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Môtiers 2021 Art en plein air Open from 20th June - 20th Sept. 2021

https://artmotiers.ch/fr/presentation

John Armleder et Olivier Mosset  -  Ben  -  Beni Bischof  - Timothée Calame  - les Frères Chapuisat   -  Claudia Comte  -  Jonathan Delachaux et Zoé Cappon  - Chloé Delarue  - Emilie Ding  - Olivier Estoppey  - Marco Fedele di Catrano  - Mireille Fulpius  - Gabriele Garavaglia  - Jean-Pierre Gerber  - Catherine Gfeller - Christian Gonzenbach  - Haus am Gern - Simone Holliger  - François Jaques  - Alexandre Joly  - Florence Jung  - Judith Kakon  - Georg Keller  et Zofia Kwasieborska  - Jan Kiefer  -  Martial Leiter  -  Miriam Laura Leonardi  -  Urs Lüthi  -  Marta Margnetti  - Jon Merz  - Val Minnig  -  Simon Paccaud et Morgane Erpen  - Gil Pellaton  -  Gina Proenza  - Reto Pulfer - Sabrina Röthlisberger   - Denis Roueche  -   Rebecca Sauvin   -  Denis  Savary  - Roman Signer  - Rafal Skoczek  - Smallville - Ivo Soldini  - Raphael Stucky  - Grégory Sugnaux  - Urs Twellmann  - Baker Wardlaw  - Markus Weiss

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Laura Grisi The Measuring of Time

5th June, 3 - 6 PM - December 2021 | Muzeum Susch, Svizzera

https://www.muzeumsusch.ch/en/1364/Laura-Grisi-The-Measuring-of-Time

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Luca Maria Patella. Fotografia & extra media utile ti sia!

A cura di Massimo Bignardi Dal 18 giugno al 22 agosto 2021

FMAV- FONDAZIONE MODENA ARTI VISIVE Palazzina dei Giardini, Corso Cavour 2, Modena

https://www.fmav.org/mostre-e-attivita/mostre/luca-maria-patella-fotografia-and-extra-media-utile-ti-sia/

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Sonora Desert di Muta Imago con musiche di Alvin Curran

nell’ambito del Romaeuropa Festival 2021

2 o 3 spettacoli ogni sera dal 10 al 20 giugno

al Teatro India

Lungotevere Vittorio Gassman, 1, Roma

informazioni e biglietti (€10):

https://romaeuropa.net/festival-2021/sonora-desert/

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OTO LIVE | JURCZOK 1001, 11 June 2021, La Voirie, Biel/Bienne | Paloma Ayala performance gallery

https://oto.museum/

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YONA FRIEDMAN — THE MOBILE EXHIBITION

Frac Grand Large — Hauts-de-France | 10.04.2021 — 31.12.2021

https://www.fracgrandlarge-hdf.fr/en/expositions/yona-friedman-the-mobile-exhibition/

DUNKIRK / MAUBEUGE / BEAUVAIS AND AMIENS

CNEAI Collection = on deposit at the Frac Grand Large — Hauts-de-France Based on an idea by: Sylvie Boulanger, Keren Detton, Lucy Hofbauer With special thanks to Marianne Friedman-Polonsky.

“At the present time we build too much. Earth is over built, earth is over planned, earth is over farmed. This does not mean that we don’t need architects, planners and farmers but we have to change rules.” Yona Friedman

LIFE AND WORK IN MOVEMENT

The architecture of survival provides food for thought to Yona Friedman on our fundamental needs in an ecosystem subjected to the rarefaction of resources. Born in 1923 in Hungary, he had started studying architecture in Budapest when WWII erupted. As a refugee in Romania, he lived in camps for the displaced before finally settling in Israel where he lived in a kibbutz and returned to architecture. It was in these conditions that he developed his original approach to habitat based on user experiences. In 1957, he founded the Mobile Architecture Study Group (Groupe d’Étude d’Architecture Mobile – GEAM) and promoted the use of flexible structures made of prefabricated elements. His ideas caught the attention of leading figures including Le Corbusier and Jean Prouvé, who invited him to move to France. From then on he relentlessly transmitted his ideas throughout the most renowned universities in both Europe and the United States and wrote profusely, publishing over 500 articles and books.

THE MOBILE EXHIBITION, ARCHITECTURE AND LIFE IN COMMON

The title of this exhibition pays tribute to his major work L’Architecture mobile (Mobile Architecture, 1958), in which Friedman develops his Spatial-City ideas. He imagines modular living spaces that evolve in function of needs that change over time. Since “human society cannot be planned”, Friedman recommends just allowing its occupants the freedom of changing their habitat. Raised constructions play in favour of urban agriculture and account for demographic evolutions as well as limited resources. These ideas were embodied in a multitude of models and unique drawings, which reveal a creative process based on savings, recycling and improvisation.

THE POWER OF IMAGES AND SYMBOLS

More pragmatic than utopian, Yona Friedman was a man of dialogue and transmission; he developed a universal language using easily recognisable pictograms. His cartoon-like “handbooks” on housing, health, nutrition, urban environments and social structures were widely distributed in the scope of his work for UNESCO in the 1970s. They remain a powerful means to convey his positive humanistic ideas. Through his use of the slide-show and a few simple stick figures, complex logistics and networks can be easily grasped in a dynamic and playful manner, underscoring the difficulties humans face when communicating.

Painted on the floor of the exhibition space are pictograms taken from his Dictionary (to be completed by the reader). Friedman chose topics (“communication”, “group”, “improvisation”, etc.) and linked them to image-words. However, when asked how he would illustrate the concept of “freedom”, he responded: “Freedom on its own doesn’t mean anything. It can’t be drawn. One can be free to … move about… speak… eat or work. I can draw that.”[1] The Mobile Exhibition invites each of us to repossess the meaning behind words, to place them together and in relation to each other. Yona Friedman also created an imaginary dreamlike universe from which his drawing La Licorne (The Unicorn) emerged. A poetic way of sharing his dreams, he drew inspiration from African, Indian and Native American tales and symbols as well as from his own personal mythologies.

[1] Yona Friedman in Blv. Garibaldi, après éditions/CNAP, 2014

FLOOR DRAWING IN THE BELVÉDÈRE (5TH FLOOR): “PICTOGRAMS”

« When I say a word, I don’t know what the other person understands. When I show an image, we understand the same thing. »

These words by Yona Friedman perfectly sum up one of his feature productions: the invention of a new form of language. In 1974, Friedman started the project of his life, the creation and publication of a new type of writing using pictograms. His end goal was to create a universal communication system.

This new glossary was continually enhanced and published in the form of manuals, a type of dictionary that, in the scope of Friedman’s work as an information officer, was distributed by UNESCO in the 1970s. Reminiscent of hieroglyphs from ancient Egyptian or Pre-Columbian civilisations, the corpus created by Friedman is based on drawings and representations of concrete actions.

Each concept thus takes immediate shape in a form that anyone can easily recognise, far from the abstraction of current language forms, of which Friedman was particularly wary. His pictograms constitute a true melting pot in which art and communication fuse together. Each idea becomes an artistic expression in its own right; its grand simplicity allows each and everyone to claim it as their own.

Through this utopian ideal of language, Friedman sought above all to renew connections and create a new form of exchange. The ultimate goal for him was to attain what he saw as a fundamental right: the right to understand, which he would have liked added to the list of universal human rights.

FLOOR DRAWING IN HALLE AP2: “THE UNICORN”

The Unicorn is a monumental work of art designed by the urban planner, architect and artist Yona Friedman.

Along side his numerous works from the 1960s, touching on urban planning as well as a novel form of language, Friedman also set about constructing new myths using cut-up coloured paper. Initially designed to decorate his Parisian apartment, this paper world took over his successive living quarters and ended in the production of one of his major works.

Inspired by the stories of One Thousand and One Nights and traditional African tales as well as Indian painting, the myth conjured up by Yona Friedman depicts an enchanting vision of the world, fostered by his theories on how to live better on our planet.

The unicorn is a recurring figure in this imaginary world. Present in many European, Oriental and Asian myths, this legendary animal embodies two of the most important values for Friedman: freedom and happiness.

Unicorns become the artist’s alter-ego in the 1990s, steadily multiplying in number, reaching their height in the monumental work titled Licorne Eiffel (Eiffel Unicorn) produced on the island of Vassivière in 2009 and which has the same dimensions as the Eiffel tower. The version presented in Halle AP2 has been adapted to the gigantic dimensions of this symbol of Dunkirk heritage. Spray-painted on the floor, the drawing is, due to its size, best viewed from above.

With the support of RAJA

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Muzeum Susch | Laura Grisi. The Measuring of Time | dal 5 giugno 2021

Laura Grisi The Measuring of Time

A cura di Marco Scotini - Muzeum Susch

5 giugno – dicembre 2021

 
Muzeum Susch presenta The Measuring of Time, la prima ampia retrospettiva museale dedicata all’artista italiana Laura Grisi (1939 – 2017) dopo la sua scomparsa, realizzata in collaborazione con l’Archivio Laura Grisi di Roma e la Galleria P420 di Bologna.
Collocato in una posizione isolata e difficilmente inquadrabile in una sola tendenza degli anni Sessanta – Settanta, il lavoro di Laura Grisi appare oggi come uno dei casi più originali e personali di arte concettuale (sensoriale e mentale allo stesso tempo) e di pensiero diagrammatico, in cui la stessa riflessione prende forma sia attraverso icone che attraverso rappresentazioni visive.
All’interno di un’attività multiforme che assume quale propria basilare condizione quella del “viaggio” (dai luoghi remoti attraversati alla varietà dei media utilizzati), Laura Grisi incarna una sorta di soggetto femminile apolide e nomade che sfida le politiche dell’identità, l’univocità della rappresentazione e l’unidirezionalità del tempo.
Nata a Rodi, in Grecia, nel 1939, formatasi a Parigi e vissuta tra Roma e New York, Laura Grisi trascorre lunghi periodi della propria vita in Africa, Sud America e Polinesia: un’esperienza nelle culture extra-occidentali destinata a segnare per sempre la sua pratica, sempre più focalizzata sulla ricerca di un pensiero cosmico o una ‘scienza del concreto’ – come avrebbe detto Lévi-Strauss. Allo stesso modo, pur facendo della fotografia il linguaggio primario della propria ricerca, in seguito passa a una pittura definita “variabile” (con pannelli scorrevoli e tubi di neon), poi a delle installazioni ambientali dinamiche in cui riproduce artificialmente fenomeni naturali, fino ad approdare a una forma verbale descrittiva e al linguaggio matematico come strumento concettuale che impiega per esplorare i meccanismi della percezione e della conoscenza umana.
L’intero lavoro di Laura Grisi è uno sforzo titanico nel rendere conto dell’ampiezza, della molteplicità, della natura impercettibile così come della proliferazione senza fine di tutto il possibile, ma partendo da vincoli precisi, da gap paradossali, da limiti linguistici e semiotici, secondo un’attitudine vicina al Noveau Roman, al cinema della Nouvelle Vague e al gruppo francese Oulipo.
La tensione tra macro e microscala, tra i dati e il possibile, (la legge e il caso, l’universale e il particolare, il passato e il futuro) è messa in scena ogni volta attraverso una radicale politica dell’attenzione rivolta al minimo, al marginale, al grado zero: quattro ciottoli, il suono delle gocce d’acqua, il colore delle foglie di mango, la direzione del vento, il passaggio percettivo tra le sensazioni, i rumori prodotti dallo spostamento delle formiche sul terreno. Tale attenzione estrema è sempre l’oggetto di un rituale antropologico di cui ci sfuggono le coordinate culturali: contare granelli di sabbia, misurare la forza del vento, distillare percezioni sensoriali, rifotografare fotografie, permutare cose e oggetti, ascoltare l’inudibile. Come se l’incommensurabile fosse sempre il dato ultimo (l’esito imprevisto) di un infaticabile processo di misurazione, come se i segni e i linguaggi fossero il limite iniziale del possibile. “Il suo lavoro – come scrisse Lucy Lippard nel 1979 – sta in equilibrio tra le alternative possibili e la mancanza di alternative. Di solito sceglie il sistema permutazionale e poi accetta le sue conseguenze”.
La mostra The Measuring of Time, concepita per Muzeum Susch, è la prima ampia retrospettiva museale dedicata all’artista scomparsa nel 2017. Il titolo dell’esposizione è tratto da un film in 16mm che documenta l’artista sola su una spiaggia e impegnata in un’impresa degna di Sisifo, che apparentemente non ha fine, oltre il tempo. Insieme all’esposizione di importanti opere dagli anni Sessanta agli anni Ottanta (conservate in istituzioni pubbliche e collezioni private) e alla presentazione di documenti fondamentali della ricerca e dei viaggi dell’artista, la mostra sarà l’occasione per ricostruire i nove ambienti dedicati ai fenomeni naturali (sala della nebbia, sala della pioggia, del vento, ecc. ) e mai riallestiti dalla fine degli anni Sessanta e inizio anni Settanta, quando furono presentati per la prima volta.
La mostra sarà accompagnata da una pubblicazione sul lavoro di Laura Grisi edita da jrp|editions e sviluppata grazie alla collaborazione tra jrp|editions, Muzeum Susch e la galleria P420.
La prima monografia completa dedicata a Laura Grisi testimonia la singolarità e la visione innovativa dell'artista italiana all'interno della storia dell'arte contemporanea e raccoglie un'ampia documentazione sulla sua multiforme pratica, sulla sua ricerca e sui suoi numerosi viaggi, concentrandosi principalmente attorno agli anni '60 -'70.
La pubblicazione comprende saggi, tra gli altri, del critico e curatore italiano Marco Scotini, della storica dell'arte francese Valérie Da Costa, dello scrittore e critico Martin Herbert e della Professoressa di Studi Visivi e Ambientali dell'Università di Harvard Giuliana Bruno, oltre alla ristampa di una seminale intervista a Laura Grisi realizzata da Germano Celant nel 1990.
http://www.muzeumsusch.ch/

Per maggiori informazioni:

MUZEUM SUSCH

SURPUNT 78

CH–7542 SUSCH

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IL LIBRO DI ZERYNTHIA / THE ZERYNTHIA BOOK Accademia di Belle Arti di Roma Sabato 15 Maggio 2021 (Language: Italian)

[embed]https://hdlife.it/lbzeryaccademiaroma.mp3[/embed]
Intervengono: Maria Thereza Alves Mario Di Paolo Federico Fusi Donatella Landi Mario Pieroni Cesare Pietroiusti, Dora Stiefelmeier Modera: Cecilia Casorati  

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Môtiers 2021 Art en plein air Open from 20th June - 20th Sept. 2021

https://artmotiers.ch/fr/presentation

John Armleder et Olivier Mosset  -  Ben  -  Beni Bischof  - Timothée Calame  - les Frères Chapuisat   -  Claudia Comte  -  Jonathan Delachaux et Zoé Cappon  - Chloé Delarue  - Emilie Ding  - Olivier Estoppey  - Marco Fedele di Catrano  - Mireille Fulpius  - Gabriele Garavaglia  - Jean-Pierre Gerber  - Catherine Gfeller - Christian Gonzenbach  - Haus am Gern - Simone Holliger  - François Jaques  - Alexandre Joly  - Florence Jung  - Judith Kakon  - Georg Keller  et Zofia Kwasieborska  - Jan Kiefer  -  Martial Leiter  -  Miriam Laura Leonardi  -  Urs Lüthi  -  Marta Margnetti  - Jon Merz  - Val Minnig  -  Simon Paccaud et Morgane Erpen  - Gil Pellaton  -  Gina Proenza  - Reto Pulfer - Sabrina Röthlisberger   - Denis Roueche  -   Rebecca Sauvin   -  Denis  Savary  - Roman Signer  - Rafal Skoczek  - Smallville - Ivo Soldini  - Raphael Stucky  - Grégory Sugnaux  - Urs Twellmann  - Baker Wardlaw  - Markus Weiss

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