made­of­amadou,­a­spongy­inner­layer­of\nhorse’s­hoof­fungus­(Fomes fomentarius).­A\ntraditional­craft­of­Transylvania,­the­artist\nsought­out­one­of­the­last­hatmakers­and\nbrieﬂy­apprenticed­under­the­artisan­so­as\nto­become­a­custodian­for­the­waning­tradi-\ntion.­ Similar­ to­ the­ trans-historical­ con-\nﬂuence­of­materials­in­Olla,­the­artist­em-\nploys­an­antediluvian­production­method­to\ngenerate­a­contemporary­object,­revamping\nthe­design­of­the­hats­to­ﬁt­with­current­fa-\nshion­norms.­Able­to­be­kept­smoldering­for\nlong­periods­of­time­and­with­very­little­heat,\nthe­easily­combustible­material­was­used­to\ntransport­ﬁre­over­long­distances­in­antiquity.\nLike­his­ancient­forbearers,­Siedlecki’s­cap\ncan­be­seen­not­only­as­an­embracement­and\ninhabitation­of­a­tradition,­but­also­as­a­con-\nveying­of­energy­across­time­and­space.­In\nExothermic Reaction (2013)­the­artist­even\nmines­a­disused­television­set­for­its­requisite\ncopper­components.­Extracting­2­kg­of­the\nore,­the­artist­then­induced­an­exothermic\nreaction,­releasing­energy­from­the­metal­and\ntherefore­producing­the­waste­product­cop-\nper­sulﬁte,­a­long­established­disinfectant\nand­fungicide.­Spraying­the­greenish­blue\nchemical­upon­a­canvas,­the­artist­created­a\nmonochrome­that­not­only­replaces­aesthe-\ntics­with­functionality,­and­correlates­the\nspraying­of­vineyards­to­painterly­gesture,\nbut­also­invokes­a­materialist­analysis­of­the\nart­form­by­clearing­and­protecting­the­can-\nvas­from­contamination.­Above­all,­Siedlecki’s\nwork­charts­states­of­matter­and­the­move-\nment­of­energy­through­time,­space,­and­pro-\ncedures.­Accentuating­the­mutual­processes\nof­becoming­in­both­humans­and­the­agents\nand­materials­they­interact­with,­the­artist\ndispels­oppositions­and­articulates­the­mo-\nvement­from­unity­to­complexity­and­back\nagain,­as­if­to­avoid­closure­or­resolution­wha-\ntever­the­matter­at­hand.\nPost Brothers \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 175\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",164,{"image":591,"text":592,"number":593},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.165.png","MOROSO catalogo 224 pagine        6 VOLTA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n163\nAttraverso associazioni di quartiere, volontari, centri sociali, blogger, settimanali, giornali locali, radio e web,\noppure bussando personalmente a più porte, Marinella Senatore ha coinvolto in Variations oltre 300\nresidenti del Lower East Side di New York – dagli otto ai settant’anni. Le sessioni di scrittura collettiva,\nciascuna seguita da più di 80 persone, si sono svolte all’interno del teatro del New Museum, dove sono anche\navvenuti i casting iniziali. A seguito del progetto, alcuni dei partecipanti hanno creato spontaneamente\npiattaforme online per cercare nuove opportunità di collaborazione in ulteriori ambiti, non necessariamente\nlegati all’arte contemporanea \u002F \nBy contacting neighborhood associations, volunteers, community centers, bloggers, weekly magazines, local\nnewspapers, radio stations and web TV stations, and knocking personally on doors for a month, Marinella\nSenatore got more than 300 residents of New York‘s Lower East Side, ranging in age from eight to seventy,\ninvolved in the project Variations. Scriptwriting sessions – each one attended by more than 80 people – were\nheld in the theatre of the New Museum, where casting also took place. Following this project, participants\nspontaneously created online platforms, ﬁnding new opportunities to work together again, not necessarily\nin  the context of contemporary art.\nVariations Script#1, \n2011, 21’, installazione: \nproiezione video doppio canale, tavolo, \nsedie, cufﬁe, disegni, stampa lambda, disegni,\n150 x 58 cm \u002F \ninstallation: double channel video projection,\ntable, chairs, headphons, drawings, lambda\nPrint, framed, 59” x 22 ¾”. \nCourtesy of the artist e \u002F and MOTInternational, \nLondon-Brussels \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 163\n174\nLa salgemma, il sale estratto in miniera, è un mare rimasto intrappolato per\nmilioni di anni all’interno di una montagna. Permettere al sale di tornare ad essere\nmare. Due basi di ghiaccio con sopra due sculture di sale in proporzione esatta per\nfar si che una volta sciolti diventino acqua di mare. Il ghiaccio a contatto con il\nsale si scioglie più velocemente, facendo sprofondare la scultura di sale all’interno\ndel blocco di ghiaccio. Un tentativo di sconfggere la staticità nel rapporto classico\ntra scultura e plinto che qui si fondono in un unico elemento vivo, in continua\ntrasformazione \u002F \nRock salt, salt that is dug out in mines, is a sea which has been trapped within a\nmountain since millions of years. To allow the salt to become sea again. \nTwo bases made out of ice with on top two sculptures of salt in the exact proportions\nthat allow ice water to become sea water.When ice touches the salt it melts \nit more quickly, making the salt sculpture collapse into the ice block. An attempt\nto defeat the static classical relation between sculpture and pedestal that here are\nmelted in one alive element, in continuous trasformation.\nVolver, \n2012, salgemma, ghiaccio, dimensioni variabili \u002F\nrock salt, ice, variable dimensions\nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 174\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",165,{"image":595,"text":596,"number":597},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.166.png","MOROSO catalogo 224 pagine        6 BIANCA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\nMarinella­Senatore\nNasce­nel­1977­a­Cava­dei­Tirreni­(SA),­vive­e­lavora­tra­Londra­e­Parigi­\u002F­\nBorn­in­1977­in­Cava­dei­Tirreni­(SA),­lives­and­works­in­London­and­Paris\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2015            Mendes­Wood,­São­Paulo­[upcoming]­\n­­­­­­­­­­­­­­­­­­­­­­­­Peres­Projects,­Berlin­[upcoming]­\n­­­­­­­­­­­­­­­­­­­­­­­­ABC,­Berlin­[upcoming]\nFestival of Regions 2015 \u002F Shift-Change, a­cura­di­\u002F­curated­by­G.­Hattinger­Ebensee­[upcoming]\n2014\nFACING CIRCLES. The word community feels good,­MOTInternational,­London\nMarinella Senatore, Estman Radio – 10 days free radio station, as part of Framework 2: feel at home,­a\ncura­di­\u002F­curated­by­N.­Mayr,­I.­Zamboni,­INSITU­Space­for­Contemporary­Art,­Berlin­\nMarinella Senatore “Public Secrets”,­a­cura­di­\u002F­curated­by­G.­Carmine,­Kunst­Halle­Sankt­Gallen\n2013\nMarinella Senatore. Building Communities,­curated­by­M.­Beccaria,­Castello­di­Rivoli,­Museum­of­Con-\ntemporary­Art,­Rivoli­–­Torino;­Museum­of­Contemporary­Art,­Santa­Barbara­[it.­ex.]­\nMarinella Senatore,­Gotham Prize,\na­cura­di­\u002F­curated­by­L.­Barreca,­Istituto­Italiano­di­Cultura­\u002F­Italian­Institute­of­Culture,­New­York\n2012         Rosas,­Viafarini­DOCVA­Fabbrica­del­Vapore,­Milano­\n­­­­­­­­­­­­­­­­­­­­­­­­Rosas, Part One | Part Two,­Peres­Projects,­Berlin­ROSAS,­The­Attic,­QUAD,­Derby\nAbierto por obras: Rosas,­Matadero­Centro­de­creación­contemporánea,­Madrid\nPerfect lives,­KB­–­Künstlerhaus­Bethanien,­Berlin\n2011\nRoommates,­a­cura­\u002F­curated­by­B.­Carpi­de­Resmini,­B.­di­Loreto,­MACRO,­Roma\n2010\nFeaturing,­Galleria­Umberto­Di­Marino,­Napoli\nMarinella Senatore,­a­cura­di­\u002F­curated­by­B.Bertini,­EX­Elettrofonica,­Roma\n2009\nCritica in Arte,­a­cura­di­\u002F­curated­by­D.­Bigi,­MAR­Museo­d’Arte­della­cittá,­Ravenna\n2007\nManuale per i viaggiatori,­a­cura­di­\u002F­curated­by­G.­Del­Vecchio,­S.­Palumbo,­MADRE,­Napoli\nMarinella Senatore,­Fundación­A.­Pérez,­Cuenca\n16° Centigrades,­Galleria­Monitor,­Roma\n2006\nAll The Thongs I Need,­a­cura­di­\u002F­curated­by­I.Gianni­,­Fondazione­Adriano­Olivetti,­Roma\n2004\nCastilia,­Monitor,­Roma\n2003\nMarinella Senatore.­T293,­Napoli\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­A.­Bruciati,\nEsedra­di­Levante­-­­Villa­Manin­,­­Passariano­(U­D­)\nLa vie moderne,­a­cura­di­\u002F­curated­by­R.­Rugoff,­13e­Biennale­de­Lyon,­Lyon­[upcoming]\nBetween the Pessimism of the Intellect and the Optimism of the Will,­a­cura­di­\u002F­curated­by­\nK.­Gregos,­Thessaloniki­Biennále­5­of­Contemporary­Art,­The­State­Museum­of­Contemporary­Art,­\nThessaloniki­[upcoming]\n2014\nOpen Museum, Open City, “Narrazioni”,­a­cura­di­\u002F­curated­by­H.­Hanru,­MAXXI,­Roma\nGLITCH,­a­cura­di­\u002F­curated­by­D.­Giannella,­PAC,­Milano\nThe Yellow Side of Sociality. Italian Artists in Europe,­a­cura­di­\u002F­curated­by­\nN.­Setari,­BOZAR­–­Palais­des­Beaux-Arts,­Bruxelles\nLeisure, Discipline and Punishment as part of Liverpool Biennial,­a­cura­di­\u002F­curated­by­\nM.­Abu­ElDahab,­A.­Huberman,­FACT,­Liverpool\n164\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 164\n173\nIl mondo naturale e quello artiﬁciale. L’energia primaria, alla base del presente, \nmessa in secondo piano per prestare attenzione all’ illusione artiﬁciale di energia \u002F \nThe natural world and the artiﬁcial. The primary energy, the basis of life, \novershadowed by giving attention to an artiﬁcial illusion.\nFondamenta, \n2014, pane, plastica, 110 x 25 x 25 cm \u002F \nbread, plastic, 43 ¼”  x 9 ¾” x 9 ¾” \nCourtesy of the artist\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 173\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",166,{"image":599,"text":600,"number":601},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.167.png","MOROSO catalogo 224 pagine        6 BIANCA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n165\nMaking Room (Spaces of Anticipation), a­cura­di­\u002F­curated­by­\nE.­Guidi,­L.­Sandoval,­Ar\u002FGe­Kunst­Galerie,­Bolzano\nPortrait of the Artist as a Young (Wo)Man, a­cura­di­\u002F­curated­by­\nM.­Beccaria,­Castello­di­Rivoli,­Torino\nMAXXI Prize 2014, a­cura­di­\u002F­curated­by­G.­Ferracc,­MAXXI,­Roma\nSet in Motion,­a­cura­di­\u002F­curated­by­D.­Gur­Arie,­A.­Feldman,­Petach­Tikva­Museum­of­Art,­Tel­Aviv\nPerformative Resistance, as part of Arena,­a­cura­di­\u002F­curated­by­\nK.­Gregos,­CoCA­-­Centre­of­Contemporary­Art­Znaki Czasu,­Torun\nIr para volver \u002F Leaving to Return,­a­cura­di­\u002F­curated­by­\nJ.­Crivelli­Visconti,­M.­Moscoso,­12­Bienal­de­Cuenca,­Cuenca\n2013\nAgora,­4th­Athens­Biennial,­National­Bank­of­Greece­Building­and­CAMP­Contemporary­Art­\nMeeting­Point,­Athens\nLeisure, Discipline and Punishment as part of Interruption,­a­cura­di­\u002F­curated­by­\nN.­Sivavec,­30th­Biennial­of­Graphic­Arts,­Ljubljana,­International­Centre­of­Graphic­Arts,­Ljubljana\nLeisure, Discipline and Punishment as part of Play! Recapturing the Radical Imagination,­\na­cura­di­\u002F­curated­by­K.­Gregos,­Göteborg­International­Biennial­for­Contemporary­Art,­\nRöda­Sten­Konsthall,­Göteborg\nLeisure, Discipline and Punishment,­a­cura­di­\u002F­curated­by­J.­Fabricius,­Contour­2013.­\n6th­Biennial­of­the­Moving­Image,­Mechelen\nThe Second Lore,­a­cura­di­\u002F­curated­by­M.­Belaief,­M.­Fontolan,­CUAC­Contemporary­Art,­Salt­Lake­City\nScreen Between Europe and Asia,­VII­Shiryaevo­Bienniale­of­Contemporary­Art,­a­cura­di­\u002F­curated­by­\nM.­Schibli,­Victoria­Gallery,­Samara\nThe 338 Hour Cineclub,­a­cura­di­\u002F­curated­by­R.­Doubal,­A.­Steadman,­E.­Vincent,­Fondazione­Sandretto\nRe­Rebaudengo,­Torino\nMaretti Prize IV,­PAN,­Napoli\nBenzine,­a­cura­di­\u002F­curated­by­C.Perrella,­La­Triennale,­Milano­­\nHow to Tell a Story,­a­cura­di­\u002F­curated­by­E.­Guidi,­DEPO,­Istanbul­\n2012\nOFFEN­Auf­AEG,­a­cura­di­\u002F­curated­by­C.­Gehre,­Nürnberg\nWhere Is the Here If the Here Is In There?,­a­cura­di­\u002F­curated­by­\nP.­Murnaghan,­Pallas­Projects\u002FStudios,­Dublin\nUnder A Tinsel Sun,­a­cura­di­\u002F­curated­by­\nK.­Becker,­III­Moscow­International­Biennial­for­Young­Art,­Moscow\nLa ciudad como conﬂicto,­a­cura­di­\u002F­curated­by­R.­Mateos,­Centro­de­Arte­Dos­de­Mayo,­Madrid\nArt practices and social imaginaries,­a­cura­di­\u002F­curated­by­\nR.­Gavarro,­11th­Havana­Biennial,­Centro­de­Arte­Contemporáneo­Wifredo­Lam,­La­Havana\nVisible Award,­a­cura­di­\u002F­curated­by­M.­Lucchetti,­J.­Wielander,­Serpentine­Gallery,­London\n2011\nDublin Contemporary 2011,­a­cura­di­\u002F­curated­by­J.­Castro,­C.­Viveros,­Earlsfort­Terrace\nThe Power to Host,­a­cura­di­\u002F­curated­by­M.­J.­Ciric,­ISCP,­New­York\nSotto quale cielo?,­a­cura­di­\u002F­curated­by­D.­Bigi,­RISO,­Palermo\nILLUMInazioni,­a­cura­di­\u002F­curated­by­B.Curiger,­54.­Biennale­Internazionale­d’Arte,­Venezia\nPleure Qui Peut, Rit Qui Veu,­a­cura­di­\u002F­curated­by­A.­Cramerotti,­E.­Pethick,­Premio­Furla­per­l’Arte­-­\nVIII­Edizione­\u002F­8.Furla­Prize,­Palazzo­Pepoli,­Bologna\n2010\nvideoREPORT ITALIA 2008_09,­a­cura­di­\u002F­curated­by­A.­Bruciati,­GC.AC,­Monfalcone­(GO)­\nPersona in meno, a­cura­di­\u002F­curated­by­\nA.­Campens,­E.­Cooke,­C.­Fitzpatrick,­Palazzo­Re­Rebaudengo,­Guarene­d’Alba­(CN);­\nPalazzo­Ducale,­Genova\nSonrisas y lagrimas, a­cura­di­\u002F­curated­by­S.­Blas,­Museo­Naval­de­Ferrol,­La­Coruña\nSI Sindrome Italiana, a­cura­di­\u002F­curated­by­Y.­Aupetitallot,­Magasin­–­CNAC,­Grenoble\nCritica in Arte 2009 – 2010. Marinella Senatore,­a­cura­di­\u002F­curated­by­D.­Bigi,­MAR,­Ravenna­\nNeither From, Nor Towards…,­a­cura­di­\u002F­curated­by­A.­Mayaca,­I.­Bago,­Art­Pavillion,­Zagreb\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 165\nBecoming-Intense \nActing­as­both­curator­and­participant,­the\nartist­Namsal­Siedlecki­recently­organized­a\ncurious­Group Show:­displaying­his­own­scul-\nptures­within­an­exhibition­of­artworks­com-\nposed­by­animals.­The­paintings­surrounded\na­series­of­unﬁred­clay­blocks­that­the­human\nartist­repeatedly­bit­into,­brutishly­making\nhis­mark,­an­atavistic­attempt­at­accessing\nbasic­states,­pure­primordial­potential.­The\nartist­ostensibly­presents­a­nuanced­compa-\nrison­between­the­animals­seemingly­emu-\nlating­human­expression,­and­his­own­mode-\nling­of­his­aesthetic­articulation­from­the\ngestures­of­beasts.­Thus,­Group Show (2014)\ndoes­not­simply­contrast­human­and­animal\nbut­rather­charts­a­zone­of­proximity­between\nseemingly­incongruous­positions,­not­disco-\nvering­a­synthesis,­but­rather­registering­mo-\nments­of­mutual­and­continuous­transforma-\ntion.­ In­ many­ of­ Siedlecki’s­ works,­ one\nencounters­phenomena­in­intimate­contact,\nproducing­interchanges­that­erode­expected\nbinary­oppositions­such­as­past\u002Fpresent,­na-\ntural\u002Fartiﬁcial,­real\u002Fsimulation,­and­human\u002F\nnon-human.­\nIn­Volver (2012)­Siedlecki,­endeavoring­to\n‘allow­salt­to­become­sea­again’,­features\ndual­pedestals­made­of­ice­with­hunks­of\nrock­salt­proportional­to­the­substances’­nor-\nmal­distribution­in­salt­water.­The­salt­ac-\ncelerates­the­melting­of­the­ice­fusing­the\nelements­and­once­again­staging­a­reciprocal\nrelationship­between­objects­and­their­sup-\nports.­While­this­combination­returns­the\nrock­salt­to­its­oceanic­past,­entropy­and\nchange­are­shown­to­be­irreversible.­This­in-\ncompatibility­is­even­more­pronounced­in\nthe­attempt­at­fusion­in­Bullet (2013),­where\nSiedlecki­used­a­homemade­potato­cannon\nto­shoot­an­iron­meteorite­into­a­plate­of­in-\ndustrial­steel.­Given­that­both­alloys­are­asto-\ntracce­di­uno­degli­ultimi­cappellai,­ed­è­ri-\nmasto­per­un­breve­periodo­a­scuola­da­lui,\nper­divenire­custode­di­una­pratica­artistica\nin­ via­ d’estinzione.­ Similmente­ alla­ con-\nﬂuenza­trans-storica­dei­materiali­di­Olla,\nl’artista­impiega­un­metodo­di­produzione\nantidiluviano­per­generare­un­oggetto­con-\ntemporaneo,­rinnovando­il­design­del­cap-\npello­per­renderlo­compatibile­con­l’attuale\ntrend.­Capace­di­mantenersi­brace­a­lungo­e\nsenza­molto­calore,­questo­materiale­era\nusato­nel­passato­per­trasportare­il­fuoco­per\nlunghe­distanze.­Come­i­suoi­antenati,­il­cap-\npello­di­Siedlecki­può­essere­visto­non­solo\ncome­un­abbraccio­di­una­tradizione,­ma­an-\nche­come­la­possibilità­di­trasportare­energia\nattraverso­il­tempo­e­lo­spazio.­In­Exothermic\nReaction (2013)­l’artista­estrae­da­un­vecchio\ntelevisore­i­suoi­componenti­di­rame.­Dopo\naver­estratto­2kg­di­materiale­puro,­e­aver\nprelevato­energia­dal­metallo,­l’artista­ha­in-\ndotto­una­reazione­esotermica,­producendo\nsolfato­di­rame,­noto­disinfettante­e­fungi-\ncida.­Spruzzando­la­sostanza­chimica­blu­ver-\ndastro­su­una­tela,­l’artista­crea­una­mono-\ncromia­che­non­solo­sostituisce­l’estetica­con\nla­funzionalità,­mettendo­in­relazione­l’atto\ndi­cospargere­le­viti­con­il­tocco­del­pennello,\nma­evoca­anche­una­considerazione­mate-\nrialistica­dell’arte,­pulendo­e­proteggendo­la\ntela­da­contaminazioni.­\nIl­lavoro­di­Siedlecki­rappresenta­soprattutto\ngli­stati­della­materia­ed­il­movimento­del-\nl’energia­attraverso­il­tempo,­lo­spazio­e­i\nprocessi.­Accentuando­i­reciproci­processi\ndel­divenire­sia­negli­umani­che­nei­materiali\ned­agenti­con­i­quali­interagiscono,­l’artista\ndissolve­gli­opposti­e­articola­il­moto­dal-\nl’unità­alla­complessità­e­viceversa,­come­ad\nevitare­chiusure­o­soluzioni,­di­qualsiasi­ma-\nteriale­si­disponga.­\n172\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 172\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",167,{"image":603,"text":604,"number":605},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.168.png","MOROSO catalogo 224 pagine        6 VOLTA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n2009\nItalics. Italian Art between Tradition and\nRevolution 1968-2008,­\na­cura­di­\u002F­curated­by\nF.­Bonami,­Museum­of­Contemporary­Art,\nChicago­[it.­ex.]\nThe Italian Sight, Espacio Enter,\na­cura­di­\u002F­curated­by­\nL.­Barreca,­TEA­Tenerife­Espacio­\nde­las­Artes,­Tenerife\nEmerging Talents,­CCCS,­\nFondazione­Palazzo­Strozzi,­Firenze\n2008\nItalics. Arte italiana fra tradizione \ne rivoluzione, 1968-2008,­\na­cura­di­\u002F­curated­by­\nF.­Bonami,­Palazzo­Grassi,­Venezia­[it.­ex.]\nThe Rocky Mountain People Show,­\na­cura­di­\u002F­curated­by­\nF.­Cavallucci,­C.­Natalicchio,­\nGalleria­Civica­di­Arte­Contemporanea,\nTrento\n2007\nCarte blanche,­a­cura­di­\u002F­curated­by­\nC.­Alemani,­Elizabeth­Dee­Gallery,­\nNew­York­\nGuestroom, a­cura­di­\u002F­curated­by­\nP.­Pulles,­Museum­Boijmans­\nVan­Beuningen,­Rotterdam­\nArt radio live, a­cura­di­\u002F­curated­by­\nL.­Barreca,­PAN,­Napoli\n2006\nCinema inﬁnito\u002FNeverending Cinema, \na­cura­di­\u002F­curated­by­\nB.­Mattei,­Galleria­Civica­di­Arte­\nContemporanea,­Trento\nFrom the Volcano, a­cura­di­\u002F­curated­by­\nG.­Del­Vecchio,­S.Palumbo­-­798­Space,­\nBeijing\n2005\nThe Aestetich of Resistance, \na­cura­di­\u002F­curated­by­A.­Daneri,­R.­Pinto,\nFondazione­Ratti,­Como\nThin line 4,­a­cura­di­\u002F­curated­by­\nM.­Farronato,­ViaFarini,­Milano­\nVideozone 2,­a­cura­di­\u002F­curated­by­\nC.­Perrella,­The­British­School,­Roma­2004\nFuoriuso ‘04 – Storytelling,­a­cura­di­\u002F­cura-\nted­by­L.­Beatrice,­Ferrotel,­Pescara\non air: video in onda dall’Italia,­\na­cura­di­\u002F­curated­by­\nA.­Bruciati,­A.­Crippa,­Galleria­Comunale\nd’Arte­Contemporanea,­Monfalcone­(GO)\n[it.­ex.]\n2003\nCollaudi,­a­cura­di­\u002F­curated­by­\nM.­Altavilla,­D.­Lotta,­Villa­delle­Rose,­\nBologna\nVideoscreening e \u002F and Film Festival \n2015\nMUSEION,­Bolzano­\nPalazzo­Fabroni,­Pistoia­\nCastel­Sant’Elmo,­Napoli\nMuseo­del­Novecento,­Milano­\nVilla­delle­Rose,­Bologna­\n2014\nMAGA,­Gallarate­(VA)­\nING,­Roma­\nMAN,­Nuoro\nCastello­di­Rivoli,­Rivoli­\nSongEun­ArtSpace,­Seoul­\n2013\nWhitechapel­Gallery,­London\nItalian­Cultural­Institute,­Istanbul­\nGAMeC,­Bergamo\nPara­Site,­Hong­Kong­\nIstanbul­Modern,­Istanbul\nBallroom­Marfa,­Marfa\nCity­Gallery­Wellington,­Wellington­\nFundación­Proa,­Buenos­Aires\nSàn­Art,­Ho­Chi­Minh­City,­Belgrade­\nCultural­Centre,­Belgrade­\nCinémathèque­de­Tanger,­Tangier\nNew­Media­Center,­Haifa\nNBK­-­Neuer­Berliner­Kunstverein,­\nVideo-Forum,­Berlin­\nCCAA­-­Center­for­Contemporary­Art­\nAfghanistan,­Kabul­\nCentre­for­Art­and­Film,­Sandnes\nQUAD,­Derby­Primo­Piano,­Paris\nMatadero­Centro­de­creación­\ncontemporánea,­Madrid\n2012\nKunsthaus­Graz,­Graz\nCenter­for­Historical­Reenactments,­\nJohannesburg­\nLa­Casa­Encendida,­Madrid\nMuzeon,­Moscow\nVictoria­Theatre,­San­Francisco\n2011\n98 Weeks Project,­Beirut­Milano­\nFilm­Festival,­Milano­\n2010\nVideozone,­4ª­Biennale­di­videoarte,­\na­cura­di­\u002F­curated­by­C.­Perrella,­Tel­Aviv­\nWhite­Box,­New­York\nCCA­–­The­Center­for­Contemporary­Art,­\nTel­Aviv­\nLa­FRICHE­Belle­de­Mai,­Marseille\nInternationale­Kurzﬁlmtage,­Oberhausen\nHaus­der­Kulturen­der­Welt­HKW,­Berlin\n166\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 166\n171\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 171\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",168,{"image":607,"text":608,"number":609},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.169.png","MOROSO catalogo 224 pagine        6 VOLTA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n167\n2009\nEspace­Consultation­Documentaire,­Paris­\nLa­Casa­Encendida,­Madrid\n2008\nItalian­Cultural­Institute,­New­York­\nSala­Rekalde,­Bilbao\nItalian­Cultural­Institute,­Belgrade\n2004\nKunsthalle­Basel,­Basel\n20.­Kasseler,­Dokumentarﬁlm­-­\nund­Videofest,­Kassel\n2001\n58^­Venice­International­Film­Festival,\nLido­(VE)\nProgetti speciali \u002F Special projects \n2014\nThe Third Paradise \nof­Michelangelo­Pistoletto,­\nBOZAR­–­Palais­des­Beaux-Arts,­Brussels\nThe School of Narrative Dance, Ecuador\n(La Parada),­a­cura­di­\u002F­curated­by­\nJ.­Crivelli­Visconti,\nM.­Moscoso,­Cuenca\n2013\nMarinella Senatore. \nCostruire Comunità – The Parade,­\na­cura­di­\u002F­curated­by­M.­Beccaria,­\nCastello­di­Rivoli,­Rivoli­(TO)\nPiccolo Caos,­Musei­Civici,­Cagliari\nA Theatre Cycle: Common Archive School,­\na­cura­di­\u002F­curated­by­­C.­Canziani,­\nI.­Gianni,­Teatro­Valle­Occupato,­Roma\n2012\nThe School of Narrative Dance: \nBerlin Parade, Berlin\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 167\n170\ndi­ceramica­usando­materiali,­metodi­di­cot-\ntura­e­tecniche­ceramiche­degli­antichi­arti-\ngiani­neolitici,­mettendo­di­nuovo­in­contrap-\nposizione­ interno­ ed­ esterno,­ arcaico­ ed\nartiﬁciale.­Successivamente­Siedlecki­ha­ri-\nvestito­la­parte­interna­del­vaso­con­Cernit,\nuna­creta­moderna­e­totalmente­sintetica.\nInsieme,­questi­materiali­abbracciano­l’intera\nstoria­della­ceramica­dal­regno­degli­antichi\nceramisti­all’attuale­consumatore­hobbista.\nL’oggetto­è­fuori­dal­tempo­e­dallo­spazio,\nun­artefatto­‘senza­posto’­che­mette­in­rela-\nzione­il­mondo­contemporaneo­con­i­feno-\nmeni­primordiali.­Qui­l’artista­si­rivolge,­come\nin­altri­suoi­lavori,­alla­trasmissione­di­mate-\nriali,­energia­e­procedure­attraverso­il­tempo\ne­lo­spazio,­deﬁnendo­alleanze­ﬁsiche­e­sociali.\nSimilmente,­Gomba Kalap è­letteralmente\nun­cappello­fatto­di­materiale­fungino,­un­cap-\npello­da­baseball­fatto­di­amadou,­lo­strato\nspugnoso­interno­del­fungo Fomes fomenta-\nrius la­cui­forma­ricorda­quella­dello­zoccolo\ndi­cavallo.­Seguendo­una­tipica­lavorazione\ndella­Transilvania,­l’artista­si­è­messo­sulle\nOlla,\n2015, ceramica, cernit, 45 x 25 x 25 cm \u002F\nceramic, cernit, 17 ¾” x 9 ¾” x 9 ¾”\nCourtesy of the artist\nInsieme ad un archeologo sperimentale specializzato\nnella ceramica del neolitico, abbiamo realizzato un\nvaso in base alle tecnologie di quel lontano periodo, a\npartire dal reperimento dell’argilla nei luoghi\noriginali ﬁno all’accensione del fuoco e cottura in\nforni scavati nel terreno. Successivamente ne ho\nrivestito l’interno con il Cernit, un’argilla sintetica\nche indurisce tramite una cottura a basse temperature,\nnel tentavo di unire in un unico oggetto la nascita e\nlo sviluppo odierno di una tecnologia, andando ad\nindagare la democratizzazione e di conseguenza la\nbanalizzazione di una tecnica \u002F\nWorking in collaboration with an experimental\narchaeologist, we produced a vase using early\nNeolithic ceramic techniques, ﬁring methods and \nthe raw materials which were available to craftsman\nduring that period. During the second phase \nof the project, I coated the interior of the Neolithic\nvase with Cernit; a common contemporary\npolychrome synthetic clay with an extremely low\nﬁring temperature. Merging these two materials and\nprocesses together into a single object which\nencompasses the complete span of the history \nof ceramics from its origins to the latest developments\nof contemporary technology. Investigating the\ndemocratization and the banalization of a technique\nand material, from a process that was once the realm\nof ancient mystery to modern consumerism.\nExothermic reaction, \n2013, solfato di rame su tela, 100 x 70 cm \u002F \ncopper sulphate on canvas, 39 ¼” x 27 ½”\nCourtesy of the artist\nUn vecchio televisore a tubo catodico racchiude circa\n2 kg di rame, il rifuto si rivela miniera da cui\nestrarre il minerale. Attraverso una reazione\nesotermica dal rame si ottiene il solfato, noto come il\n‘verde rame’ tipico disinfettante e fungicida usato\nnella viticoltura. Spruzzando il solfato ricavato su\nuna tela avviene che il pigmento anziché avere uno\nscopo estetico svolge una funzione di protezione del\nsupporto tela \u002F \nAn old CRT TV contain approximately 2 kg \nof copper, the waste reveles to be a mine from which \nto extract the ore. Through an exothermic reaction \nis obtained the copper sulphate, known as the \n‘copper green’ typical disinfectant and fungicide\nused in vineyards. Spraying the sulphate formed on\na canvas is made that the pigment instead of having\nan aesthetic purpose has a protective function \non the canvas support.\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 170\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",169,{"image":611,"text":612,"number":613},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.170.png","MOROSO catalogo 224 pagine        6 BIANCA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n168\nWinner \nNamsal­Siedlecki\nSelected by Franco Noero - Torino\nGomba Kalap, \n2014, pelle di fungo, 35 x 20 x 15 cm \u002F mushroom skin, 13 ½” x 7 ½” x 6”\nCourtesy of the artist\nL’antico cappello da caccia della Transilvania era realizzato con una pelle simile al camoscio ottenuta tramite \nla lavorazione di un particolare fungo. Dopo essere venuto a conoscenza dell’esistenza dell’ultimo anziano\nartigiano che ancora oggi produce tali cappelli, sono partito con l’intento di farmi insegnare il procedimento.\nL’uomo mi ha accolto con entusiasmo nella sua piccola casa nel mezzo di una ﬁtta foresta. Ho trascorso \ncon lui tre giorni, tempo necessario per assistere a tutte le fasi di lavorazione. Divenire custode di un arte in via \ndi estinzione, traghettandola nel presente \u002F \nThe old transylvanian hunting hat was made with a skin similar to suede obtained by the processing \nof a particular fungus. After becoming aware of the existence of the last old craftsman that still produces \nthese hats, I left with the intent to learn from the procedure. He greeted me with enthusiasm in his small house \nin the middle of a forest. I spent with him three days, time required to attend to all the processing phases. \nBecoming the guardian of an endangered art, leading it into the present.\nDivenire-Intenso\nIn­veste­sia­di­curatore­che­di­partecipante,\nl’artista­Namsal­Siedlecki,­ha­recentemente\norganizzato­Group Show:­una­curiosa­collet-\ntiva­nella­quale­ha­esposto­le­sue­sculture\nassieme­ad­una­collezione­di­opere­pittoriche\ncreate­da­animali.­I­dipinti­circondavano­una\nserie­di­blocchi­di­argilla­morsi­ripetutamente\ndall’artista,­il­quale­vi­lasciava­la­sua­im-\npronta,­in­uno­sforzo­atavico­di­accedere­ad\nuno­stato­primordiale­di­pura­potenzialità.\nL’artista,­presenta­apparentemente­un­para-\ngone­sfumato­tra­gli­animali­che­paiono­emu-\nlare­l’espressione­umana,­e­la­sua­personale\nmodellazione­estetica­dell’articolazione­a­par-\ntire­dai­gesti­delle­bestie.­Così,­Group show\n(2014)­non­mette­semplicemente­in­contra-\nsto­umano­ed­animale,­ma­piuttosto­crea­una\nzona­di­prossimità­tra­aree­apparentemente\nincongruenti,­non­risolvendole­in­una­sintesi,\nbensì­registrando­momenti­di­mutua­e­con-\ntinua­trasformazione.­In­Volver (2012)­invece\nmostra­un­piedistallo­fatto­di­ghiaccio­su­cui\npoggia­un­pezzo­di­salgemma,­proporzional-\nmente­alla­tipica­distribuzione­del­sale­in­ac-\nqua.­Il­sale­accelera­la­liquefazione­del­ghiac-\ncio,­cosicchè­l’artista­rappresenta­di­nuovo\nla­fusione­tra­elementi­e­la­relazione­tra­og-\ngetti­e­loro­costituenti.­Mentre­questa­com-\nbinazione­riconsegna­il­sale­al­suo­passato\noceanico,­l’entropia­ed­il­cambiamento­sono\nmostrati­come­irreversibili.­Questa­incompa-\ntibilità­è­ancora­più­pronunciata­in­Bullet\n(2013),­dove­l’artista­utilizza­un­‘Potato­Gun’\nper­sparare­un­meteorite­ferroso­su­una­lastra\nd’acciaio.­Dato­che­le­due­leghe­sono­sor-\nprendentemente­simili­nella­loro­composi-\nzione,­qualcuno­potrebbe­intendere­il­gesto\ncome­un­richiamo­all’unione­tra­la­moderna\nmetallurgia­e­le­forze­cosmiche.­Ma­le­so-\nstanze­non­si­uniscono,­bensì­degradano­nella\ncollisione­in­una­modiﬁca,­dimostrando­una\ncerta­violenza­nella­loro­giustapposizione.­Le\nimplicazioni­storiche­di­questo­lavoro­sono\nforse­più­ovvie­in­Olla (2015)­dove­l’artista\nlavorando­con­la­collaborazione­di­un­archeo-\nlogo­sperimentale,­ha­prima­prodotto­un­vaso\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 168\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 169\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",170,{"image":615,"text":612,"number":616},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.171.png",171,{"image":618,"text":608,"number":619},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.172.png",172,{"image":621,"text":604,"number":622},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.173.png",173,{"image":624,"text":600,"number":625},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.174.png",174,{"image":627,"text":596,"number":628},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.175.png",175,{"image":630,"text":592,"number":631},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.176.png",176,{"image":633,"text":588,"number":634},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.177.png",177,{"image":636,"text":584,"number":637},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.178.png",178,{"image":639,"text":640,"number":641},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.179.png","MOROSO catalogo 224 pagine        6 BIANCA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n177\n­­­­­­­­­­­Namsal­Siedlecki\nNato­nel­1986­a­Greenﬁeld,­Mass­(USA),­vive­e­lavora­a­Seggiano­(GR)­\u002F­\nBorn­in­1986­in­Greenﬁeld,­Mass­(USA),­lives­and­works­in­Seggiano­(GR)\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2014             Group show,­Museo­Apparente,­Napoli\n2013             De Sculptura (con­\u002F­with­Giulio­Delvè),­a­cura­di­\u002F­curated­by­G.­Pisapia,­Fuori­Campo,­Siena\n                       Alle radici della democrazia (con­\u002F­with­Helena­Hladilová)­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­S.­Collicelli­Cagol,­Museo­della­Resistenza,­Torino­\n2012            NaCI,­L’a­projectspace,­Palermo\n                       Namsal Siedlecki & Helena Hladilová,­Giuseppefraugallery-Barega,­Gonnesa­(CI)\n­­­­­­­­­­­­­­­­­­­­­­­White­Columns­\u002F­Cripta­747,­Artissima,­Torino\nPrincipali mostre collettive \u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­A.­Bruciati,\nEsedra­di­Levante­-­­Villa­Manin­,­­Passariano­(U­D­)\n                       Club of matinee idolz,­CO2,­Torino­[upcoming]\n2014             Keep It Real,­Ventura­XV,­Milano\n                       Così Accade,­Fondazione­Sandretto­Re­Rebaudengo,­Torino,­a­cura­di­\u002Fcurated­by­J.­Laia,­K.­Nguyen,­M.­Noronha\n                       The Remains of the day,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­R.­Selvaggio,­Casa­Masaccio­Arte­Contemporanea,­San­Giovanni­Valdarno­(AR)\n                       Mediating Landscape,­a­cura­di­\u002F­curated­by­Flip­project,­Sala­Murat,­Bari­\n                       “T”,­a­cura­di­\u002F­curated­by­G.­Oberti,­Monza­\n2013             PenA3,­L’a­projectspace,­Palermo\n                       Aroma,­a­cura­di­\u002F­curated­by­Cripta­747,­Operativa­arte­contemporanea,­Roma­\n                       Il rituale del serpente,­a­cura­di­\u002F­curated­by­G.­Politi,­Fondazione­Pastiﬁcio­Cerere,­Roma\n                       Accadde domani,­a­cura­di­\u002F­curated­by­Resò­network,­Barriera,­Torino,­\n­­­­­­­­­­­­­­­­­­­­­­­ultimaT, GUM­Studio,­Torino\n                       Versus XIX,­a­cura­di­\u002F­curated­by­F.­Referza,­Velan­Center,­Torino­\n­­­­­­­­­­­­­­­­­­­­­­­ALUMNI­EXHIBEO,­a­cura­di­\u002F­curated­by­Fondazione­Spinola­Banna,­Accademia­Albertina,­Torino\n2012            Made in Filanda,­Pieve­a­Presciano\n                       Record,­Fondazione­Bevilacqua­la­Masa,­Venezia\n                       Zone di incandescenza,­a­cura­di­\u002F­curated­by­A.­Carretto,­R.­Spagna,­Barriera,­Torino\n                       Il Pittore che fuggiva il vento,­Carte­Blanche­#6,­a­cura­di­\u002F­curated­by­F.­Pagliuca,­Unicredits­Studios,­Milano\n                       Partiture somatiche,­Palazzo­Pepoli,­Bologna\n2011             Aghilysti,­a­cura­di­\u002F­curated­by­C.­Frosi,­R.­Leotta,­D.­Perrone,­Artissima­LIDO,­Torino­\n                       Konecne spolu,­a­cura­di­\u002F­curated­by­L.­Sikorova,­Galerie­Emil­Filla,­Usti­nad­Labem\n                       A show is A show is A show,­a­cura­di­\u002F­curated­by­H.­Canoilas,­V.­Costa,­Cripta­747,­Torino­\n                       99,999999999999%,­GUM­Studio,­Carrara\n2010             Titolo Basso,­BOCS,­Catania\n                       Keep Calm and Carry on,­The­Europ­Tour,­Motel­Lucie,­Milano\n                       Niente da vedere tutto da vivere,­parallel­event­of­the­XIV­Biennale­Internazionale­di­Carrara,­\n­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­L.­Bruni,­Carrara­\n                       Spot#01,­a­cura­di­\u002F­curated­by­G.­Tosi,­Pistoia\n                       Let me Find,­a­cura­di­\u002F­curated­by­G.­Pasi,­ZAKgallery,­Siena­\n                       Negation,­a­cura­di­\u002F­curated­by­M.­Chini,­Exﬁla,­Firenze­\n2009            Setting for Production,­a­cura­di­\u002F­curated­by­P.­E.­Antognoli,­P38,­Lucca­\n                       COPIA DI UNA COPIA,­Cripta747,­Torino\n2008            Lo Spazio e gli Altri,­evento­parallelo­della­\u002F­parellel­event­of­the­\n­­­­­­­­­­­­­­­­­­­­­­­XIII­Biennale­Internazionale­di­Scultura­di­Carrara,­Carrara\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 177\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 188\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",179,{"image":643,"text":644,"number":645},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.180.png","MOROSO catalogo 224 pagine        6 VOLTA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\ncome nella sua installazione performativa\nAncora agitazioni nel sepolcro del Narcigno\n(2007) oppure nel suo Reperti per il Pros-\nsimo Milione di Anni (2007\u002F2009\u002F2012).\nEsaustivo e desolato tentativo di creare della\nmitologia contemporanea, quest’ultimo la-\nvoro, esposto alla Galleria Federica Schiavo\ndi Roma nel 2012, ha suggellato l’inﬂessibile\ncifra del suo metodo, oltremodo intenso. Sot-\ntoprodotto di uno sforzo prolungato, cia-\nscuna parte di esso implica un rigoroso ed\nunico lavoro di ricerca, unico poiché basato\nfermamente su materialità ed esperienza\nvissuta. Per esempio, mentre lavorava a An-\ncora agitazioni nel sepolcro del Narcigno\nTribbioli raccolse campioni di tutte le pos-\nsibili forme di piombo che poté trovare in\ncittà, al ﬁne di creare uno degli elementi di\ncorredo che accompagnavano la perfor-\nmance. Nello stesso periodo Reperti per il\nProssimo Milione di Anni avveniva seguendo\nun simile metodo sistematico.\nInizialmente interessato al tempo ed alla\nsua cosiddetta irreversibilità, alla possibilità\ndi ingannare gli archeologi del futuro, e alla\nnozione classica del presente eterno, Trib-\nbioli seguì queste idee come le vide incar-\nnate nel lago d’Averno. Un tempo luogo del\nculto della Sibilla, lo specchio d’acqua e i\nsuoi dintorni erano concepiti come ingresso\nagli inferi e l’attuale, quasi anonimo, lago\nnon può che testimoniare la sua perduta sa-\ncralità, come luogo di secolare empietà. \n178\nFinalist\nCarlo Gabriele Tribbioli\nSelected by Monitor - Roma\nL’artista romano Carlo Gabriele Trib-\nbioli si distingue da ogni altro artista della\nsua generazione. Decisamente a disagio con\nla produzione manieristica e speciﬁcata-\nmente codiﬁcata che domina gran parte del\npanorama artistico contemporaneo, il lavoro\ndi Tribbioli occupa una posizione tanto unica\nquanto delicata in questi tempi. Non solo il\npensiero poco ortodosso alla base dei suoi\nlavori è potenzialmente pericoloso, egli è uno\ndegli artisti più disciplinati e infaticabili che\nho conosciuto in anni. Avendo studiato ﬁlo-\nsoﬁa e non possedendo una formale educa-\nzione artistica (se non per un periodo come\nassistente del nonno, l’artista Gianfranco Ba-\nruchello), Tribbioli rappresenta una sorta di\nanomalia, nel senso che davvero non ne fanno\npiù come lui. Forse il modo migliore per de-\nscriverlo è utilizzare un termine di Harald\nSzeemann: mitologia individuale.\nSebbene l’ambito di riferimento di Tribbioli\nsi estenda ben oltre il personale verso il clas-\nsico, nondimeno ricorda fortemente la cele-\nbrazione di Szeemann della creazione di un\nuniverso completo e idealmente indipen-\ndente di signiﬁcati e riferimenti, al quale ri-\nfarsi per leggerne il lavoro. Guidati da un\ncomplesso, autosufﬁciente sistema di pen-\nsiero e da una cornice di riferimenti preva-\nlentemente classici, i suoi progetti vengono\nelaborati (e documentati) in modo sistema-\ntico attraverso performance, fotograﬁa, scul-\ntura, disegno, lungo periodi di tempo estesi,\nAncora agitazioni nel sepolcro del Narcigno, \n2007, tessuto fabbricato a mano in lamine di piombo, ﬁlo di ferro, cuoio e spago, \nassemblaggio di materiali diversi in cassette di ferro, dimensioni variabili \u002F \nhandmade lead lamines fabric, iron, hide, assemblages, iron boxes, variable dimensions\nCourtesy of the artist e \u002F and Galleria Federica Schiavo, Roma\nVOLUMETTO 20 marzo corretto.qxp_Layout 1  23\u002F03\u002F15  09:18  Pagina 178\n187\n­­­­­­­­­­­Carlo­Gabriele­Tribbioli\nNato­nel­1982­a­Roma,­dove­vive­e­lavora­\u002F­Born­in­1982­in­Rome,­where­he­lives­and­works­\nPrincipali mostre personali \u002F Selected Solo Exhibitions\n2014            Mastequoia op. 09-13. Rotterdam, Tokyo, Fès (con­\u002F­with­G.­Silli,­G.­Sponzilli),­\n­­­­­­­­­­­­­­­­­­­­­­­Federica­Schiavo­Gallery,­Roma;­Viafarini­DOCVA,­Milano\n2013            Mastequoia op. 09-13. Rotterdam, Tokyo, Fès (con­\u002F­with­G.­Silli,­G.­Sponzilli),­­\n­­­­­­­­­­­­­­­­­­­­­­­Lo­schermo­dell’Arte­Film­Festival,­Florence­&­at­Filmstudio,­Roma\n2012            Reperti per il prossimo milione di anni,­Federica­Schiavo­Gallery,­Roma\n2011             Forms of the Rock in A Night-Hymn #011 (con­\u002F­with­G.­Silli,­G.­Sponzilli),­Galleria­Otto­Zoo,­Milano\n2007           Ancora agitazioni nel sepolcro del Narcigno,­Auditorium­Parco­Della­Musica,­Roma\nPrincipali mostre collettive\u002F Selected Group Exhibitions\n2015\nMoroso CONCEPT for Contemporary Art 2015,­a­cura­di­\u002F­curated­by­A.­Bruciati,\nEsedra­di­Levante­-­­Villa­Manin­,­­Passariano­(U­D­)\n                       The registry of promise 4: the Promise of Literature Soothsaying and Speaking in Tongues,­\n­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­C.­Sharp,­Soothsaying­and­Speaking­in­Tongues­at­De­Vleeshal,­Middelburg\n2014            Biennial of Moving Images,­a­cura­di­\u002F­curated­by­\n­­­­­­­­­­­­­­­­­­­­­­­A.­Bellini,­Y.­Chateigné,­H.­U.­Obrist,­Centre­d’Art­Contemporain,­Genève\n                       GLITCH. Interferenze tra arte e cinema (con­\u002F­with­G.­Silli,­G.­Sponzilli),­\n­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­D.­Giannella,­PAC,­Milano\n2013            Arimortis,­a­cura­di­\u002F­curated­by­R.­Cuoghi,­M.­Farronato,­Museo­del­Novecento,­Milano­\n2012            Re-Generation,­a­cura­di­\u002F­curated­by­M.­Alicata,­I.­Gianni,­MACRO­Testaccio,­Roma\n                       Smeared with the Gold of the Opulent Sun,­a­cura­di­\u002F­curated­by­C.­Sharp,­Nomas­Foundation,­Roma­\n2009           Far From Where We Came,­a­cura­di­\u002F­curated­by­M.­Iannelli,­Aaran­Art­Gallery,­Tehran\n2008            Pharaonesque (performance­con­\u002F­with­G.­Silli,­G.­Sponzilli),­\n­­­­­­­­­­­­­­­­­­­­­­­V°­Budapest­Dance­and­Performance­Festival,­Budapest\n2006           1+1+1...,­Baruchello­Contemporary­Art­Foundation,­Roma\n­­­­­­­­­­­­­­­­­­­­­­­Selvatici bipedi - Otho – Melnikov!,­(performance­con­\u002F­with­­G.­Silli,­G.­Sponzilli),­\n­­­­­­­­­­­­­­­­­­­­­­­Mastequoia­Theatre,­Rotterdam\n2004           Scegliere un oggetto, scegliere una parola e raccontare perchè (con­\u002F­with­­G.­Silli,­G.­Sponzilli),­­\n­­­­­­­­­­­­­­­­­­­­­­­a­cura­di­\u002F­curated­by­T.­Ottonieri,­C.­Subrizi,­Baruchello­Contemporary­Art­Foundation,­Roma­\nFrammento 53 appunti liberiani, \n     2011\u002F2014, con Federico Lodoli, ﬁlm documentario, 70', HD, colore, stereo, still frames da video \u002F\nwith Federico Lodoli, feature lenght documentary, 70', HD, color, stereo, video stillframes\n      Courtesy of the artists, Galleria Federica Schiavo, Roma e \u002F and Ring Film\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 187\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",180,{"image":647,"text":648,"number":649},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.181.png","MOROSO catalogo 224 pagine        6 BIANCA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 179\n186\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 186\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",181,{"image":651,"text":652,"number":653},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.182.png","MOROSO catalogo 224 pagine        6 VOLTA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\nAffascinato­dalla­progressione­dal­sacro­al\nprofano­e­dalla­perdita­che­essa­comporta,\nTribbioli­cercò­di­trasformarlo­in­un­sito­di\nrinnovato­mistero,­la­cui­evocazione­potesse\nricordare­la­possibile­esistenza­di­un­passato\nculto­per­gli­archeologi­a­mille­anni­di­di-\nstanza­da­oggi.­Similmente­alla­maggior­parte\ndel­lavoro­di­Tribbioli,­il­successivo­processo\ne­rito­assunsero­proporzioni­assurdamente\nepiche,­includendo­da­una­performance­nella\nquale­l’artista­rimaneva­steso­immobile­su\nun­tavolo­per­ventiquattro­ore,­ad­una­rac-\ncolta­sistematica­di­oggetti­e­detriti­tutto­in-\ntorno­il­perimetro­del­corpo­lacustre.­I­tre\nanni­di­ricerca­e­riﬂessione­dedicati­al­pro-\ngetto­sono­stati­ﬁnalmente­concentrati­in­ciò\nche­l’artista­chiama­Il Grande Corpo Solido\n(un’elaborata­capsula­del­tempo­che­custo-\ndisce­vari­campioni­e­frammenti­di­questo\nprocesso,­inglobati­in­un­blocco­di­resina),\nche­egli­cerimoniosamente­ha­depositato­al\ncentro­del­lago.­Esprimendo­un­parallelo­tra\nla­presente­assenza­dell’antico­culto­e­l’oblio\nal­quale­è­stato­consegnato,­Il Grande Corpo\nSolido appare­cruciale­per­l’intera­opera­di\nTribbioli,­non­solo­in­virtù­della­sua­elisione\ndel­‘contemporaneo’­ma,­ancor­di­più,­in­vi-\nsione­del­suo­futuro­destino­come­mistero.\nIl­più­recente­lavoro­di­Tribbioli,­il­ﬁlm­Fram-\nmento 53,­appunti liberiani (2014,­in­colla-\nborazione­con­Federico­Lodoli)­prosegue­il\nsuo­interesse­per­i­temi­classici­posti­in­un\ncontesto­contemporaneo.­Esplorando­il­limite\nsecondo­il­quale­la­guerra­è­parte­integrante\ndella­composizione­della­società­e­del­genere\numano,­questo­lavoro­provocatorio­si­com-\npone­di­materiale­girato­in­Liberia­e­di­vivide\ninterviste­ad­ex­soldati.­Decisamente­non­po-\nliticamente­corretto,­questo­ﬁlm­dimostra\nl’impegno­personale­di­Tribbioli­nella­sua­im-\npresa­individuale.­Non­c’è­nulla­‘alla­moda’\nin­ciò­che­egli­fa.­Eventualmente,­è­total-\nmente­contro­volontà.­E­questa­non­è­che\nuna­delle­qualità­distintive­che­fa­della­sua\npratica­qualcosa­di­diverso­da­ciò­che­avviene\ndell’arte­contemporanea di­oggi.­\nThe­Italian,­Rome-based­artist­Carlo\nGabriele­Tribbioli­is­unlike­any­other­artist\nof­his­generation.­Decidedly­at­odds­with­the\nwell-mannered,­highly-codiﬁed­mode­of­pro-\nduction­that­tends­to­dominate­a­good­deal\nof­contemporary­art,­the­work­of­Tribbioli­oc-\ncupies­a­very­unique,­if­perilous­place­in­the\ncurrent­moment.­Not­only­is­the­unorthodox\nthinking­behind­his­practice­potentially­dan-\ngerous,­he­is­one­of­the­most­disciplined­and\nhardworking­artists­I­have­met­in­years.­Ha-\nving­studied­philosophy­and­possessing­no\nformal­training­in­art­(aside­from­a­stint­as\nthe­assistant­to­his­grandfather,­the­Roman\nartist­Gianfranco­Baruchello),­Tribbioli­is­so-\nmething­of­an­anomaly,­insofar­as­they­just\ndon’t­make­them­like­this­any­more.­Perhaps\nthe­best­way­to­describe­what­he­does­is­to\nborrow­Harald­Szeemann’s­term:­individual\nmythology.­Even­if­Tribbioli’s­frame­of­refe-\nrence­extends­well­beyond­the­personal­to\nthe­classical,­it­is­nevertheless­strongly­re-\n180\nReperti per il prossimo milione di anni, \n2007\u002F2009\u002F2012\n12 elementi d’archivio in legno, piombo, lino e vetro. \nContengono documenti, fotograﬁe e oggetti diversi,\ndimensioni variabili \u002F \n12 archival wood, lead, linen, and glass elements\ncontaining documents, photographs, \nand other objects, variable dimensions\nCourtesy of the artist e \u002F and Galleria Federica Schiavo, Roma\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 180\nLa Fondation de fès (elementi per una maledizione dei discendenti d’Idriss), \n                  2010\u002F2012,\nlibro, volume unico: fotocopia, serigraﬁa, timbri, stampa ai sali d’argento e alla nitro su pubblicazione, 50 x 35 cm aperto \u002F\nsingle-volume book: photocopy, serigraph, stamps, silver gelatin prints and nitrate prints on magazine, 19 ¾” x 13 ¾”\n                       Courtesy of the artist e \u002F and Galleria Federica Schiavo, Roma\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 185\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",182,{"image":655,"text":656,"number":657},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.183.png","MOROSO catalogo 224 pagine        6 VOLTA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n181\nminiscent­of­Szeemann’s­celebration­of­the\ncreation­of­a­complete,­ideally­self-sufﬁcient\nuniverse­of­reference­and­signiﬁcation­in\nwhich­to­read­the­work.­\nDriven­by­complex,­self-sustaining­systems\nof­thought­and­a­predominantly­classical\nframe­of­reference,­projects­are­methodically\nelaborated­(and­documented)­through­per-\nformance,­photography,­sculpture,­drawing\nand­ﬁlm­over­extended­periods­of­time,­such\nas­his­performative­installation,­Ancora agi-\ntazioni nel sepolcro del Narcigno (2007)­or\nhis­Reperti per il Prossimo Milione di Anni\n(2007–9\u002F2012).­An­exhaustive­and­forlorn­at-\ntempt­to­create­a­contemporary­mythology,\nthis­latter­exhibition,­which­took­place­at­Fe-\nderica­Schiavo­Gallery­in­Rome­in­2012,­esta-\nblished­the­uncompromising­mode­of­his­hy-\nper-intensive­working­method.­The­byproduct\nof­a­sustained­effort,­each­work­entails­a­ri-\ngorous­and­unique­process­of­research,­which\nis­unique­by­virtue­of­the­fact­that­it­is­ﬁrmly\nrooted­in­materiality­and­lived­experience.\nFor­instance,­when­working­on Ancora agi-\ntazioni nel sepolcro del Narcigno,­Tribbioli\ncollected­as­many­different­forms­of­lead­as\nhe­could­ﬁnd­in­the­Italian­capital,­in­order\nto­create­the­costume­component­that­ac-\ncompanied­this­performance.­Meanwhile Re-\nperti per il Prossimo Milione di Anni took\nplace­in­a­similarly­systematic­mode.­­\nInitially­interested­in­questions­of­time­and\nits­so-called­irreversibility,­the­possibility­of\nduping­archeologists­of­the­future,­and­the\nclassical­notion­of­an­eternal­present,­Trib-\nbioli­pursued­these­ideas­as­he­saw­them­par-\ntially­embodied­in­Lake­Averno,­north­of­Na-\nples.­Once­the­site­of­the­divinatory­cult­of\nthe­Sibilla­(the­colony­of­Cuma­was­founded\nin­740­bc),­who­conceived­the­body­of­water\nand­its­surroundings­as­an­entrance­to­the\nnetherworld,­the­now­virtually­anonymous\nlake­can­but­testify­to­its­own­lack­sacred-\nness,­as­a­place­of­secular­profanity.­Fasci-\nnated­by­the­progression­from­the­sacred­to\nthe­profane­and­the­lack­this­entails,­Tribbioli\nsought­to­transform­it­into­the­site­of­a­new\nmystery,­whose­evocation­might­similarly\nsummon­up­the­possible­existence­of­an­er-\nstwhile­cult­for­archeologists­a­thousand­ye-\nars­from­now.­ ­­­­­­­­­­­­\nAkin­to­the­majority­of­Tribbioli’s­practice,\nthe­following­process­and­rite­assumed­ab-\nsurdly­epic­proportions,­including­everything\nfrom­a­performance­in­which­the­artist­lay\non­a­table­without­moving­for­twenty­four\nhours­to­the­systematic­gathering­of­objects\nand­detritus­while­circumnavigating­the­pe-\nrimeter­of­the­lacustrine­body.­The­three­ye-\nars­of­research­and­reﬂection­that­went­into\nthis­project­were­ultimately­distilled­into\nwhat­the­artist­calls­Il­Grande­Corpo­Solido\n(an­elaborate­time-capsule­encasing­various\nsamples­and­fragments­of­his­process­cast­in\nresin),­which­he­ceremoniously­deposited­in\nthe­center­of­the­lake.­Paralleling­the­present\nday­absence­of­the­ancient­cult,­Il Grande\nCorpo Solido,­and­the­oblivion­to­which­it\nwas­delivered­is­crucial­to­Tribbioli’s­entire\noperation­by­virtue­not­only­of­its­elision­of\nthe­‘contemporary’­but­more­importantly,­of\nits­future­destiny­as­a­mystery.\nTribbioli’s­latest­work,­the­ﬁlm Fragment 53,\nLiberian­Notes­(2014)­continues­his­preoc-\ncupation­with­classical­themes,­but­set­in­a\ncontemporary­context.­Exploring­the­extent\nto­which­war­is­integral­to­the­composition\nof­society­and­humankind,­this­provocative\nwork­consists­of­footage­taken­in­Liberia­and\ngraphic­interviews­with­former­soldiers.­Any-\nthing­but­politically­correct,­this­challenging\nﬁlm­demonstrates­Tribbioli’s­personal­com-\nmitment­to­his­own­individual­enterprise.\nThere­is­nothing­trendy­about­what­he­does.\nIf­anything,­it­is­totally­against­the­grain.­And\nthis­is­just­one­of­the­many­distinct­qualities\nthat­make­his­practice­unlike­anything­else\nhappening­in­contemporary­art­today.­\nChris Sharp\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 181\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 184\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",183,{"image":659,"text":660,"number":661},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.184.png","MOROSO catalogo 224 pagine        6 BIANCA (1 sedicesimo + 1 quartino e ottavo accavallato)     USOMANO\n182\nReperti per il prossimo milione di anni, \n2007\u002F2009\u002F2012, 12 elementi d’archivio in legno, piombo, lino e vetro. Contengono documenti, fotografe \ne oggetti diversi, dimensioni variabili \u002F 12 archival wood, lead, linen, and glass elements containing documents, \nphotographs, and other objects, variable dimensions\nCourtesy of the artist e \u002F and Galleria Federica Schiavo, Roma\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 182\n182\nReperti per il prossimo milione di anni, \n2007\u002F2009\u002F2012, 12 elementi d’archivio in legno, piombo, lino e vetro. Contengono documenti, fotografe \ne oggetti diversi, dimensioni variabili \u002F 12 archival wood, lead, linen, and glass elements containing documents, \nphotographs, and other objects, variable dimensions\nCourtesy of the artist e \u002F and Galleria Federica Schiavo, Roma\nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 182\n183\n \n  \n \n  \n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n   \n \n \n \n \nVOLUMETTO 17 marzo corretto.qxp_Layout 1  20\u002F03\u002F15  12:24  Pagina 183\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",184,{"image":663,"text":660,"number":664},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.185.png",185,{"image":666,"text":656,"number":667},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.186.png",186,{"image":669,"text":652,"number":670},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.187.png",187,{"image":672,"text":648,"number":673},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.188.png",188,{"image":675,"text":644,"number":676},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.189.png",189,{"image":678,"text":640,"number":679},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.190.png",190,{"image":681,"text":682,"number":683},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.191.png","MOROSO catalogo 224 pagine        7 BIANCA (2 sedicesimo)     LETTURA PRINT RECICLATA\nProjects for Moroso CONCEPT\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:52  Pagina 189\nG I U L I O  D E L V È\nSpazio Amoroso\n“I lavori esposti negli ambienti dello showroom MOROSO\nincluderanno pannelli compatti e leggeri, agili sculture\nmodulari, che costituiranno una cosmologia. […] Questi\nelementi saranno il risultato della combinazione di tre\nvisionarie e creative teorie pseudoscientiﬁche: 1 La memo-\nria dell’acqua di Masaru Emoto. 2 L’Accordatura Aurea.\n3 La Cromoterapia, che si basano su una concezione or-\nganica, di armonia energetica del creato, rispecchiando\nl’aspetto di responsabilità della cura, che emerge dalla ﬁ-\nlosoﬁa MOROSO”.\n204\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 204\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",191,{"image":685,"text":686,"number":687},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.192.png","MOROSO catalogo 224 pagine        7 VOLTA (2 sedicesimo)     LETTURA PRINT RECICLATA\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n� �\n“Un archivio in progress di matrici \nottenute dall’ingrandimento \ne dall’elaborazione digitale \ndi close-up dell’iride dell’occhio umano.\nOgni matrice è creata in modo tale \nda essere stampabile e applicabile \nsu diversi materiali e modulabile \nﬁno a grandi dimensioni. \n[…] L’azienda Moroso offre \nun ipotetico ‘campionario’ di iridi. \nL’iride di Patrizia Moroso o dei designer\nche collaborano con l'Azienda, \npotrebbe essere declinata come \nun trade-mark su tutti i prodotti \ndell’azienda”.\nA L E S S A N D R O  A G U D I O\nChrome – Details of Enlargments and Elaborations of Portions of the Human Eye’s Iris \n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n \n�\n� �\n�\n�\n� �\n�\n� �\n�\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n \n�\n� �\n�\n�\n� �\n�\n� �\n�\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n \n�\n� �\n�\n�\n� �\n�\n� �\n�\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n \n�\n� �\n�\n�\n� �\n�\n� �\n�\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n \n�\n� �\n�\n�\n� �\n�\n� �\n�\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n \n�\n� �\n�\n�\n� �\n�\n� �\n�\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� �\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n \n�\n� �\n�\n�\n� �\n�\n� �\n�\n�\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n�\n� 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�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\nLulù\u002FLula, \n            2012, legno, \nlegno laminato, plexiglass, \nacciaio, seta, piante, \n90 x 210 cm; 66 x 22 x 92 \u002F \nwood, laminated wood, \nplexiglass, steel, silk, plants, 35\n½” x 82 ¾”; 26 x 8 ¾” x 36 ¼”\n                Courtesy of the artist e \u002F \nand Gasconade, Milano\n190\n“An archive in progress of\nmatrices obtained by the\nmagniﬁcation of digital\nclose-up of the iris of the\nhuman eye. Each matrix is  \ncreated in such a way as to\nbe printable and applica-\nble on different materials\nand adaptable to large\nsizes. [...] The Moroso\ncompany offers a hypo-\nthetical ‘sample’ of irises.\nThe iris of Patrizia Moroso\nor of designers who work\nwith the company, can be\nused as a trade-mark on all\ncompany products”.\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 190\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 203\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",192,{"image":689,"text":690,"number":691},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.193.png","MOROSO catalogo 224 pagine        7 VOLTA (2 sedicesimo)     LETTURA PRINT RECICLATA\n“...Through two separate projects I\nplace focus on habitation and\npeople. [...] Elements belonging to\ndifferent races interact within a\ncommon dwelling, each one \nexpressing its own uniqueness while\nin dialogue with the others [...] \nThe encounter between a doily and\ncement used as a tag on made\nconstructions[...]\nAn exhibition that highlights the\ndifferences by relating everyday's\nlife, mastery and housing.\nA recognizable sign which tells of\nwork and experiences.\nRelay passed between generations,\nin order to carry on an evolution\nof the technique and spirit”.\n202\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 202\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",193,{"image":693,"text":694,"number":695},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.194.png","MOROSO catalogo 224 pagine        7 BIANCA (2 sedicesimo)     LETTURA PRINT RECICLATA\n201\n“... Attraverso due progetti distinti rimetto in primo piano l’abitare e le persone.\n[…] Elementi che appartengono a razze diverse dialogano all’interno di un abi-\ntare comune, portatori ognuno di una propria originalità che nel dialogo con\nl’altro trova la sua presenza. […] L’incontro tra un centrino e il cemento usato\ncome una 'tag' sulle costruzioni realizzate. Un progetto espositivo che esalta le\ndifferenze mettendo in relazione quotidianità, maestria e abitazione. Segno fa-\nmiliare, che narra di lavoro ed esperienze diverse. Staffetta passata tra genera-\nzioni, nell’intento di portare avanti un’evoluzione della tecnica e dello spirito”. \nC R I S T I A N  C H I R O N I\nBroken English + My house is a Le Corbusier\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 201\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",194,{"image":697,"text":698,"number":699},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.195.png","MOROSO catalogo 224 pagine        7 BIANCA (2 sedicesimo)     LETTURA PRINT RECICLATA\n200\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 200\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",195,{"image":701,"text":702,"number":703},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.196.png","MOROSO catalogo 224 pagine        7 VOLTA (2 sedicesimo)     LETTURA PRINT RECICLATA\n194\nTesta di sirena urlante\nA L I S \u002F F I L L I O L\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 194\n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n  \n \n \n  \n  \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n \n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n  \n \n  \n \n \n \n \n  \n \n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n“To present in the same setting objects that have the\nsame name but in the end are completely different:\nto accompany the research products of the Moroso\ncompany with objects that have unrivaled practical\npurposes but no pretense of research and quality,\non which I’m going to apply this conceptual and\nmanual reﬂection in an attempt to reconstitute the\nmissing features. The Moroso products will stren-\ngthen this consideration since they are embodi-\nments, also from a functional point of view, of\nthese properties”.\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n  \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n  \n \n \n \n \n  \n \n  \n \n \n \n \n \n \n \n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n \n \n  \n \n \n \n \n  \n \n  \n \n \n \n  \n \n \n \n  \n \n \n \n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n \n \n  \n \n \n \n \n  \n \n  \n \n \n \n \n \n \n \n  \n \n \n \n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n� �\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 199\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",196,{"image":705,"text":706,"number":707},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.197.png","MOROSO catalogo 224 pagine        7 VOLTA (2 sedicesimo)     LETTURA PRINT RECICLATA\n195\n“Una sorta di agglomerato\ncompatto costituito da og-\ngetti legati insieme con il\nnastro adesivo come se una\nforza magnetica presente\nnel centro della stanza\navesse attirato a sè tutti gli\noggetti concentrandoli in\nun unico nucleo informe.\nL'intento è di ribaltare\nl'approccio del corpo ri-\nspetto all'oggetto di design\ntrasformandolo da luogo\nche accoglie il corpo a\nluogo che lo esclude, come\nse gli arredi unendosi tra\nloro e compenetrando le\nloro \nforme \navessero\nespulso il corpo del-\nl'uomo”.\n“A sort of compact conglome-\nrate made by objects kept toge-\nther with tape as if a magnetic\nforce present in the center of the\nroom had attracted to itself all\nthe objects and concentrated\nthem in a unique shapeless nu-\ncleus. The aim is to thwart the\nrelationship of the body with\nrespect to the design object,\ntransforming the space from\none that contains the body to\none that excludes it, as if the\nfurniture had colluded together\nand by combining their sha-\npes had expelled the human\nbody”.\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 195\n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n  \n \n \n  \n  \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n \n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\n� �\n�\n�\n� �\n  \n \n  \n \n \n \n \n  \n \n�\n�\n�\n�\n�\n�\n�\n�\n�\n�\nG I U L I A  C E N C I\nSepia’s ribs\n“Presentare nello stesso ambiente oggetti che hanno lo stesso nome \nma in fondo sono completamente differenti: accompagnare i prodotti di\nricerca dell’azienda MOROSO a degli oggetti che hanno eguali ﬁni pratici\nma nessuna pretesa di ricerca e qualità, sui quali andrò ad applicare questa\nriﬂessione concettuale e manuale nel tentativo di ricostituirne le\ncaratteristiche mancanti. I prodotti MOROSO rafforzerebbero questa\nconsiderazione, in quanto portatori, anche da un punto di vista\nfunzionale, di queste proprietà”.\n198\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 198\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",197,{"image":709,"text":710,"number":711},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.198.png","MOROSO catalogo 224 pagine        7 BIANCA (2 sedicesimo)     LETTURA PRINT RECICLATA\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 196\n“Tenendo in considerazione\nl’immaginario di ﬁgure sedute che\nsono state create nella storia dell’arte,\nin particolare nella storia della\nscultura, la mia intenzione è di\nriﬂettere sull’atto del sedersi, del\nraccogliersi in un luogo deﬁnito,\nrelazionandomi con lo spazio\nmentale e ﬁsico che questo gesto\ndescrive e inaugura”.\nA L I C E  C A T T A N E O\nScultura seduta\n“Keeping in mind the images\nof seated ﬁgures that have\nbeen created in the history\nof art, and in particular the\nhistory of sculpture, \nmy intention is to reﬂect on\nthe act of sitting, on\nreclining in a particular\nplace, and putting myself\nin the mental and physical\nrelationship that this state\ndescribes and inaugurates”.\n197\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 197\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",198,{"image":713,"text":710,"number":714},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.199.png",199,{"image":716,"text":706,"number":717},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.200.png",200,{"image":719,"text":702,"number":720},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.201.png",201,{"image":722,"text":698,"number":723},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.202.png",202,{"image":725,"text":694,"number":726},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.203.png",203,{"image":728,"text":690,"number":729},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.204.png",204,{"image":731,"text":686,"number":732},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.205.png",205,{"image":734,"text":682,"number":735},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.206.png",206,{"image":737,"text":738,"number":739},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.207.png","MOROSO catalogo 224 pagine        8 B\u002FV (quartino B\u002FV accavalla ultimo sedicesimo FG 7)     LETTURA PRINT RECICLATA\n205\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 205\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:54  Pagina 224\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",207,{"image":741,"text":742,"number":743},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.208.png","MOROSO catalogo 224 pagine        8 B\u002FV (quartino B\u002FV accavalla ultimo sedicesimo FG 7)     LETTURA PRINT RECICLATA\n“The works displayed in the Moroso showroom will incorporate compact lightweight panels, and modular sculptures\nthat form a cosmology. […] The elements of the sculptures will emerge as a result of combining three visionary and\ncreative pseudoscientiﬁc theories:\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n \n \n \n \n \n  \n \n  \n \n \n \n  \n206\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 206\n223\nComplesso monumentale in dedica alla statura eretta\nprogetto per insieme di elementi scultorei, azione performativa & documentazione fotograﬁca\n“Il progetto si sviluppa intorno alle necessità di una azione la quale \nsi intende come esperienza monumentale dedicata alla nobiltà della \nstatura eretta. Il peso dei milioni di anni che separano i vari esperimenti\ndi primate e l’homo erectus, la gravosità delle atmosfere che lo sovrastano,\nla resistenza d’attrazione del suolo – sono tessuti in un unico oggetto\nsintetico: un manto progettato e costruito per incarnare, nella funzione\nsimbolica del suo peso estremo, la fatica che precede il brillante successo\ndi questa rivoluzionaria postura – fra note ironico-parodistiche (quale\nil suo stato attuale?) ed eroico-epiche (spreco, eccesso di energie)”.\nComplesso monumentale \nin dedica alla statura eretta\nA project combining  sculptural elements, \nperformance action & photographic \ndocumentation\n“The project is developed around the need for ac-\ntion which is intended as a monumental expe-\nrience dedicated to the nobility of erect stature.\nThe weight of the millions of years that separate\nthe various stages of primate and homo-erectus\ndevelopment, the oppression of the overlying at-\nmosphere, the strong attraction of the soil—are\nwoven into a single synthetic object: a mantle\ndesigned and built, in the symbolic function of its extreme weight, to embody the fatigue that precedes the bril-\nliant success of this revolutionary posture—between notes that are ironic-parodic (what is its current state?)\nand heroic-epic (waste, excess energy)”.\nC A R L O  G A B R I E L E  T R I B B I O L I\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:54  Pagina 223\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",208,{"image":745,"text":746,"number":747},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.209.png","MOROSO catalogo 224 pagine        7 BIANCA (2 sedicesimo)     LETTURA PRINT RECICLATA\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n  \n \n \n \n  \n \n \n \n   \n  \n \n \n \n \n \n1. La memoria dell’acqua by Masaru Emoto; 2. L’Accordatura Aurea; 3. La Cromoterapia. These theories are all based\non the organic concept of energetic harmony in creation, reﬂecting ideas relating to the responsibility of care,\nemerging from the philosophy of Moroso.”\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 207\n222\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:54  Pagina 222\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",209,{"image":749,"text":750,"number":751},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.210.png","MOROSO catalogo 224 pagine        7 VOLTA (2 sedicesimo)     LETTURA PRINT RECICLATA\n208\nSleep, da \u002F from De Wissel series, \n2014, stampa su carta Hahnemuhle, 75 x 50 cm \u002F C-Print on Hahnemuhle paper, 29 ½” x 19 ¾” \nCuddle Room, da \u002F from De Wissel series, \n2014, stampa su carta Hahnemühle, 75 x 50 cm \u002F C-Print on Hahnemühle paper, 29 ½” x 19 ¾” \nVOLUMETTO Progetti -.qxp_Layout 1  23\u002F03\u002F15  09:22  Pagina 208\n208\nSleep, da \u002F from De Wissel series, \n2014, stampa su carta Hahnemuhle, 75 x 50 cm \u002F C-Print on Hahnemuhle paper, 29 ½” x 19 ¾” \nCuddle Room, da \u002F from De Wissel series, \n2014, stampa su carta Hahnemühle, 75 x 50 cm \u002F C-Print on Hahnemühle paper, 29 ½” x 19 ¾” \nVOLUMETTO Progetti -.qxp_Layout 1  23\u002F03\u002F15  09:22  Pagina 208\n“Realizzare, in collaborazione con l’azienda MOROSO, \nuna seduta interamente rivestita di pelle di fungo […] \nCredo che questa pelle possa realmente essere d’interesse anche \ncommercialmente per aziende sensibili, una pelle vegana, \nbiologica e volendo made in Italy. La coronazione del progetto \nper me sarebbe riuscire ad essere il tramite tra una sapienza \nmillenaria in via di estinzione e la moderna manifattura, \nridando lustro ed utilità ad una tecnica caduta in disuso”.\n“In cooperation with the MOROSO company, to create a chair entirely covered with a fungus skin [...]\nI believe this covering could really be of interest, also commercially, \nfor sensitive companies—a vegan, organic, and desired skin, made in Italy. \nThe crowning achievement of the project for me would be to act as liaison \nbetween endangered millenary wisdom and modern manufacturing, \nrestoring luster and utility to a technique that has fallen into disuse”.\nN A M S A L  S I E D L E C K I\nGomba Kalap\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:54  Pagina 221\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",210,{"image":753,"text":754,"number":755},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.211.png","MOROSO catalogo 224 pagine        7 VOLTA (2 sedicesimo)     LETTURA PRINT RECICLATA\nLa mente, la casa\n“La mente, la casa è il titolo \ndi questo progetto che identiﬁca \nil pensiero, la visione e la\nrappresentazione simbolica dei\nsentimenti individuali. \nUna serie di mobili personalizzati,\nimmaginati dai pazienti che vivono\nall’interno degli ospedali\npsichiatrici. Un esperimento \nunico di collaborazione dove \ni degenti penseranno \ne disegneranno degli oggetti\nsingolari, adatti alle loro esigenze.\nUn’operazione dove \nil design diventa anti-design,\ntrasformando la follia \nin manufatto”.\n“La mente, la casa is the title of\nthis project that identiﬁes\nthought, vision, and the symbolic\nrepresentation of individual\nfeelings. A series of custom\nfurniture, imagined by patients\nliving in psychiatric hospitals. A\nunique experiment of\ncollaboration in which the\npatients will imagine and design\nsingular objects, suited to their\nneeds. An operation where design\nbecomes anti-design,\ntransforming insanity into\nartifact”.\nD O M E N I C O  M A N G A N O\n \n  \n \n \n \n \n  \n \n \n  \n \n  \n \n \n \n \n \n  \n \n \n \n \n  \n \n \n \n \n  \n \n \n  \n \n  \n \n \n \n \n \n  \n \n \n© dei disegni di Ugo Guarino\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 209\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 220\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",211,{"image":757,"text":758,"number":759},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.212.png","MOROSO catalogo 224 pagine        7 BIANCA (2 sedicesimo)     LETTURA PRINT RECICLATA\n210\nFranco Basaglia sfonda con una panchina i cancelli del manicomio \u002F \nFranco Basaglia open the gates of the asylum, \nTrieste, 1973 (Archivio DSM, Trieste) \n© di Roberto Sambonet\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 210\n“Liberamente ispirato al lavoro di Tim Rollins condotto negli anni\n'80 nel South Bronx, dove coi suoi studenti aveva sviluppato una\nstrategia di collaborazione denominata jammin’, innescando pro-\ncessi di coinvolgimento dei membri a partire dalla propria storia,\nJammin’ Drama Project è un progetto partecipativo che ha coin-\nvolto oltre 150 cittadini della comunità ispanica e afro-americana\ndi Harlem”.\n“Loosely inspired by the work of Tim Rollins that was conducted in the 1980s in the South\nBronx, where along with his students he developed a strategy for collaboration called jammin’,\nand triggered processes of involvement by members who drew from their own histories, Jammin’\nDrama Project is a participatory event that involved over 150 citizens of the Hispanic and Afri-\ncan-American community of Harlem.”\n219\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 219\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",212,{"image":761,"text":762,"number":763},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.213.png","MOROSO catalogo 224 pagine        7 BIANCA (2 sedicesimo)     LETTURA PRINT RECICLATA\n \n \n \n \n \n  \n \n \n  \n \n \n \n \n  \n \n \n \n \n \n \n \nLa costruzione di ‘Marco Cavallo’\u002F The building of  ‘Marco Cavallo’, Trieste, 1973 (Archivio DSM, Trieste) \nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 211\nM A R I N E L L A  S E N A T O R E\nJammin’ Drama Project – Director’s Cut\n218\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 218\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",213,{"image":765,"text":766,"number":767},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.214.png","MOROSO catalogo 224 pagine        7 VOLTA (2 sedicesimo)     LETTURA PRINT RECICLATA\n“Il progetto per lo showroom MOROSO è stato concepito con solo materiale di\nscarto del prodotto di design, la gommapiuma, rivestimento e anima organica\ndel consumo comportamentale, sensoriale e percettivo. […] il percorso esposi-\ntivo interno, scopre la storia di un materiale che diventa immagine e non og-\ngetto, un imballo di scarto industriale di gommapiuma, legato e sospeso con\nuna carrucola al centro dello spazio, che rimanda ad una visione, il Bondage,\ntraduzione del piacere\u002Fabuso\u002Fconsumo”.\nA N D R E A  N A C C I A R R I T I\nrough-inato\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 212\n�\n�\n�\n�\n� �\n�\n� �\n�\n�\nA N D R E A  R O M A N O\nHighlight + Potsherds & Gaze.\n“Una declinazione delle sculture Highlight (Spring 2014), realizzate con sot-\ntilissime lastre di ardesia, viene appesa e\u002Fo sospesa a sofﬁtto. […] Potsherds\n& Gaze è una serie di composizioni di frammenti di immagini tratte da diverse\nscene del cartoon The Flintstones, porzioni di scene che mettono a fuoco sola-\nmente i punti di contatto ﬁsico tra umani e dinosauri. In occasione del Premio\nMOROSO queste immagini diventano una pelle con cui rivestire lo spazio, con\ncui ricreare un ambiente arricchito di informazioni e suggestioni”. \nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 217\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",214,{"image":769,"text":770,"number":771},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.215.png","MOROSO catalogo 224 pagine        7 VOLTA (2 sedicesimo)     LETTURA PRINT RECICLATA\n“The project for the MOROSO showroom has been designed with only waste material from product\ndesign, like foam rubber, the covering and organic soul of behavioral, sensorial, and perceptual\nconsumption. [...] Inside the exhibition, you discover the story of a material that becomes an\nimage and not an object, a piece of industrial waste packaging foam, bound and suspended by\na pulley in the middle of the space, which refers to a vision, to bondage, and to the translation\nof pleasure\u002Fabuse\u002Fconsumption”.\n213\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 213\n�\n�\n�\n�\n� �\n�\n� �\n�\n�\n\"A declination of the sculptures Highlight (Spring 2014),\nmade from thin slabs of slate, hung and\u002For suspended from\nthe ceiling. [...] Potsherds & Gaze is a series of compositions\nof fragments of images from different scenes of the cartoon\nThe Flintstones. These portions of scenes focus only on\npoints of physical contact between humans and dinosaurs.\nOn the occasion of the Premio\nMOROSO these images become\na skin that covers the space,\nto recreate an environment\nenriched with information\nand suggestions.\"\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 216\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",215,{"image":773,"text":774,"number":775},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.216.png","MOROSO catalogo 224 pagine        7 BIANCA (2 sedicesimo)     LETTURA PRINT RECICLATA\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 214\nVOLUMETTO Progetti -.qxp_Layout 1  20\u002F03\u002F15  10:53  Pagina 215\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\nKEY  6\nKEY  22\nKEY  3\nKEY  4\nKEY  5\nKEY  7\nKEY  8\nKEY  9\nKEY  10\nKEY  11\nKEY  12\nKEY  13\nKEY  14\nKEY  15\nKEY  16\nKEY  17\nKEY  18\nKEY  19\nKEY  20\nKEY  21\nKEY  23\nKEY  24\nKEY  25\nKEY  2\nKEY  26\nKEY  27\nKEY  28\nKEY  29\nKEY  30\nKEY  31\nKEY  32\nKEY  33\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\n0.5\n1\n2\n3\n4\n5\nKOMORI\nPart No.T30LS540\n0.5\n1\n2\n3\n4\n5\n",216,{"image":777,"text":774,"number":778},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.217.png",217,{"image":780,"text":770,"number":781},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.218.png",218,{"image":783,"text":766,"number":784},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.219.png",219,{"image":786,"text":762,"number":787},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.220.png",220,{"image":789,"text":758,"number":790},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.221.png",221,{"image":792,"text":754,"number":793},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.222.png",222,{"image":795,"text":750,"number":796},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.223.png",223,{"image":798,"text":746,"number":799},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.224.png",224,{"image":801,"text":742,"number":802},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.225.png",225,{"image":804,"text":738,"number":805},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.226.png",226,{"image":807,"text":808,"number":809},"\u002Fmedia\u002Fimages\u002Fc0\u002F0e078a7dd049974954d5889e41c05b-289292dd02.227.png","MOROSO catalogo 224 pagine        COPERTINA        (STAMPA SOLO IN BIANCA)\nEuro  20,00\nAlfredo Aceto\nAlessandro Agudio\nAlis \u002F Filliol\nFrancesco Arena\nFrancesco Barocco\nRiccardo Benassi\nBarbara Boiocchi\nDavide Bramante\nAlice Cattaneo\nGiulia Cenci\nAlessandro Ceresoli\nCristian Chironi\nEmma Ciceri\nLuca De Leva\nGiuio Delvè\nGabriele De Santis\nSara Enrico\nSilvia Hell\nRenato Leotta\nDomenico Mangano\nBeatrice Marchi\nDaniele Milvio\nAndrea Nacciarriti\nGianandrea Poletta\nLuca Pozzi\nAndrea Romano\nMarzia Corinne Rossi\nMatteo Rubbi\nErik Saglia\nManuel Scano Larrazàbal\nFrancesco João Scavarda\nLorenzo Scotto di Luzio\nGabriele Sedda\nMarinella Senatore\nNamsal Siedlecki\nCarlo Gabriele Tribbioli \n \n9 788890 857423\nISBN 978-88-908574-2-3\n9 788890 857423\nISBN 978-88-908574-2-3\nLa forza competitiva del Made in Italy, in cui la componente design ha un ruolo \ncentrale, parte dalla natura identitaria della sua produzione. Proprio per questa \nforma di imprinting culturale che i luoghi trasferiscono sul prodotto, il vantaggio \ncompetitivo si genera in stretta relazione con le peculiarità della struttura sociale \ndei sistemi imprenditoriali locali. Da questa idea si è ipotizzato un legame \nstringente per la promozione dell’arte contemporanea attraverso canali interna-\nzionali, qualitativamente rilevanti, già rodati dalla ﬁliera produttiva per far sì che \nqueste assonanze e afﬁnità progettuali, nonché ideative, andassero a valorizzare \nl’operato delle nuove generazioni. Concepito infatti per documentare, valorizzare \ne sostenere gli artisti che vivono e lavorano principalmente in Italia, il Moroso \nCONCEPT nasce con questo DNA, quale necessaria e pragmatica evoluzione del \nPremio Moroso, di cui diventa estensione e, si auspica, valido braccio operativo.\nIl volume viene pubblicato quale complemento ed integrazione al progetto, illustrando i 36 artisti \nselezionati per il Moroso CONCEPT 2015. La pubblicazione, curata da Andrea Bruciati, è inoltre un \nfocus sui 12 ﬁnalisti e si struttura secondo una pertinente indagine critica, condotta da:  \nLaura Barreca, Cristiana Collu, Michele D'Aurizio, Ilaria Gianni, Antonio Grulli, Emanuele Guidi,  \nAndrea Lissoni, Post Brothers, Alessandro Rabottini, Chris Sharp, Giorgio Verzotti, Eugenio Viola.\nIl catalogo è supportato da una ricca sezione iconograﬁca che documenta approfonditamente \nla poetica di ogni artista, e da un'esaustiva appendice di apparati, comprensiva del curriculum \ndettagliato di ciascun autore e dalle schede tecniche relative ai progetti espressamente concepiti.\nThe competitive strength of the term Made in Italy, in which the design compo-\nnent has a central role, is founded on the identiﬁable nature of its production. In \nthe same way that this form of cultural imprinting is transferred from a location \nonto a product, competitive advantage is generated in close relationship with the \npeculiarities of the social structure of local entrepreneurial systems. This idea \nsuggested a strong connection for the promotion of contemporary art through \nrelevant international channels that have already been organized into a \nproduction network, to ensure that these design and conceptual afﬁnities can be \nused to promote the work of a new generation of artists. Conceived to document, \npromote, and support artists who live and work mainly in Italy, the Moroso \nCONCEPT began from this DNA, a pragmatic and necessary evolution of the \nMoroso Award as an extension, and it is hoped, valid organizational tool. \nThis volume is published as an indispensable addition to complement the project, showing the \n36 artists involved for Moroso CONCEPT 2015. 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