Author: amministratore

THE INDEPENDENT. BOA MISTURA

Invited to take part in The Independent, the Boa Mistura collective has chosen to present Agopuntura nello spazio pubblico, a selection of materials from the project for social change Crossroads aimed at vulnerable communities with a high risk of marginalization.

The stairwell in the MAXXI atrium will house a digital wall composed of 14 monitors that will come to life periodically with images, videos and interviews documenting the interventions in South Africa, Mexico, Panama, Algeria, Georgia, Cuba, Brazil, Kenya, Colombia, Nicaragua and Chile.
In all these places Boa Mistura has established contacts with the local communities through participatory dynamics: the inhabitants of the various quarters have been involved in actions of aesthetic improvement that modify perception of the places, reinforcing people’s relations with and in the space in which they live.

BOA MISTURA
They met when they were 15 years old and creating graffiti on the walls of their quarter of Madrid. Today they work throughout the world, involving entire communities in the transformation of the streets in which they live through painting.

NERO. La scrittura degli echi


La scrittura degli echi is a work based on sound, a daily palimpsest of audio contributions that are distributed via the museum’s communications service in order to transmit a collective and ephemeral voice: free interventions, original and otherwise, by various authors in the form of recordings, readings, extracts and sound tracks.

Everyday and in unpredictable ways
the museum halls are traversed by audio tracks

Artists, writers, photographers, musicians and intellectuals have freely contributed to the project, constructing an original and atypical “aural” story: 90 voices of protagonists on the Italian and international cultural scene construct a collective and ephemeral voice capable of indirectly challenging the museum structure.

La scrittura degli echi presents audio contributions from: Acchiappashpirt, After Howl, Cory Arcangel, Gianfranco Baruchello, Chiara Barzini, Elisabetta Benassi, Riccardo Benassi, Alicja Bielawska, Ross Birrell, Massimiliano Bomba, Carola Bonfili and Francesco Fonassi, Giorgio Andreotta Calò, Giuseppe Casetti, Lorenzo Castore, Spartacus Chetwynd, Alessandro Cicoria, Mike Cooper, Claudia Comte, Matthias Connor with Oliver Payne and Brian Degraw, Nina Cristante, Enzo Cucchi, Tony Cutrone, Dario D’Aronco, Emanuele De Raymondi, Costantino Della Gherardesca, Goldschmied & Chiari, Filippo de Pisis, Rä di Martino, Stanislao Di Giugno, Canedicoda, Dunja Herzog, Esc, Bob Flanagan, Mario Garcia Torres, Gelitin, Francesca Grilli, Grip Casino, Helena Hladilová, Heroin In Tahiti, Invernomuto, Tobias Kaspar, Salvatore Lacagnina, Vincenzo Latronico, Emiliano Maggi, Marcello Maloberti, Miltos Manetas, Michele Manfellotto, Fabio Mauri, Mark Morgan, Maurizio Nannucci, Matteo Nasini, Caterina Nelli, Olaf Nicolai, Giorgio Orbi, Eddie Peake, Francesco Pecoraro, Nicola Pecoraro, Luana Perilli, Alessandro Piangiamore, Cesare Pietroiusti, Giuseppe Pietroniro, Fabio Marco Pirovino, Gianni Politi, Riccardo Previdi, Primitive Art, Federico Proietti, Marco Raparelli, Max Renkel, Moira Ricci, Claudio Rocchetti, Amelia Rosselli, Andrea Salvino, Thomas Sauter, Lele Saveri, Nora Schultz, Marinella Senatore, Lorenzo Senni, Sissi, Davide Stucchi, Tijana Mamula, Luca Trevisani, Patrick Tuttofuoco, Nico Vascellari, Valentina Vetturi, Johanna Viprey, Vipra, Luca Vitone.

THE INDEPENDENT_FOOD. POLLINARIA, ASPRA.MENTE, INTERFERENZE

Developed on the basis of the project The Independent, dedicated to the mapping and presentation of independent spaces and thinking, this exhibition analyses the issues of food and nutrition, explored by the museum in the exhibition FOOD dal Cucchiaio al mondo.
The exhibition directs the gaze towards a number of Italian independents focussing their work on questions relating to food.
The exhibition presents the interventions of three groups – Pollinaria, Aspra.mente and Interferenze – regarding three fundamental ingredients of the Mediterranean diet: wheat, tomatoes and wine. Each is added progressively to the other to produce a transparent palimpsest, visible in its entirety at the end of the project. A round table at the centre symbolically represents the convivial dimension within which the project exists. Each participating group has involved artists and architects to interpret the multiple and complex declinations of food: it becomes the vehicle for examining broader issues that affect the social, political and economic spheres of the present.

The Projects

CONSORTIUN INSTABILE. POLLINARIA
Wheat is the focus for the work of the collective FutureFarmers presented by Pollinaria, a residence for artists in the Abruzzo countryside. On this occasion, MAXXI will be housing a stage of the Consortium Instabile project, realised in collaboration with Radio Papesse and devoted to the theme of rurality, presented through the medium of radio.

STRANGE FRUIT. ASPRA.MENTE
The tomato is the subject chosen by the collective Aspra.mente, which has set up a collaboration with the design duo Luigi Greco & Mattia Paco Rizzi, the artist Luigi Coppola and the activist Donato Nuzzo. The mobile kitchen they have designed, located at the centre of the space, becomes the setting for numerous activities including a training course for cooks designed for migrants (in collaboration with the Diaconia centre of Frosinone) and tasting sessions.

AUSPICIO. INTERFERENZE
Wine is taken as a central narrative element in territorial storytelling in the intervention proposed by the Interferenze group. The installation by the artistic duo composed of Enrico Ascoli and Hilario Isola presents the process of fermentation of the must, exploring its rarefied sonic dimension.

Via Borghesiana Philippe Vasset 2015

1 – Si j’étais de Borghesiana, je saurais qui a construit mon logement, et comment, et pourquoi. Mais je ne suis pas d’ici : j’habite un immeuble construit par d’autres. Je ne sais même pas qui.

2 – Si j’étais de Borghesiana, je me souviendrait de l’ouverture de ma rue, peut-être même aurais-je contribué à choisir son nom. Mais je ne suis pas d’ici : ma rue n’a pas d’histoire, et porte un nom qui m’est indifférent.

3 – Si j’étais de Borghesiana, je saurais que les trottoirs ne sont pas éternels : je les aurais vu naître, vieillir et mourir. Mais je ne suis pas de Borghesiana : le bitume a pour moi la fixité de la glace.

4 – If I were from Borghesiana, I would know my neighbours and their family. We would neither be friends, nor strangers, we’d be partners: sailors in the same boat. But I’m not from Borghesiana: a woman died in my building last month, I had never met her.

5 – If I were from Borghesiana, I would have built my neighbourhood parish with collected wood. But I’m not from Borghesiana: my local church looks like a derelict museum, and it’s always empty.

6 – If I were from Borghesiana, I would never use the word “suburbs”: it would be meaningless. There would be no periphery, and no center. But I’m not from Borghesiana, and I do say “suburbs”. I use to mean “over there”, where “they” live.

7 – Si j’étais de Borghesiana, je ne ferais jamais de faire-part. J’annoncerais les grands évènements, les morts et les mariages, par le biais d’affiches collés sur les murs. Mais je ne suis pas de Borghesiana : les seuls posters que je vois vantent des marques de parfums et de cosmétiques.

8 – Si j’étais de Borghesiana, personne ne connaîtrait mon quartier. Il faudrait à chaque fois expliquer, montrer sur la carte et donner des noms de lieux. Mais je suis pas de Borghesiana : mon quartier, tout le monde le connaît, même ceux qui n’y habitent pas. J’habite le lieux le plus balisé du monde. Peut-il encore s’y passer quelque chose ?

9 – Si j’étais de Borghesiana, je me fierais plus au gens qu’au GPS. Mais je suis pas de Borghesiana, et la voix de mon tableau de bord est mon seul guide. Quand mon GPS ne trouve pas une adresse, cela veut dire qu’elle n’existe pas.

10 – Si j’étais de Borghesiana, l’espace ne serait pas plein : il y aurait des champs au milieu des quartiers, et de grands terrains vagues entre les maisons. Mais je suis pas de Borghesiana : chez moi, rien n’est vague, immeubles et maisons s’emboîtent comme les pièces d’un jeu de construction. Pas d’interstices, pas d’imprévu : tout est planifié. Certains jours, j’espère un accident.

11 – Si j’étais de Borghesiana, ma maison, comme toutes celles qui l’entourent, resteraient inachevée : un escalier s’arrêterait dans le vide, une pièce manquerait un mur. Mais je suis pas de Borghesiana : chez moi, les surfaces sont continues, les trottoirs propres, les peintures parfaites, et si quelque chose traîne dans la rue, la police vient l’ôter.

12 – Si j’étais de Borghesiana, j’aurais dû batailler des années pour faire reconnaître mes droits sur la parcelle que j’occupe. Mais je suis pas de Borghesiana : j’ai tout les droits, ou peut-être aucun, il faudrait que je vérifie.

13 – If I were from Borghesiana, I would feel closer to people from Gennevilliers, Newham and Wedding that people from Paris, London and Berlin. But I’m not from Borghesiana: to me, the city limits are a continuous blur.

14 – If I were from Borghesiana, I would grow vegetables in my backyard, and I could even raise chickens. But I’m not from Borghesiana: I buy groceries at my neighbourhood bio-market, and an apple cost as much as a book.

15 – If I were from Borghesiana, my life would be ruled by train schedules and bus routes, and the last train would hang over each night like the knife of a guillotine. But I’m not from Borghesiana: I can always go back home, whatever the time. Sometimes I wish I couldn’t.

16 – Si j’étais de Borghesiana, j’aurais dû défendre ma maison contre la municipalité et ses inspecteurs, plaider, batailler et lutter. Mais je suis pas de Borghesiana, et rien n’a jamais menacé mon logement. Il n’est pas beau, pourtant. Ni confortable.

17 – Si j’étais de Borghesiana, il y aurait des cyprès, des prés, et les Abbruzes. Mais je suis pas de Borghesiana : j’ai l’herbe et les montages en photo, dans un magazine ouvert sur ma table de nuit. Tout les week-end, je me promet d’aller y voir, mais je ne le fait jamais.

18 – Si j’étais de Borghesiana, le sol serait inégal. Partout, des creux et des bosses, obligeant les voitures à rouler au pas. Mais je suis pas de Borghesiana : chez moi, les routes sont planes, et les pentes douces. On glisse sans effort sur les trottoirs, comme dans les tableaux successifs d’un jeu vidéo.

19 – Si j’étais de Borghesiana, j’aurais non seulement dû construire ma maison, mais aussi l’aire de jeux pour mes enfants, et même le terrain de foot du dimanche. Mais je suis pas de Borghesiana : mes enfants dévalent des toboggans signés par des artistes dans des parcs glacés de courants d’airs.

20 – Si j’étais de Borghesiana, il n’y aurait qu’un seul endroit où je verrais des gens d’autres quartiers : à l’hypermarché, là où toute la ville fait provision de bouteilles d’eau, de couches et de céréales. Mais je suis pas de Borghesiana : le seul endroit où je croise les gens de la périphérie, c’est dans l’hypermarchés où je vais chaque mois remplir ma voiture d’huile, de pâte et de lait.

21 – Si j’étais de Borghesiana, il n’y aurait pas d’harmonie : les maisons à un étage côtoieraient les résidences, et les garages empiéteraient sur les potagers. Mais je suis pas de Borghesiana : là où je vis, le moindre mètre carré a été pensé par trois architectes et deux urbanistes. Le paysage n’y est pas plus harmonieux pour autant.

22 – If I were from Borghesiana, I would love to make people believe that my streets have no name, like in the ridiculous U2 song. I would find it amusing that people would be so gullible. But I’m not from Borghesiana and I believe that story. I could believe any tale about the outer suburbs: I’ve never been there.

23 – If I were from Borghesiana, there would be no theatre, no cinemas, and few cafés. Everything would happen right in people’s home, or at church. But I’m not from Borghesiana: there are ten restaurants and two museums right around where I live. I have the membership card, but it’s been punched only once.

24 – If I were from Borghesiana, stream and waterways would overflow with trash. There would be no pools and no fountains, only puddles. But I’m not from Borghesiana: I jog along the river that goes through the city center. There are benches and swindles on the banks, but you can’t touch the water.

25 – Si j’étais de Borghesiana, j’habiterais entre la ville et la campagne, sans bénéficier d’aucun avantages des deux situations. Mais je suis pas de Borghesiana : je suis un urbain qui se voudrait campagnard, qui cultive son jardin de quartier entre deux parking et fait pousser de l’herbe sur son petit balcon.

26 – Si j’étais de Borghesiana, aucune parcelle ne serait laissée à l’abandon : chaque champs, le moindre jardin, serait clôturé, de peur qu’on ne l’annexe. Mais je suis pas de Borghesiana : les rues, les parcs, les jardins restent grand ouverts. Et les caméras veille.

27 – Si j’étais de Borghesiana, mon quartier communiquerait obscurément, presque souterrainement, avec d’autres quartiers similaires à travers le monde. Car les villes communiquent par leurs marges. Mais je suis pas de Borghesiana : je reste figé dans mon immobilité de carte postale.

ISOLA. Fight-Specific Isola

Fight-Specific Isola by Isola Art Center describes a neo-liberal Italian story, a battle of our times, in which the protagonists and the warriors are the inhabitants of Milan’s Isola quarter and the artists of the Isola Art Center.

This thirteen-year struggle and the eventual victory in the defence and reappropriation of public space against speculative building and gentrification is recounted through a photographic blow-up by Paola Di Bello portraying all the activists during the first anniversary of Isola Pepe Verde, a communal and self-run garden created in an abandoned former building materials depot. The exhibition also features the book Fight-Specific Isola, the screen prints by Lab Fight-Specific and three videos showing the changes to the quarter’s urban landscape.

Isola Art Center is an open platform for experimentation in contemporary art located in Milan’s Isola quarter that brings together Italian and international artists, critics and curators, artists’ collectives, activists, architects, researchers and students. Isola Art Center has worked for years in harmony with the local associations.

CURA. Dreams That Money Can’t Buy

With Dreams That Money Can’t Buy CURA. presents the realisation of a shared dream in which a group of artists works to create an encyclopaedic iconographical dictionary. A collage wall with printed images and videos that synthesizes the tension between eye and spectator, between surface and collage, between the two-dimensionality of the support and the three-dimensionality of the space, but also between image, value, object and presence-absence.

Founded in 2009 by Ilaria Marotta and Andrea Baccin, CURA. is a mobile and propulsive platform devoted to exchange and dialogue among critical voices, contemporary artistic production and collaboration with institutional and independent groups.

SMU-RESEARCH – PHILIPPE VASSET Informal Paths

The project Informal Paths originates from the encounter between SMU-research and the French writer Philippe Vasset, now living in the French Academy at Villa Medici.

The pivotal element of their collaboration is the complex reality lying beneath Valle Borghesiana: this toponimo of Rome, starting point of the group’s research, exemplifies in a paradigmatic manner the territorial self-planning and self-management
processes affecting many territories of Italy, where unauthorized development is the normalcy.

The exhibition presents an extract of the work done by the group based on a tight relationship with the neighbourhood’s citizens.
Vasset’s first-person narrative acts as counterbalance to SMU-research work, and it invades the gallery both in its immaterial dimension – through the voice which permeates the space – and in its physical dimension – through pieces of writing printed on the walls.

Informal Paths also include the cycle Public Speech which, on a weekly basis, “activates” the gallery space with Narratives, Visions and Self-organizations. Films of all meetings with artists, activists, critics and intellectuals will be available to the public in the exhibition spaces for the whole duration of the exhibition.