UNIDEE 2020 - Padlet Archive Print

Page 1

- something you will carry forward

unideeresidency.padlet.org/unidee_admin/7mdjagg32a1fbuso

if you choose you can augment / annotate this core material with supplementary digital material for the webzine only such as:

UNIDEE 2020

- images (no more than 8 please or as a linked slideshow) - audio (as soundcloud link), text (up to 500 words in PDF) - video (as youtube/vimeo link)

Embedded Practice in a Post Pandemic Future UNIDEE RESIDENCY ADMIN SEP 16, 2020 09:24AM

- links to any further material (such as your own website) etc. Please note a digital PDF 'print out' of the Padlet will be made available as

ANNOUNCEMENTS UNIDEE RESIDENCY ADMIN NOV 20, 2020 11:51AM

Final Fortnight Update Dear residents, As presented at the end of Saturday’s seminar we are now moving into the nal fortnight of the residency and so it’s a good time to give an update on where we’re at, where we’re heading and what we hope to have at by the end of our time together. Migration from Padlet (studio) to Hotglue (exhibition) It’s been great to see the way in which you have used Padlet to share the process of your action research and, in later stages, as a more direct way to connect with one another. You’ve proven it to be a very useful vessel for the journey we’ve been on and proven how an online equivalent of an open studio space can work, so thanks for all your input. Now that we’re ‘pulling in’ to the next stop on the journey (i.e the end end of this residency) it’s time to gather the material and decide what to keep for the next stage. Or to continue the studio metaphor, to distill the material for the nal display or trace of your research. We’ve decided to shift platforms for this and will be using Hotglue as a the digital space for your nal ‘trace’ (see examples at https://schooloutofschool.hotglue.me/ and https://lamusea.hotglue.me/). This gives each resident a bit more space/freedom whilst providing a consistency to the nal presentation that will also allow us to create a print souvenir publication for all the residents. We will be sending out some guidance notes on the format the nal trace will take but for now be prepared to: a) archive and save any material you want to keep from the Padlet by end of November 29th. After this date it will be archived an no longer interactive, although we keep a snapshot and PDF of it for posterity! b) start thinking about what the nal trace of your action research could be by reviewing your Padlet, re ecting on the trace you left at the end of your one-week intensive and any new/additional material generated since then. The deadline for submission of this nal trace will be end of November 29th, followed by two sessions where the material will be compiled with Eva Rowson on Monday and Tuesday afternoons; these will be livestreamed and open to observation and comment from residents. One-to-one Check-ins To aid this distillation and output of your research we’ll be offering additional one-to-one check-ins with Andy and Juan as well as the guest mentor sessions. These will be 20minute slots at which you can share some of your materials, discuss where your project is up to and think about what form a nal trace may take. They may be especially useful for residents whose projects have developed since your one-week intensive (i.e those in Weeks 1 - 5). The sign up slots for these will be sent out in a separate email but the 20minute slots times will be offered between 2 - 4pm (CET) on Weds, Thursday and Friday

‘footnotes/appendixes’ to the webzine so people who want to delve deeper into the process can access that.

Dear residents as outlined in the email sent 28/10/20: in response to the collective learning so far and the increasing travel restrictions we will be shifting focus of the residency to remote/virtual engagement for the last few weeks of the residency. We want to reassure you that Cittadellarte is ready to welcome those that are yet to have their one-week intensive with a safe, clean and comfortable environment. However there will

Please email your material to Clara at c.tosetti@cittadellarte.it by 23:59pm Sunday November 29th and remember that any attachments over 10mb will need to be via wetransfer or similar.

be a few changes as follows: Elements that will stay the same Seminars/webinars (Saturday afternoons) Sign-up One-to-Ones with mentors (Wednesday afternoons) Using Padlet for documenting self-directed Action Research updates Group Critiques for residents in one-week intensives (including handover session) Monday afternoon, Tuesday afternoon, and Sunday afternoon. Elements that will change/ or be reduced Visits and tours in Biella (normally Thurs/Fri) Informal/independent learning and action research in Biella (Monday, Thurs/Fri) Collective Installation/exhibition in Unidee Project Space corridor (SundayMonday) **We also understand that the independent Action Research conducted in your locale may shift in focus/method to adapt to your conditions**

UNIDEE RESIDENCY ADMIN NOV 22, 2020 09:21AM

Seminar with Mick Wilson 21/11/20 Documentation

Pt 1 Presentation and Q+A https://youtu.be/ABHFlDAV6kM Pt 2 Activity and Programme Update https://youtu.be/pVS1D3GXo_k

Dear residents, welcome to the Unidee 2020 Padlet. We hope you nd it an easy to use space for sharing your project and connecting with other residents. Please begin by locating your column (they are ordered left to right by date of your one-week intensive) and adding some content about yourself and your practice by Sunday 20th September. In this way we can all get a sense of who each other are, and what possible collaborations could take place prior to the residency starting. Later we can begin to use the column to give updates about our Action Research projects. Thanks!

ARCHIVE AND RESOURCES UNIDEE RESIDENCY ADMIN NOV 29, 2020 09:30AM

Final Trace Materials Submission Guidelines As you know we are coming to the end of the residency and would like to create a ‘ nal trace’ to share between ourselves and use as a starting point for future UNIDEE residencies. Based on the conversations and projects you have developed we have decided that an appropriate format for this will be a UNIDEE 2020 webzine (using ‘hotglue’ platform) and a printed zine that will come from it. For this we would like something that gives some insight into the journey you’ve been on over the course of the residency and

UNIDEE RESIDENCY ADMIN NOV 13, 2020 03:05PM

Q + A with Manuele Cecconello (Il Patto della Montagna) As part of the meetings for Week 8 we had a discussion with Manuele Cecconello director of the lm "Il Patto della Montagna". You can see the discussion here: https://youtu.be/2VVxHGxrMwg

your re ections after the initial programme questions of:

Pt 1 Presentation and Q+A https://youtu.be/mJWS3h-h8Ns

We envisage this being described through three core elements which we would like you

As per your schedule there will be the last two seminars on Sat 21st November with Mick Wilson (Hdk-Valand, University of Gothenburg) and on Sat 28th November with Eva Rowson (Bergen Kjott) both of which will aid thinking around the role of the exhibition

Pt 2 Group Activity and Final Update https://youtu.be/-0hVeSfLtVA

Refocus for Weeks 6 - 10

Pt 1 Presentation and Q+A https://youtu.be/QwgpABmq3Y0 Pt 2 Activity and Final Fortnight Update https://youtu.be/NDtzhxxZwaY

UNIDEE RESIDENCY ADMIN NOV 17, 2020 12:42PM

Final Seminars and Closing event/party

UNIDEE RESIDENCY ADMIN OCT 28, 2020 08:54AM

Seminar with with Nadia Moya & Fernando Escobar 14/11/20 Documentation

WELCOME!

‘What can we do from this place?’ ‘What future can we build together?’

share with you all, so I’m really looking forward to how together we can capture and translate the collective learning to share between ourselves and with others in the future.

UNIDEE RESIDENCY ADMIN NOV 15, 2020 10:24AM

UNIDEE RESIDENCY ADMIN SEP 16, 2020 10:17AM

Seminar with Eva Rowson 28/11/20 Documentation

I hope that’s all useful for now and we’re all feeling excited and prepared for pulling together and re ecting on the conversation we’ve been engaged in. I personally feel like it’s been a nourishing and valuable experience and one I’m privileged to have been able to

the usual Zoom link. On the Wednesday morning we will share the zine for any nal comments and amends that we can make on the Wednesday afternoon.

Elements that will see additions and substitutions Additional curator one-to-ones with groups in one-week intensive (time TBD with group) Additional Saturday seminars plus guest mentor one-to-ones (Sat Oct 31 and Sat Nov 14th) Facilitated cross-week group critiques and seminars based on shared interests (TBD by residents but likely Thursdays/Fridays) Online / virtual exhibition space for collective display of traces (to replace Padlet in latter weeks) Extended plenary seminar Sat 28th November Thanks to you all for helping us maintain the momentum of the residency despite the changeable times!

of the next two weeks.

and public presentation of process and research based (collective) projects. Plans are afoot for a nal (Zoom) gathering/social/party following the Sat 28th Seminar with details to follow soon via Orecchie!

Following submission Eva, Juan and I will compile and edit the material for the webzine. We want to make this transparent so there will be opportunities to observe and comment on this process on Monday 30th November 2 - 4pm and Tuesday 1st December 2 - 4pm at

to send by email by end of Sunday Nov 29th: 1) a snapshot of your rst Padlet update introducing yourself and the context in which you are undertaking your research (we can take this if needed) 2) the trace from your one-week intensive (we can photograph what you left if needed) 3) an image (black and white A5 300dpi jpeg) that acts as the trace/snapshot/illustration/representation of where you’re at at the end of the residency (this will also be used as the 'lead image’) plus some re ections on your journey as short responses (max 50 words each) to some or all of the following prompts (as text le or word doc): - a moment of realisation, change and/or disruption - a moment of connection - any tools / methods / resources to share - a question you are left with

UNIDEE RESIDENCY ADMIN NOV 07, 2020 07:14PM

Seminar with Gemma Medina and Alessandra Saviotti 07/11/20 Documentation

PART 1 (Presentation and Q and A)


https://youtu.be/-DGaCeXxEzw PART 2 (Breakout activity) https://youtu.be/DSkIQ-hrFlo

15 - 20 Minutes per Resident (including discussion) 'PechaKucha' style presentations of 5 - 10 slides for 1 - 2 minutes each that give a sense of: •where you are undertaking your action research and who/what you are connecting with •the question you are investigating and/or your line of inquiry •what artistic/creative methods you have been using and applying in the research •the material you have gathered so far and any learning •how you are planning to use the one-week intensive to apply/test/unpack this followed by 10 minutes group discussion with the aim of identifying next steps for the research during the one-week intensive and any opportunities for collaboration.

UNIDEE RESIDENCY ADMIN OCT 25, 2020 03:49PM

Seminar with South Square Centre 24/10/20 Documentation UNIDEE RESIDENCY ADMIN NOV 07, 2020 10:46AM

Presentation and Discussion with Let Eat Bi As part of the visits for Week 7 we had a discussion with Armona Pistoletto about the Let Eat Bi project. You can see the presentation and discussion here:

PART 1 (Presentation and Q+A) https://youtu.be/riPmoSjyH5s PART 2 (Breakout Activity and Interim Report) https://youtu.be/OK0P6K81l-w

UNIDEE RESIDENCY ADMIN OCT 11, 2020 09:59AM

Week 3 Visits In week three we had a visit to Lani cio F.lli Cerruti wool factory https://www.lani ciocerruti.com/ including a tour of the factory, and talks from their marketing representative and CEO.

UNIDEE RESIDENCY ADMIN OCT 11, 2020 09:58AM

https://youtu.be/Fe5zg8zpZUk

UNIDEE RESIDENCY ADMIN OCT 04, 2020 12:56PM

UNIDEE RESIDENCY ADMIN OCT 18, 2020 02:25PM

UNIDEE RESIDENCY ADMIN NOV 16, 2020 12:27PM

Seminar with Sandi Hilal 17/10/20 Documentation

Seminar with Visible Project 31/10/20 Documentation

PART 1 (presentations and Q+A) https://youtu.be/9ZT0lpSPEHE

Part 1 (Programme Update and Group Discussion)

PART 2 (group discussion)

https://youtu.be/230neNVj1Rk Part 2 (Presentation and Q + A)

https://youtu.be/I5L4h2PScTs

UNIDEE RESIDENCY ADMIN OCT 11, 2020 09:58AM

Seminar with In-Situ 03/10/20 Documentation PART 1 (presentations and Q+A) https://youtu.be/BRTnMJwL4eE PART 2 (group discussion) https://youtu.be/KdvYlci6b_Y

https://youtu.be/vaaMG8uBRIk

UNIDEE RESIDENCY ADMIN OCT 11, 2020 09:58AM UNIDEE RESIDENCY ADMIN OCT 18, 2020 02:23PM

UNIDEE RESIDENCY ADMIN NOV 05, 2020 04:08PM

Seminar with STEALTH.unlimited 10/10/20 Documentation

Group Critique Presentation Format Notes

PART 1 (presentations and Q+A) https://youtu.be/GfCWT_ysF6Y

As we're entering the 'convergent' phase of the residency here, for reference, is an update on the format/template we have been using for sharing the independent action research

PART 2 (group discussion)

projects:

https://youtu.be/MRRfj5GKaMU

UNIDEE RESIDENCY ADMIN OCT 04, 2020 08:37PM

Week Two Visits In week two we had two visits. The rst was to Oropa Sanctuary where Claudia Zeiske guided us to see the Church of the Black Madonna, Ex Voto, and a view over Biella from the mountains. https://www.santuariodioropa.it/en/the-sanctuary/ We also had a visit to PaceFuturo - a non-pro t organisation in Pettinengo where there director Andrea Trivero and team explained the work they do in migrant, asylum seeker


UNIDEE RESIDENCY ADMIN NOV 20, 2020 09:14AM

and refugee support. We also visited one of the apartments they look after in which the basement has been used as a 'creative box' for artistic activities with residents.

RESIDENTS WELCOME PACK the welcome pack sent to residents on 8th September 2020

https://www.pacefuturo.it/en/

Notes on Action Research and Group Critique format PDF document UNIDEE RESIDENCY ADMIN SEP 28, 2020 04:09PM

PADLET DRIVE

Plenary Seminar 26/09/20 Documentation PART 1 (presentations and panel) https://youtu.be/8INX5okh4E8 UNIDEE RESIDENCY ADMIN OCT 04, 2020 12:54PM

PART 2 (example break out rooms) https://youtu.be/Fx9JWVNakP8

UNIDEE 2020 Residents WELCOME PACK UNIDEE RESIDENCY ADMIN SEP 24, 2020 01:36PM

PDF document

Week One Visits

PADLET DRIVE

In the rst week of the residency we had two visits for the group. The rst was from Giovanni Marchi, of Marchi&Fildi where he discussed the future of textile production and the consequences of the pandemic on its Brazilian, German, Italian and Turkish companies. https://www.marchi ldi.com/ in Unidee Residency space. We also had a visit to Bonprix and a conversation with Stephan Elsner on the future of

UNIDEE RESIDENCY ADMIN SEP 16, 2020 10:18AM

PRELIMINARY INFO AND ACTIONS the letter from Andy Abbott sent to residents on 15th September 2020

commerce and smart working. https://www.bonprix.it/corporate/chi-siamo/ Check out the group's re ections in Alice, Francesca and Federico's posts.

UNIDEE RESIDENCY ADMIN SEP 24, 2020 01:50PM

UNIDEE RESIDENCY ADMIN OCT 04, 2020 12:54PM

Plenary Seminar 26/09/20 Schedule INCLUDING ZOOM LINK Unidee 2020 Preliminary Information and Actions PDF document PADLET DRIVE

UNIDEE RESIDENCY ADMIN SEP 24, 2020 12:25PM

Francesca Fiordelmondo FRANCESCA FIORDELMONDO NOV 28, 2020 03:11PM

the new "quadrilatero" of Turin I guess

Unidee 2020 Plenary Seminar Schedule PDF document UNIDEE RESIDENCY ADMIN OCT 04, 2020 12:53PM

PADLET DRIVE

UNIDEE RESIDENCY ADMIN SEP 24, 2020 01:50PM

Notes on Action Research and Group Critiques Some additional notes from Andy Abbott about the methods for the residency.


FRANCESCA FIORDELMONDO NOV 26, 2020 12:01PM

What is the value of an artwork if the collector himself doesn't remember the artist that

FRANCESCA FIORDELMONDO OCT 14, 2020 10:18AM

and speaking with people. The charm is composed of a little bell, a pvc card a colourful

A funny thing that happened recently

made it?

a little update, it's growing

leaf.

On thurdsay 12 I woke up “half blind”. I couldn't open my eyes as the pain was too much even with eyes closed. I have a condition in my left eye since this summer, and it came back all of a sudden in a more aggressive way. That day I had to walk eyes closed to the hospital trusting my boyfriend guidance, holding his arm tight. It was a long journey since during a pandemic the health beaurocracy works awfully, we changed 2 hospitals since they kept on giving us condradictory informations. ANYWAY, as weird as it sounds, what striked me most was how i kept on concentrating on the sound all around (trying not to think about the pain i was feeling) , of course i couldn't orientate myself at all, but i was almost enjoying the confusion admist the fear, trying to recreate the landscape around. In that moment i realized how much the sound matters to de ne a place. And just some days prior of this event i spoke about it with Rachel and Yuliya (on various levels). I also realized that i was working with sound since the beginning, as when i was making surveys in Biella i was recording people... Will probably keep on working about it, maybe integrating some "sentence mixing" in it. Even the installation i made in Barriera has some sound component to it as every amulet installed has a little bell on it (so that when there's wind there's a peaceful sound in the area) .

The spaces in a gallery will never be the same although there's still the need to preserve

Basically I approach people smiling underneath my face mask, and directly ask if they have

that normality that has always been. Despite it's been months since the starting of the pandemic, apparently there is the need of continuing the normality by adapting the

a signi cant word or a memory or a simbol or even a message to dedicate to the district. I indicate to them the installation going on, (meanwhile there is music playing and people

various form of society and its own structural problems.

hanging out , chilling underneath as they usually woul do). It just happens that by listening to them and speaking without recordings going on or

Another interesting topic was about the digital media language possibilities.

sheets of papers, they would make their thought run and casually telling me their life

Something that was an immediate response to the pandemic situation was to digitalize

stories, and then they leave me a word. Sometimes they want to write it themself, sometimes I do it for them. It's fascinating that many of the people i speak with are not

artworks and to put them on line as if it was the same to watch it and experience it. The digital image and the real artworks have a different language of course. Just like a

italian as the district is multicultural and yet they decide to write in italian even if they are

zoom call vs a sical conversation. So the challenge it should be to make art works that belongs to the media rather than to

themselves) . What it's missing in this installation going on is the environmental-green part i was

transport and adapt to a different reality, otherwise it's just documentation.

working originally in Biella; in this work I only ask them for a relationship between

To adapt the language to the media means to think with it and not for it.

abstract emotions and the town they live in.

We spoke of the possibilities of sound design and soundsacapes, to bring it inside/outside

So for now I'll take this as a variation of my research, as soon as this is over I will try to continue it as it was intended with all the improvements to make.

free to do it in their native language (I try to encourage them to be comfortable with

the gallery space/the district FRANCESCA FIORDELMONDO NOV 17, 2020 07:41PM

what's a post "share cropped" mentality? As i was looking at my rst padlet update I realized that there was this text missing from the rst two weeks. This was a text that i wrote/translated waaay back when my research started, I just thought to upload it here just for the sake of it, don't know if it might be interesting now.

How to collect it though? An online platform so that everyone can donate and upload it? It's not easy to catch sound and also how should the quality be? (the more the quality, the more for budget production)

FRANCESCA FIORDELMONDO OCT 11, 2020 06:15PM

a little view of the previous post... part of the installation (in progress) + Ibou, a very kind and tall guy that listen to good

Reality it is what it is, for me everything should be as simple as we perceive it...

music and basically hangs out there all the morning with his friends, just passing time, with not much to do.

So for instance a screen presentation/registration with the mouse moving around and the

It's about behaves, tradition, psychology and inherited mentality from my speci c region.

scrolling “tempo”// the air captured in the microphone it's the reality of a non perfect

--------------------

→ simple and kept real → the concrete functioning of something (is it?)

media, at the same time it's not a realistic representation of reality as we hear it.

Also i recently found this related video from a local artist and documentarist Stefano Teodori. I really like his documentaristic approach and I nd interesting the interview media since it's something I did back in Biella. The sound of their (mine) dialact is amazing, it's also a fascinated insight about magic rituals against "the envy" and superstitions. https://youtu.be/JhSLLp1AVYs

FRANCESCA FIORDELMONDO OCT 28, 2020 10:40AM

Notes and thoughts Had an interesting chat with Rachel Grant this sunday here are some thoughts and questions of this days based on what we talked about

video amuleti 0:14 video

the belonginghow does a community start and what makes them stay there? The isolation? The story?

PADLET DRIVE

The soundscape (and the hipotetical one) FRANCESCA FIORDELMONDO OCT 11, 2020 05:53PM

the idea of capturing common silences / the common noises how will that sound change in 10 years? → to make an archive vibrant and alive, to keep it going by the efforts of the interested ones (the ATLAS in Orkney reference / Speak to the earth and it will tell you by Jeremy Deller) The invisible labour made visibile / Mierle Laderman Ukeles going around shaking hands of the garbage collectors / creating a job → resourcefullness One day I woke up and found Mimma, my boyfriend mother, doing house chores with feathers on her shirt. That moring she woke up earlier than usual, gathered with her POST SHARE CROPPING MENTALITY - MENTALITA' POST MEZZADRA PDF document PADLET DRIVE

sisters in law living nearby and they casually killed some geese. Nothing strange, it's a common thing to do in the countryside, expecially for the elderly. How many people born after the 60s or the 2000s would be able to do that? This woman has some skills that not many can pull off nowadays. And what strikes me most is the consumerism inherited in the post-industrial- post sharecrop society. She buys plastic cups for guests and family members to avoid washing glasses.

FRANCESCA FIORDELMONDO NOV 04, 2020 04:44PM

Even if you only need a glass of water she will give you a plastic cup.

Meeting with Yuliya + random thoughts and even more questions

[Just a reminder that this family might be displaced because of a land ll and yet they keep on producing waste] So what's the deal between tradition of keeping animals in the countryside and buying consumable non-sustainable goods?

Had an interesting meeting with Yuliya Say on sunday :) We spoke about the relationship between the district of Barriera here in Turin and the

→ ideas of preservation

exhibition space of Associazione Barriera. We spoke about the necessity of nding a way

the land might not exist anymore, you want to preserve as it is

to let people inside a space that even by its own architecture it is kind of closed.

the NEED is around preserving

Therefore maybe it's easier to bring the artworks in the streets? The collection inside the association is vast and kept almost secret even from the eyes of the collectors. We imagined how fun it could be to bring out in the district this works of art somehow, to

if you make this archive as a cultural heritage now

make them alive for those who don't even come close to the space. This made me think of

Who/ what is missing? What i understand of it? What can i get?

the Value of the works of art, my mind started wandering and speculating. What if you

How does it operate?

what if in 10 years i come across and i nd it?

manage to bring the mona lisa outside Louvre? Would it be watched over like a movie star with security all around?

Can those Skills and resourcefullness become functional and operating in some way?

What are the legal boundaries between art and the public?

→ nd a way to keep it going and don't let it be static

FRANCESCA FIORDELMONDO OCT 11, 2020 06:08PM

What have I been actively doing... ... In the last two weeks I've been taking part of another workshop/residency called DISTRICT ARTIST in the Barriera di Milano area in Turin. It's being curated by Christian Caliandro and the original district artist Alessandro Bulgini. The aim is to interact with the space and the local community; it's not just site speci city, as it's only by understanding and by getting in touch with those who live inside a district you can make artworks for and with them. In fact, everyhing that it's made by "higher authorities" without understanding of the bottom doesn't last long (and we have seen many pratical examples around the city). A book will also take shape by our efforts, it (hopefully) will be a starting point for the minister of culture to help regenerate peripheries (with no gentri cation needed...hopefully) and to help institutionalize the artist work. This activity has some points in common in my research. We are 4 artist and we all wear a distinctive logo. This is already an interesting aspect that I was looking for, in fact during my staying in Biella while doing the interviews it was discussed if it's useful to wear or to look in a speci c manner... This sort of bib/harness (still searching for that right translation, sorry) that we are wearing identi es and defends the action taking place. I think though that a t-shirt or a hoodie or a jacket with that logo might be not only more comfortable, but also more practical to interact with people. There's people that comes to us asking if we are volunteers or part of an association, or they even avoid us thinking we're asking money or donations... So it's something that I still need to completely gure out but I'm working on it. -------------------------------Basically the rst week (of 3) we hanged out in the district, talked a lot about the project and possible artworks, casually interacting with objects in the street by writing on them, installing cardboard cats/objects in speci c sites and speaking with random people passing by. This is to help us understanding the attitude and to start getting into the action. Then the second week we started personal projects. I'm currently working on an installation nearby the central market of the district. I choosed a speci c area where people pass by or just wait for the bus or hang out with friends. In this square there is also a tensile structure with just wires, it looks very random. I decided to hang on it some sort of charms/amulets with a speci c word or thought asked to people that passed by. The main goal is to make it as full as i can by staying there

What have I been doing in Biella What follows it's a resume I wrote when I was in Biella, from the starting point to the activity taking place there (it's been corrected and updated a little in these days) . Hope it's not too long. -------------------------------------------------My research started from the rural context of my home region (Marche). Starting from a very personal and polemic point of view related on a project by the local administration for a land- ll between the hills of Recanati, home of Giacomo Leopardi. The Recanati area has a beautiful land-scape, where many families live with numerous individuals (from elderly to childrens). These people have their life revolving around nature and silence. The time is slower. The taste of the crops is fuller. The asthetic and local attitude is very typical and dif cult to describe unless you live inside it (or you do a whole anthropologic research). The project started as a documentational sort of archive, following the life of B.G. (76 years old) . This man had an incredible adventourous life. He is an unaware land artist, and is in full contact with earth. The man buildt himself the house for his family as he was a carpenter. His house is a priority 1 site for the land ll. Not a single advice from administration was given to this people, they found by chance. There is now an expensive legal battle going on, on various levels. [the personal artistic and aesthetic- archiving research is suspended until I come back to the region as I'm currently based in Turin] --------------------------------The countryside, as the mountain, is place for silence and temporal suspension. Most of the times nothing much changes. I'm searching for common links related not only to the local life and life styles or the ecological impact of our lifes on nature but also related to the temporal perception during the lockdown, and all the related aspect of it (work, free time, exploration, contemplation, re-discovery). Through interview with local people I aim to archive their experience, to have a testimony, a memory, but the main aim of the inquiry is to make them meditate about their identity in a place through dialog and guiding examples. ___________________________________ Week 1/ What I'm beginning to see is that people are not conscious about their environment. They think they are. This questions are made to let them subtly think about it. Trying to get people's thought about the environment and speci cally about the river which is central to every town but expecially here for its history (“you know it's a beautiful city not only for the view, mountains all around, but there's this massive river...”) ; then i'm trying to make people think about the pollution by bringing up the testimony of someone about it, which it's partially true:


“you know, earlier, before you, a man told me after the lockdown he started hiking and

to labor wasn't really "cutting edge". Somehow, they were ready for smart working; they

going around more and he noticed something he never seen before: a green steep area

only had to adapt to it with a small laptop investment. They also have advanced welfare

kind of hidden to the eye full of discarded stuff and waste of any kind...” The survey is intended to speak to as much population as possibile and I realize that the

policy for families and mothers. Years ago they invested in a very fast “sorter machine”, that translates to less human workforce, when asked how many people it takes to do that

inquiry can get improved by switching or speci ng some questions: for instance the

job, the man just told us the productivity was increased by 15%. It was interesting to see

elderly that don't work anymore can't answer to everything I asked. Therefore some bits

so much data, practical infos about their sustainable policies, and the point of view

need to be changed or added as spare questions, instead of being skipped.

through the corporate lens.

The outcome is an archive of a range of opinions, audio recordings (if there is chance), sheets of paper handwritten by me in the front and by the interviewees on the back,

“A slap of reality”. “That's what corona does, it makes you undestand what was present before”.

pictures of it, and most of all the experience I'm leaving to them. The main goal is to in uence and leave a trace in their memory about the environment they live in. I realize it might not happen, maybe they will just forget about it in a minute or by the end of the day but It's worth trying... I guess

Here's my portfolio if anyone is interested https://francesca ordelmo.wixsite.com/portfolio

grazie @federicopozuelo for the sci- / fantasy version of Biella re: Creators: The Past. Not far off to these reality-is-stranger-than- ction times ;)

Federico Pozuelo FEDERICO POZUELO NOV 27, 2020 02:57PM

Nichelino (TO) Hidden gra ti of Potere Operaio. Archeology of the 70´s

ALICE PEDROLETTI SEP 24, 2020 10:28AM FEDERICO POZUELO NOV 27, 2020 02:56PM

William Shatner - Space Oddity by halfabeet YOUTUBE

FEDERICO POZUELO OCT 29, 2020 05:26PM

During the last weeks I have been reading about Potere Operaio and Tronti´s operaist theory. It could be considered a way of social engaged art practice. Will send a report next week.

research interview variations and eng version PDF document PADLET DRIVE

FEDERICO POZUELO NOV 27, 2020 02:55PM FEDERICO POZUELO OCT 29, 2020 05:20PM

Hi @Anabelle Craven Jones! The lm is called Creators: The past! :D

FRANCESCA FIORDELMONDO SEP 25, 2020 06:12PM

ANNABELLE CRAVEN-JONES OCT 24, 2020 11:47AM

hi federico :) just read on ur notes that u found a reference to a sci-

lm in Biella! But I

couldnt get the link to work >>>> pls could u possibly re-send or give me the lm title or key terms ?? grazie Ax

FEDERICO POZUELO OCT 09, 2020 10:14AM

Hi everybody! I´ve been reading a bit about labour this week. I found this text quite interesting, specially after our talk with BonPrix

FRANCESCA FIORDELMONDO SEP 19, 2020 02:09PM

Hello Everyone! I'm an italian artist, currently based in Turin, I'm attending the masters degree in sculpture. I have always been interested in political issues, therefore the work has been soaked by a

https://www.versobooks.com/blogs/2774-fredric-jameson-wal-mart-as-utopia

polemic point of view... since I started doing everything I do! Coming from a very traditional and conservative family background from central Italy, I FRANCESCA FIORDELMONDO SEP 24, 2020 01:35PM

MEETINGS FIRST WEEK!

started working from a contemporary feminist perspective. Now I am more interested in social general aspects, looking for common grounds between gender and personal,

https://www.youtube.com/watch? v=oH4b4MaJ9cE&ab_channel=atlasinternational

political, poetic sphere seeking a universality that leads to a nal condition in which each

This week we had two meetings:

of us is on the same level. I am also researching meta-aspects of the "work world" itself, as

The rst one with Giovanni Marchi from Marchi & Fildi S.p.A, a well-known family

I have always worked to be indipendent from my family to keep my studies. Beside art, I

company producing yarns. The second meeting was with the director of BonPrix, an ecommerce based in Italy that operates in different countries.

mostly worked as a waitress (now currently as a seller), which gave me most ispiration for recent works. Another project I'm working on, is to translate the longing I have for my

It was interesting to see these two company models.

home, for another kind of living where time is suspended, I would like to narrate the visual

The rst one had a previous classical approach (coming from a family company) to textile

and cultural pov of central Italy. There is a typical "post agricultural" esthetic, made and

work (yarn making) . They're interested in education for creating new jobs with a local

lived by elderly and younger generations. This research aims to document that with various medias before it disappears, both for general renovations and for more broad

TechUniversity, as they're trying to increase young people workforce in Biella, although much of their labour comes from other countries where the work force is more

FEDERICO POZUELO SEP 26, 2020 09:02PM

Take a look to this lm shot in Biella. Sci- stuff. Maybe could be interesting to re ect on new narratives about the place.

ALICE PEDROLETTI SEP 25, 2020 08:08PM

Ownership :)

political issues involved.

affordable... They have been pioneers in environmental solutions. They created a special ber that saves up to 60% of water in the making (ECOTEC) They are working to be zero waste in less than 15 years, researching how to use the uffs and little waste they have to become zero waste. Contrary to what you usually might think of a textile industry, they use water but they don't pollute it with chemicals. “At the end of the day” they don't have

The work I do, from performance to sculpture, has always been personal reasearch reaching out to common sense of people outside. I'm interested in community phenomenology but besides a couple of collective immersive

responsibilities if their suppliers use chemicals though, as they're a much bigger industry

performances I took part of, I never had the chance of working in group, and to create

MIRIAM REJAS DEL PINO NOV 11, 2020 04:07PM

and they can't compete on that.

something with others.

Hi Federico! Excuse me very much, I've lost your message between other things. I would really appreciate if you could share with me some of your considerations.

On the other hand, the conversation with BonPrix was more "silicon-valley oriented". They

I'm looking forward for creating communications and links not only to update my research or experience, but to understand and contribute to a method of creation. It

see a different future, where everything would become digital. They considered COVID-19

might sound naive, but I like to listen and to care for people, I really believe in what

something that has triggered a shift in the market, which will help to become digitally

Simone Weil said, “attention is the rarest and purest form of generosity”. Understanding

based, described by them as a sort of TURBO DIGITALIZATION. The pandemic pushed

and hearing might be a starting point for the whole project.

my email is miriamrejasdelpino@gmail.com Hope to hear from you soon

something already happening, and we have to accept and adapt to change. Their approach ANNABELLE CRAVEN-JONES NOV 06, 2020 11:34PM


the legal possibilities of liberating from its copyrights the Istituto Luce records shot

ALICE PEDROLETTI NOV 29, 2020 10:19PM

during the fascist period in Carrara.

Ciao.

In Turin, I am still developing my research focusing on the social struggles in the seventies related to the post-fordist processes. On the other hand, I study the cultural strategies generated in that decade as a way to nd strategies applicable to the actual moment. With this in mind, my projects follow to show underrepresented realities and create “counter-power weapons” through art that changes the biased historical and social constructs that obscure our vision of the world. To see a bit more of my work: www.federicopozuelo.com See you soon in the physical or digital realm!

Some last thoughts are about the kind of Community I can, or we can refer to in the future. This historical moment is essential to understand what tools to create and to leave for the tomorrow-morrow. We are learning to interact with each other in peculiar conditions. They could be worse than these in the future, let's also say so: it is a possibility. So, what to do? How to learn? How to teach? How to think? It isn't by accident for me to chose not to get in touch with anyone, but to understand how to get in touch with someone. It is not only the lockdown condition that prevents me but also and above all a personal condition towards the work itself, which has been suffering for months even more extreme constraints than those I feel as a person. A bit as if my work has needs that as a human being I do not think I have. Those needs are actually more important to me, but not fundamental if compared to the general good of the Community in which I live. I don't feel art as fundamental right now, but as excluded, and this is what frightens and worries me. Maybe it is an Italian problem, it's perhaps a matter of political choices that we have in common in some ways. But a society in which culture is accessory and art workers are tools to be activated and deactivated without real value, like pawns, is a society destined to fail. Art is a precious gift, the process of making art an essential gesture and a responsibility for all of us. We should value and build art-communities again, believe in art movements as changes, go back to being critical to learn how to protect ourselves. Again: it is no coincidence that I chose not to interact directly in my project, but to search remotely in people's homes and habits; or to observe for hours the water owing. It is no coincidence for me to try to imagine the future and build stories, tools and possibilities to activate. They are all forms of investigation, contemplation and attention. For many years now I feel that the best artistic practice is to look at what is not yet anthropised, or - as Sandi said during her seminar - where someone mistakenly thinks that "there is nothing". It is in that nothing that I can rest my mind, live my daily reverie and activate myself. Observing is de nitely an action.

PROM_ISSUE_1 PDF document

Thank you all for these months. Ciao.

PADLET DRIVE ALICE PEDROLETTI NOV 29, 2020 10:19PM FRANCESCA FIORDELMONDO SEP 24, 2020 01:41PM

FEDERICO POZUELO SEP 24, 2020 09:49AM

MEETINGS FIRST WEEK! This week we had two meetings: The rst one with Giovanni Marchi from Marchi & Fildi S.p.A, a well-known family company producing yarns. The second meeting was with the director of BuonPrix, ecommerce based in Italy that operates in different countries.

How to engage next?

Alice Pedroletti ALICE PEDROLETTI NOV 29, 2020 10:19PM

Where to live next?

It was interesting to see these two models of the company. The rst one had a classical approach with an interest in education and the creation of new jobs. On the other hand, the conversation with BuonPrix was more "silicon-valley oriented". They were convinced that everything should become digital. They considered COVID-19 something that has triggered a shift in the market and that will help to become digitally based. Described by them as a sort of TURBO DIGITALIZATION. Their approach to labour wasn´t really "cutting edge". Nothing interesting about automation or the creation of new jobs.

FRANCESCA FIORDELMONDO SEP 24, 2020 01:44PM

Sorry everyone, it's only in italian BUT this is an interesting pov by italian actor and intellectual Carmelo Bene about work, existence, meaning and democracy. Federico's research made me think of this. Might be interesting not only for him but for everyone. If anyone has questions about it please write me. https://youtu.be/I3kNUSisvwU https://youtu.be/tbDnr6PuCrg

FEDERICO POZUELO SEP 19, 2020 12:56PM

Hi everybody! My name is Federico and I am an artist and researcher from Madrid based in Turin. My practice seeks to connect three elements to the effects of capitalism: the social construction of European identities, the existence of underrepresented regional cultures, and the implications for local ecosystems. During the past four years, I have worked with people in other elds and groups of political action, establishing long lasting relations that have resulted in artistic and research projects. In 2017, I started the collective Prom with three other people based around the continent.

ALICE PEDROLETTI SEP 24, 2020 10:17AM

Based on some of these contexts, we have explored the political implications of art in the public sphere and the possibilities of collectivizing artistic practice. Our activity has included audiovisual and editorial productions.(attached below!) During the last years, I have developed several projects related to the multiple repercussions of technological development in Northern Italy (Carrara - Turin). To do so, I have based my investigations on three points: (i) researching in self-managed archives, (ii) engaging with different groups of political action, (iii) collaborating with anthropologists and people from other elds. The results of these studies pursued an emphasis in different areas. ALICE PEDROLETTI NOV 29, 2020 07:59PM

In Carrara, I concentrate on the impact of technology in the identity of the quarrymen; the history of the anarchist groups and the consequences of the quarry enclosures, and

Last video call about archives, thoughts to archive, way of archiving them, the role of the archive...


Free to join the call to chat about some thoughts. Let's nd a day during the week as some

ALICE PEDROLETTI NOV 28, 2020 07:29PM

of us can't make it tonight. We might use the usual link. An email will come!

2000Step ALICE PEDROLETTI NOV 28, 2020 07:24PM

0:30 video PADLET DRIVE

ALICE PEDROLETTI NOV 28, 2020 07:27PM

ALICE PEDROLETTI NOV 29, 2020 08:00PM

19 / A - One of the results With my friend Mirko Lumina, we have done some test with Machine Learning (GAN), as mentioned in some previous posts. This is the rst result. We can teach "her" about

ALICE PEDROLETTI NOV 29, 2020 08:00PM

Contacts

images following a concept and a storytelling order as the one I've done. In ML (GAN)

Hi everyone. Here is the shared les four our contacts:

usually, photos are well de ned and categorised by topics, that means you will not mix

https://docs.google.com/spreadsheets/d/1YAaeX3B9maY9uhD-

them. I wanted to keep the uidity of the meaning outside-inside, today-tomorrow, city-

O jwM7XWVbC9e5pqJ4q6QQBMS090/edit?usp=sharing

nature with the interaction between me and my art practice and the machine practice. To do so, the machine has to learn in a different way to give me back what I want. The meaning of 'shifting to the digital' has to be a tool, not a condition that forces me to

ALICE PEDROLETTI NOV 29, 2020 08:00PM

change. Adapting has to be regulated and balanced between needs and action. I learn, she

19 / B - Future homes

learns. That's the deal.

The ML also generates new images, stills from the video. She creates new houses somehow. Mixing architecture and nature photos - as I did - allow me to have back different and possible future ideas of how homes could be. Visions of an organic

ALICE PEDROLETTI NOV 29, 2020 08:00PM

architecture.

Ready to shake!

Entrances to a new dimension. I post some of them.

ALICE PEDROLETTI NOV 28, 2020 07:16PM ALICE PEDROLETTI NOV 28, 2020 07:25PM

19 / A She was trained for 1hr.

ALICE PEDROLETTI NOV 29, 2020 08:00PM

18 / A - Tomorrow-morrow. Some nal thoughts (?) or the beginning of them. Following here some re ections made during/after meeting with Alessandra Saviotti, Sandi Hilal, Andy and some of you. The challenge for those who work with Archiving as an artistic practice is condensing things while keeping and allowing a comprehensive reading. There is also a re ection on the Archive and the Collection as colonial tools to build a speci c historical narrative. In my practice, I always try to deactivate it, but it is right to remember it. Because every artistic practice is a possible political action that can impact the society in which we live.


I asked myself (and I ask the same questions to you):

detriments of any competitor specie [...]"

- how to transform my practice from being analogical to digital, remaining faithful to my

Will we be living together to ght this possibility?

theoretical approach, and the "acting" involved in the eldwork

Will we escape from cities in real life or in a VR one sitting comfortably on the sofa? Will this be the fate of our future action research projects?

- what eldwork means in the digital realm, and I speculated about the space for action and activation: rethinking it is essential ALICE PEDROLETTI NOV 29, 2020 10:12PM

- how to approach the digital archive, trying to consider it "analogical"

17 - ADVs for a post pandemic future?

- I questioned the meaning of "embedded practice" in connection with the present time: the pandemic makes it impossible to carry out my work. Am I ready? What does it mean to be

Perhaps our houses of the future will not have real windows. Outside we will see a still and interchangeable image like in this ADV picture. An American city from the windows of

prepared?

Milan. Fake (or real?) potted plants inside the house. A space-time capsule in which to live and work. I wonder if augmented reality could be a solution to escape from a hypothetical

- can a 'way of working' be born not as an alternative but solely as a new approach? Maybe

alienating post-pandemic future, made of continuous lockdowns and the impossibility of

this is how new artistic practices come to life?

interaction.

- so, what would I call my new artistic practice born during the pandemic? - why do we need to categorize something free? Isn't it like self-instrumentalizing? - what social engagement means if there is no interaction between the artist and the Community? How can I interact remotely, and does it make sense to do so?

ALICE PEDROLETTI NOV 29, 2020 08:01PM

<3 Memories...

I'm more interested in creating tools for the future; for me, the present is not ready: the

I found this snapshots in my computer ( rst seminar tests and rst traces on the wall!): I

'change' is still happening, we are not post-pandemic yet.

hope we'll be spending a weekend in Biella next year, to nally gather together.

- what it means to develop tools for the future --> Ref. Training for the not yet - How and what to design for "tomorrow-morrow" and what will the future time be like?

ALICE PEDROLETTI NOV 29, 2020 08:01PM

--> Ref. Mad Max

14 / D - Milan (Machine Learning) So: the machine learns only from squared images. I'm "color-concept" editing Milan

- archives for the future: real, virtual spaces or only tools to be activated if necessary

pictures for the collective house the ML will imagine for me. After that I will unite them with the Biella ones and make them squared. Kind of curious to see what "she" will do.

- meaning of conservation and care, sharing and exchanging

ALICE PEDROLETTI NOV 26, 2020 02:22PM

- what to take with me on a trip without date of departure, destination, and purpose? - most of all: why travel again when you can go anywhere while staying at home?

ALICE PEDROLETTI NOV 29, 2020 08:01PM

18 / C - Tomorrow-morrow Always a great movie. Let's try to not get to this kind of future. Or maybe yes?

ALICE PEDROLETTI NOV 29, 2020 08:01PM

They de nitely had the 'sense of Community.'

ALICE PEDROLETTI NOV 26, 2020 02:37PM

MAD MAX BEYOND THUNDERDOME-CAPTAIN WALKER, TOMORROW-MORROW LAND .

ALICE PEDROLETTI NOV 29, 2020 08:01PM

4:07 video

18 / B - Organic Architecture. Ecosystem, sustainability, interdependence.

PADLET DRIVE

Assuming that we will not move or travel as before - more or less - the home concept must be rethought—places in which to live and work, in which to rethink yourself and

ALICE PEDROLETTI NOV 29, 2020 08:01PM

your priorities. Homes as new spaces: compared to before they must be organic, linked

Gif preview!

to our well-being.

I edited 946 photos. Here is a rst reading to approach the topic:

A small Archive of possible houses to "be uni ed" in one hypothetical collective house. If you like the 'gif' feel free to download it!

--> Ref. Frank Lloyd Wright ALICE PEDROLETTI NOV 29, 2020 08:01PM

! Fun fact !

In my general art research and practice I speculate on how we will "program" our future houses. Whether the real estate market will continue to grow and the supply will change

The disinfectant enters the scene as a new actor. A well-established presence - even if I

in response to the pandemic change, or whether - unlike what happens in Nature - it will

found only one photo like this.

continue to act as a 'monoculture,' going so far as to eliminate all the other organisms of the same ecosystem. "[...] the notion of interdependence that is central to every ecosystem, because within an ecosystem all components survive and thrive only because every component survives and thrives. The dominance of any single component capable of monopolizing resources needed by others spells the death of any ecosystem. It is for this reason that nature abhors monocultures—the dominance of a single species consuming all available resources to the


I was in a research creation workshop earlier this week organized by my university and

EDDIE JAMES NOV 20, 2020 02:58AM

the theme of housing insecurity came up a lot, especially for those who require studio

Yes yes!

space and have been able to attain it thanks to pure luck and what happens when landlords choose to change their practices surrounding renting and organization of space.

Alice yes let’s do it after the residency. I would love that!

A particular consideration was thinking of homes and other non-human creatures that share our homes (i.e. mice) as "live audiences" in cases when performance/visual arts material is left unattended for long periods of time during the pandemic itself. A question I often ask myself, who do I want to make homes with? Does this include the unwanted/unintended visitors such as pests like mice and insects, or only that which we commonly consider aesthetically poignant or otherwise companionate, like owering

ALICE PEDROLETTI NOV 19, 2020 06:25PM

15 / A Model from an online real estate AD selling the dream of a house in the nature.

plants and pets?

ALICE PEDROLETTI NOV 29, 2020 08:10PM

16 / B - Personal log (considerations about) Scrolling the announcements, I can only say It is incredibly unfair and scary what I'm looking at. In Biella, prices are low, but at the same time, compared to the quality of life we all should have, they aren't so low at all. The ADVs I'm looking at have a different range of consideration to be done: homes are well conserved, mostly not abandoned most of them in the center or not too far from it (Biella is not a big city I know, still has peripheric, industrial, and distant "lost" places where someone could end up living in) In Milan, prices are incredibly stable or high despite the current situation. We all know the requests on-line are different (and higher) from the real ones - even if the market is called "real estate": homes are mostly abandoned or in bad shape, except for the brand new ones most of them aren't even near the public transport to the center houses are in distant "lost" areas, thus presented as a possibility for the future and near a close-by "nature" (often fake countryside) the brand new ones are clearly a speculative market action, as most of them are in

ALICE PEDROLETTI NOV 29, 2020 08:01PM

old and low buildings, in problematic areas (lack of social activities, for example)

ALICE PEDROLETTI NOV 19, 2020 06:17PM

with prices similar to the city center ones

14 / C - Biella

(more to update...)

The order is done! Now I'm sending the images to the AI.

16 / C - Personal log (about the house, the digital, etc..) ALICE PEDROLETTI NOV 22, 2020 03:36PM

Some images are just perfect without words. The illusion for nature we seek in every gesture, even without realizing it.

16 / A - Research methodology: engaging how, with whom, with what

Probably outside the window, there is the condominium garden with a couple of trees trying to survive the city. Still: our vision's power is deeply connected to our needs and transforms a simple image into a poetical thought. Or maybe it is just fate, or me. Could the digital help us in replacing ultimately what we don't have or could not access? Is what I'm doing? Replacing my eldwork with digital eldwork? It reminds me of previous research I did about tromp l'oeil: they represent the mimesis and mimicry between art and architecture involving nature, traveling, memory—the illusion of a place without being in that place. I think it is related to many contemporary issues ending up all with the house-concept: the right to it doesn't deal only with the possession of a place, the ownership, or the size of it; but also to a way of living in it. The livability is more a "fundamental right," as in organic architecture was hypothesized: the house has to be a place where the soul and the body feel connected to the surrounding space in harmony, to give the inhabitants the perfect environment to live and work. What's the role of VR in this?

I'm scrolling hundreds of announcements for houses on sale, analyzing the type of photographs used by the different agencies, and archiving them. I'm engaging somehow with thousands of lives, and it's all regulated with " lters" in which I freely chose different

ALICE PEDROLETTI NOV 19, 2020 06:25PM

15 / B

ones: Biella and Milan: ADVs showing the Atrium as a " rst room" or, I can say, the primary contest as if the Atrium is a "business card" of the condominium (not always a good one..) Biella and Milan: city area Milan: the prices I would spend on buying an apartment (0 to 100k, 100k to 200k) Milan: the presence of gardens Finally, I'm trying to understand 'how' to engage with AI. How can I teach "her" to create the perfect "collective house" for the future through hundreds of photographs? Hopefully, "she" will learn from some visual inputs. The nal sequence is like a timeline based on colors following these themes: external areas in front of the Atrium Atrium with plants rst, then without apartment entrances rooms without furniture rooms without windows rooms with lights lling the space (windows, balconies) external areas (balconies, terraces, gardens) landscape views, (illusion of) nature

ALICE PEDROLETTI NOV 29, 2020 05:35PM

14 / B - Community, future, actions, digital (thoughts) All these photographs are "fragments" of past, present and possible future lives. I wonder if I'm engaging with an idea of Community, without engaging with any real Community, but talking about a possible Community. My research "activity," remotely done, will serve as a possibility for action in the future? I think so. Shouldn't it also be the role of digital to create opportunities for the future? Image I'm following this sequence: the atrium (outside/inside with plants), corridors or apartments entrances, empty rooms, images with rooms but not windows, lights coming from somewhere outside the room, rooms showing windows or balconies, balconies and their possible view, landscapes (or outdoor) view from balconies and windows.

AADITA CHAUDHURY NOV 26, 2020 12:28AM

Dear Alice,

ALICE PEDROLETTI NOV 29, 2020 07:10PM


14 / A - The atrium, the house (the Archive) The atrium is a Public-Private space, the rst room of every apartment. By law, the ownership is in common divided by percentual between the inhabitants. Was it used during the pandemic? Was it a useful space? What has changed?

to "operate" remotely. The creation of the Community - 45 people working with me and

ALICE PEDROLETTI NOV 29, 2020 07:11PM

Andrea, my project partner - happens through a social media open call and hundreds of

12 (9 / C) - Notes from the water (text from the video)

one to one dialogues. I ask myself if this could be sustainable, for how long and how - in terms of emotions and daily time -, as living "inside" the mobile phone and into the media space, is exhausting. Any thoughts about this?

"The space I lived in during the pandemic is suitable but not suitable for how I want to live. It is not ideal because it is not high up, and I like to see the sky. Seeing the sky in the city is problematic because it is always gray and polluted, the buildings cut it, and the lights alter its color. I have never seen a sky as beautiful as during lockdown, and I would like to keep seeing it like that. Where?

The house is a private space. During the pandemic, it becomes the only possible living and working space for most people. It is not anymore a shelter but turns to be a forced

DAFNE SALIS NOV 12, 2020 10:05AM

condition, both physical and mental. How's the house you are in?

Let's get in touch about the postcards. I'd be happy to talk during nursery hours. kisses.

The next space I want to live in is not an urban space. I would like it to be in nature, like when I immerse my body in the water of a river, a lake, the sea. Water that ows ideally forever, to which we entrust memories and fantasies: we drink it, we re ect ourselves in it, we exploit it, we pollute it. We gather around it for pleasure and

Is it a suitable place to live and work? Do you have space? Is it livable? Whose property is

necessity; it ows, creating community.

it?

ALICE PEDROLETTI NOV 07, 2020 03:46PM

Does it cost a lot? Did you change your idea about "living space"?

13 / B - Biella (area)

Thoughts

It looks like a leave fallen from a tree on the sidewalk.

Physical, but also metaphorical space, which is sometimes used and decorated, sometimes

Instead: it represents the more and less wealthy areas of the Biella real estate market.

changing? Will our requests be satis ed?

abandoned. The community ' ows' crossing the inside and outside like a wave, every day, several times a day, always.

How will we be choosing our houses "tomorrow"?

Like water, which penetrates into the social and economic 'fabric' of a river city, the

What would be our house in a post-pandemic future? How is the real estate market

The buildings in which we live almost always have an entrance, an atrium.

inhabitants cross the atrium, triggering sociality and union moments in the most varied Image I started re-ordering some house images for the Archive. I choose to follow the

forms.

architectural composition and the color, creating a different timeline.

The riverbed then becomes the atrium of the city, while water is the inhabitant."

STEFANO VOLPATO OCT 24, 2020 09:49PM

Techno Lullaby Virtual Party Biella is present!

ALICE PEDROLETTI NOV 29, 2020 02:34PM

12 (9 / B) - Notes from the water (the video) Thanks for sharing so many brilliant projects and ideas, so lovely! I want to share the video again that introduces my work's theme. This is what I did when I was in Biella. Take it as a "visual note," which tells my poetic approach to the pandemic-post pandemic condition. It relates to my ATRII project (the rst post I made), and it's the starting point for connecting the territory and the research I am doing on living spaces and its perception. Let me know what you think! I will be posting more about my research in the next days. See you later today! https://vimeo.com/467801229

EDDIE JAMES NOV 02, 2020 02:52PM

Thanks for the pictures Alice! CAMILA AGUAIS OCT 24, 2020 03:49PM ALICE PEDROLETTI OCT 31, 2020 11:21PM

Thank you Orecchie! And Eddie and Francesco and everyone attended. It was great!

Ha! Thanks for the photo and for posting the party info! I can't make it tonight, but if it doesn't happen, I'd be happy to plan on it another day/time :D ALICE PEDROLETTI NOV 29, 2020 07:12PM

ALICE PEDROLETTI NOV 07, 2020 03:46PM

11 - Techno Lullaby Party

13 / A - Milan (area)

It might be happening or not, from 10pm, here is the link:

ALICE PEDROLETTI NOV 19, 2020 02:48AM

It looks like a ower on a green meadow.

14 - Project intro + AI and machine learning

Instead: it represents the more and less wealthy areas of the Milan real estate market

https://meet.jit.si/SuperMixturesSetDaily If someone has a Pro zoom Link, it will be better to play more with backgrounds. Suggestions?

Starting from some considerations I made - some are more metaphorical and linked to my

Some tips for joining the party:

research's imaginative and evocative aspects - I question some concrete elements of

1) To be Half: half "pigiama" party (sleepover) /half fancy party

living spaces and community creation through those artistic practices that had to adapt to digital (or will have to adapt in the future).

2) Make your dress costume according to what you consider fancy. Work on having different fancy backgrounds too!

Starting from my ATRII project and through a rst personal analysis of the period we live in - following my recent experiences in collective groups born in response to the global

3) We are going to make "background and costume battles."

condition generated by COVID19 - I have identi ed some questions and themes for my research.

4) Spice cakes, correct coffee, tea, and milk. Everything from the breakfast menu but

(post 14 / A) What about the "actions" part of the project during a pandemic present? Most of my practice is acting in a possible or dystopic future, so I will make an achievable

correct with alcohol EDDIE JAMES OCT 27, 2020 12:39AM

Connect!

"action" for a potential Archive project to be realized with machine learning, engaging my

Hello Alice, I haven't a chance to start that book yet and i would love the chance to

own research with AI. Somehow we will exchange our roles, as we are both learning one from the other.

connect with you. Perhaps we could read it together? Some sort book club? A chapter at our own leisure each week and then have zoom and discuss?

ALICE PEDROLETTI NOV 19, 2020 03:02AM

--> Extra thoughts about "the digital"

MARILOU VAN LIEROP OCT 25, 2020 11:47AM

I tried too! Could not nd you.

We never spoke about "working in digital." What's the meaning of it nowadays? How it impacts our art practices and will in the future? For another project I'm doing in Iran, I had to switch entirely to the digital realm. I decided to force my own practice to it, rethinking the meaning of " eldwork" - as we cannot travel anymore - considering the digital space my new physical territory in which

ALICE PEDROLETTI OCT 24, 2020 09:57PM

I've tried a couple of times, but nobody was there! Finally I've found the Biella crew :)

5) We might perform karaoke, watch meshed up movies and end up sleeping in front of the cameras


ALICE PEDROLETTI OCT 14, 2020 11:25AM

it.

Lavoir in Milan (archive photo) https://vimeo.com/notalike/review/467801229/66651a4271

ALICE PEDROLETTI OCT 17, 2020 03:04PM

Such an intense chat today, thanks to all and to Aria and Sandi.

ALICE PEDROLETTI NOV 29, 2020 02:32PM

10 - Lavoir Laundry was often done in a communal setting; therefore, "wash-houses" are public

ALICE PEDROLETTI OCT 03, 2020 02:32PM

Nice chats today, see you soon!

places. They were common in Europe until industrial washing was introduced: domestic washing machines - and launderettes - replaced them. In villages, lavoirs were built from the seventeenth to the early twentieth centuries, commonly sited next to a spring, a river, or a torrent. Originally they were built channeling water from a stream into a building with two basins, one roof for shelter, and no walls. The laundry-job was only for women, who washed all their family's laundry, starting to took in the laundry of other families, charging it by the piece. Lavoirs turned into a sort of institution or meeting place, public but "private" because only

ALICE PEDROLETTI NOV 29, 2020 02:29PM

women went there. It was a women-only space: they could discuss issues or simply chat, ALICE PEDROLETTI OCT 14, 2020 11:27AM

8 - Around Cittadella

or just gather together as around the village pump. --> Curiosity I've found: the Catalan idiom fer safareig - to do the laundry - means to gossip.

There is a place where you can be together in the middle of nature. If someone needs peace and quiet, or a place to think: follow the Gorgomoro Trail.

European cities also started to have public wash-houses: authorities wanted to give to the more impoverished population, who would otherwise not have access to laundry facilities, the opportunity to wash their clothes. Today lavoirs have been falling into disuse, but some communities have restored the ancient ones: historic sites or tourist sites. In the picture: wash-house near Biella

ALICE PEDROLETTI SEP 29, 2020 12:50PM

First week: gone! Thanks to our mentors Claudia and Aria, and to Andy, Clara and Juan. The new group arrived and we shared one day at the Cittadella. It was nice being in the real space together. We also had the time for a short adventure that maybe - one day - will turn into an urban-legend or a tale for the future :)

ALICE PEDROLETTI OCT 14, 2020 11:25AM

Lavoir in Milan (tourists site)

ALICE PEDROLETTI NOV 29, 2020 02:33PM

9 / A - Notes from the water During the rst week, I was fascinated by a combination of topics related to my research and approach: the water, the river, the housing. I shared some thoughts with some of you during the rst "chats" we had in the zoomrooms. I liked the idea of combining my feelings with aspects of investigation and analysis of a physical condition, not only human but also territorial and economical. Here is a video, more like a visual notes-diary of my research, and a preview images from

ALICE PEDROLETTI NOV 29, 2020 02:29PM

Of ce


ALICE PEDROLETTI OCT 17, 2020 03:05PM

ALICE PEDROLETTI SEP 29, 2020 12:33PM

7 - Claudia Zeiske

Digital but also physical

https://www.deveron-projects.com/the-walking-institute/

ALICE PEDROLETTI SEP 26, 2020 09:01PM

Nice meeting all of you today!

FRANCESCA FIORDELMONDO SEP 24, 2020 01:39PM

ALICE PEDROLETTI NOV 29, 2020 08:08PM

7 - Aria Spinelli

ALICE PEDROLETTI SEP 26, 2020 09:01PM

6 - Hydro Sorry the link is in italian!

ALICE PEDROLETTI SEP 24, 2020 10:35AM

We will update the report from the nice chat we had today with Luca. http://journal.cittadellarte.it/arte-societa/hydro-centro-culturale-giovane-musica-

Thanks to Juan for the real apples

laboratori


ALICE PEDROLETTI SEP 24, 2020 10:24AM

ALICE PEDROLETTI NOV 29, 2020 02:27PM

4 - Personal website ALICE PEDROLETTI SEP 24, 2020 10:24AM

http://www.notalike.com/ alike.notalike@gmail.com ALICE PEDROLETTI _ click a symbol_ From the Collective project ATRII at Platform Project, 2017. © 2012 Alice Pedroletti

ALICE PEDROLETTI SEP 24, 2020 10:34AM

5 - MEETINGS FIRST WEEK!

NOTALIKE

This week we had two meetings: The rst one with Giovanni Marchi from Marchi & Fildi S.p.A, a well-known family company producing yarns. The second meeting was with the director of BonPrix, an e-

ALICE PEDROLETTI NOV 29, 2020 02:27PM

commerce based in Italy that operates in different countries.

3 - Atrii website

It was interesting to see these two company models.

On the left you'll nd our activities (labs, workshops, exhibitions) divided into cities, and

The rst one had a previous classical approach to textile work, leading today to an interest

the participating artists.

in education for creating new jobs through a joint venture with a local TechUniversity.

https://www.atrii.it/

They have also been pioneers in environmental solutions to have "drinkable water" instead

progettoatrii@gmail.com

of the classic polluted one, generally running out of a textile plant. They are working to be zero waste in less than 15 years.

ENG Atrium or Andron*? by Alice Pedroletti This language ambiguity has altered the general perception of a place that is at the same time private and public, accessible and forbidden. What are the elements that, while de ning the space, let us see only a portion of a palace, and not the whole building?, that stir our imagination towards the curiosity about the people who live there or are just passing by?

On the other hand, the conversation with BonPrix was more "silicon-valley oriented". They see a different future, where everything would become digital. They considered COVID-19 something that has triggered a shift in the market, which will help to become digitally based, described by them as a sort of TURBO DIGITALIZATION. The pandemic pushed something already happening, and we (just) have to accept and adapt to change. Their approach to labor wasn't really "cutting edge". Somehow, they were ready for smart

ALICE PEDROLETTI SEP 24, 2020 10:24AM

TUMBLR

working; they only had to adapt to it with a small laptop investment. Nothing interesting about automation or the creation of new jobs, but they mention they had problems nding working people during the pandemic when their orders became "a lot more".

ALICE PEDROLETTI SEP 18, 2020 04:11PM

This week we had two meetings:

2 - What

The rst one with Giovanni Marchi from Marchi & Fildi S.p.A, a well-known family company producing yarns. The second meeting was with the director of BonPrix, e-

My action research project focuses on my Collective project ATRII.

commerce based in Italy that operates in different countries.

For Unidee, I focus on the multiple possibilities of the atrio-concept creating an imaginary

It was interesting to see these two models of the company. The rst one had a previous

ALICE PEDROLETTI SEP 24, 2020 10:33AM

classical approach to textile work, leading today to an interest in education and the

architecture - a metaphor or a digital space - that I can adapt to anything that can be

First gift to start :)

considered an atrium, forcing the common (physical) idea about 'halls.' The community I

creation of new jobs through a joint venture with TechUniversity. Also: they have been pioneer in environmental solutions to have "drinkable water" instead of the classic polluted one, running normally out of a textile plan. They are working to be zero waste in less then 15 years. On the other hand, the conversation with BonPrix was more "silicon-valley oriented". They see a different future, where everything would become digital. They considered COVID-19 something that has triggered a shift in the market and that will help to become digitally based. Described by them as a sort of TURBO DIGITALIZATION. Their approach to labour wasn´t really "cutting edge". Somehow they were ready for smart working, they only had to quickly adapt to it. Nothing interesting about automation or the creation of new jobs, but they mention they had problem in nding people for working during the pandemic, when their orders became "a lot more".

refer to could be any individual living in the building or visiting it, but 'atrio' is also a geographical position in the landscape or a forgotten architecture: the community could be anyone trespassing them. I investigate the concept of 'atrium' (lobby) from a processual and theoretical point of view: a crossing space between landscapes, urban-scape, inhabitants, visitors, and artists. The atrium space can be a physical architecture, a speci c 'atrio' within a particular city, or a ctional one. How can artists help unlock diverse issues related to the preservation, adaptation, and (re)activation of the architectural heritage, through their art practice (i.e., in suburban and industrial areas, villages)? The utopian idea is to transform cities into open-air museums, creating free access to art

ALICE PEDROLETTI SEP 24, 2020 10:29AM

and culture. The project and its documentation will be collected into the ATRII Open Archive at


the Cittadella degli Archivi in Milan (the Municipality Archive), to become part of our case-studies.

I started disseminating my action project! Please, be part of it!

Copy of Exercises in getting closer through distancing. Exercises in getting closer through distancing on lost spring, 2020. Postal performance. The private event was not recorded except through some photographs of the process. Furthermore, some 13x18 cm cyanotypes remain in private collections, or are scattered. Cyanotypes were made on watercolor paper, letter envelope,...

Italian link: ALICE PEDROLETTI NOV 29, 2020 02:25PM

1 - About Nice to "meet" you all! :)

Cartoline Da Casa Dafne Salis

PORTFOLIO

Contemporary art project by Dafne Salis. Social engaged art. PORTFOLIO

My name is Alice, I'm based between Milan and Berlin. I am a fellow artist at ZKU, starting ELENA BLESA CÁBEZ OCT 11, 2020 09:56AM

in 2021.

Something that maybe is interesting for you :)

As an artist and researcher, I study the relationship between artworks-viewers and the

DAFNE SALIS NOV 12, 2020 10:04AM

meaning of archiving as an art practice. I investigate the matter of sculpture, memory, language, and identity.

Some doubts that are still with me.

I'm also part of different artists' networks: Artists in the eld - USA/UK, Temporal School of

In this project, I have troubles in de ning my own locale. First of all, the problematic I would like to bring about is the invisibility of the domestic. It is very locale, because it is

Hi Dafne, as we were talking about last Monday, I think this project maybe is connected to your research. Raising Care is a series of open discussions about "care" that is going to take place at the end of the month and early November (online, and English). Here is a link if you want to be updated:

Experimental Geography – UK/ES, and Rabbit Island - USA.

between private walls, but at the same time it could refer to every person living in a

In my latest Iran project, shifted from physical eldwork to digital artwork, curated by

directions it could go. If you have any input on this, it is very welcome!

iterations/raising-care/

DAFNE SALIS NOV 12, 2020 10:04AM

SARAH DIXON OCT 10, 2020 02:36PM

Thank you Alice and Tiara for commenting! And Tiara, yes, that's the idea, I hate being

Hi Dafne

house. This being very speci c and also very broad makes my research unsure of the

https://instituteofradicalimagination.org/the-school-of-mutation-2020/som-

Bozar and Goethe Institute, I am also re ecting on the changes in the creative work given by the pandemic, creating a collective and collaborative digital Opera Archive. As an artist-curator, I founded ATRII and our Open Archive for the future, a Collective project hosted in Milan municipality archive, involving artworks concerning the atrium space intended as a social and possible architectural space for education and art.

connected on internet, alone before a screen. I prefer to work with all my senses, that is also why I'm not so much on here, sorry! And Alice, yes, after giving the bidone for saturday night, if you have time during the day, maybe we can have a chat about postcards and your research, I will be happy! :)

Dafne Salis AADITA CHAUDHURY NOV 26, 2020 12:31AM

Dear Dafne, I love this idea so much! I am always trying to think of care through object-subject relations (though this is not so much in the area of my research) but I'd love to talk

ALICE PEDROLETTI OCT 16, 2020 01:40PM

Instead of playing with puzzles during the lockdown, I decided to put part of the agree!), postcards can help us connect to other people today and to our past through memory and history. Unfortunately, they are getting lost in our travel habits, but they can still have a social role (I think).

AÏDA DIOP NOV 23, 2020 08:06AM

aka.aidadiop@gmail.com +33767655605

TIARA J. OCT 15, 2020 07:06PM

I really love this I'm drawn to what you mentioned about getting closer to people through objects. I wonder if going back to the postcard would save us from this feeling of isolation in the virtual space?

anatomy to myth and familiar con gurations. My body and the ones of those closest to me are the pinpoints of the research which has its start in the personal relations within the family. I am interested in analysing how the photographic gaze looks upon the environment it sits within and it is in uenced and informed by it. To do so, I challenge myself to collect visual evidence of what visible is not: motherhood. For the residency program, I would like my project to focus on the inside of the houses, how do we live in them, what is left of our nests? Being a mother implies spending most of my time inside domestic walls and when the pandemic spread, I didn’t quite notice the difference. The main diversity for me was that everyone else was stuck at home and I didn’t have to feel so alone anymore. If ‘personal is houses? In the post-pandemic future, what is the space we want to give to our close

DAFNE SALIS OCT 12, 2020 09:50AM

week? Email? :)

My practice disputes female essentialism within images, moving from symbolism to

political’, where do we position ourselves in the personal? What are the roles of our

https://www.facebook.com/aka.aidadiop

Dear Dafne! Sure. From Monday I'm more free. Should we check our free hours for next

at the Royal College of Art) and I am based in Rome.

the impossible-to-see vagina, the private house and affections, the experience of

instagram @aidadiop

ALICE PEDROLETTI NOV 13, 2020 01:14PM

DAFNE SALIS SEP 18, 2020 11:56PM

My name is Dafne , I am a visual artist and researcher (just started my practice based PhD

I post it again, sorry! I was saying that I work with postcards for years now, and I have a vast collection of a

collection in order: a travel postcards collection. Talking about what Tiara wrote to you ( I

care and its complexity ? :)

Do delete this message if you wish!

Hi Everybody!!

aaditac@gmail.com

Thank you for your message. I hope you are doing well. Let's keep in touch and talk about

Gloucestershire UK, working with a red phone box.

same time.

different kinds. If you need tips or want to get lost in chats about them, let me know.

dear Dafne,

postcards and I heard that you might be doing something with postcards too? I'm in

OH! I lost my message to you with my bad ngers working on too many open apps at the

sometime.

Instagram: @atidaac

I'd like to connect. I really relate to what you are working on, and also am intersted in

Postcards from Home

environment? Those are some of the questions I would like to explore during the residency.

This is the provisional title for the action research project I would like to carry on...it is a crowd sourcing project, a survey on what happens inside our houses on the theme of care. Hopefully, the artistic survey will leave some space to connect with the participants and

CAMILA AGUAIS NOV 12, 2020 06:38PM

This looks great and really exciting!

discuss the theme of care with whoever want to engage with this. During my stay in Biella I worked on the Google Form I want to send out and on the presentation, having some people from Biella responding to this.

I'll de nitely get on this in the next week. Also, can I share this with friends/fam who I think would be up for it? I quite like that your 'locale' is dif cult to de ne or place

As soon sa it is nished, I'll post on here too. It will be a translation from Italian, as I

parameters on. I think it's really fascinating that it's both broad and speci c, as well as

decided to contact rst people I know and who live in my immediate surroundings. (i.g.

ALICE PEDROLETTI OCT 16, 2020 01:36PM

private/intimate yet wide-reaching since nearly everyone can relate to domestic spaces

Roma district of Balduina/ValleAurelia)

Ciao Dafne :) I work with postcards for years now, and I have a vast collection of a different kind. If you

in different ways <3 un abbraccio And as soon as I will be more con dent in this, I'll expand it abroad too.

need tips or want to get lost in chats about them, let me know.

Love, Dafne.

During the lockdown, instead of playing with puzzles, I decided to put part of travel postcards collection in order. Such a long trip around Italy!

DAFNE SALIS NOV 12, 2020 10:04AM

I started disseminating my action project! Please be part of it! English link: Postcards From Home / Dafne Salis Your collaboration is precious : chose an object you use daily to show affection to your loved one. With the photo of that object and the story of how that object is used, I will create postcards. These, instead of representing our territory through monuments and landscapes, will represent it through the beauty of what happens in our houses. PORTFOLIO

Talking about what Tiara wrote to you ( I agree!), postcards can help us connect to other DAFNE SALIS OCT 12, 2020 09:38AM

people today and to our past through memory and history. Unfortunately, they are getting

Exercises in getting closer through distancing

lost in our travel habits, but they can still play a social role.

This project was born during the pandemic. And it is the premises of the action project I intend to develop during the residency. I felt connecting with physical objects would make me feel closer to people rather than

Tatjana Schaefer & Catalin Pislaru

the virtual space. TATJANA SCHAEFER & CATALIN PISLARU NOV 29, 2020 12:42AM

[please, don't look at the website, I am in between websites right now. For my work go to www.dafnesalis.com]

Ciao

DAFNE SALIS NOV 12, 2020 10:04AM

TATJANA SCHAEFER & CATALIN PISLARU NOV 29, 2020 12:39AM

While We Are Still Here...Final Padlet Update Before the mode is switched to Hotglue and this live documentation comes to an end, I wanted to contribute a look back on where we've come so far. Since we are not a regular duo, but one that temporarily teamed up to explore the notion of integrating collective imagination into a painterly approach through a process-based curatorial endeavor, the major thing for us - was and remains the week in Biella. UNIDEE enabled us (who live in two separate cities) not just to come together in the same place for an intensive week of thought exchange, but also to be inspired by the history, the mentors and the other residents at Cittadellarte... This one week felt like a month, as there was an indisputable richness to everything we encountered! Whether it was planned or accidental (high tide/ ooding)! For us the opportunity to be in Biella, as well as the continuation into the digital realm - in short to have been around and surrounded by expansive minds was the core and beauty of this journey! And hopefully just the beginning of new journeys ahead!


Encountering the Pandemic_Tatjana Schaefer_for Cultural Policy Lab PDF document PADLET DRIVE

AÏDA DIOP NOV 17, 2020 10:42AM

The Aesthetic Component

yes <3

Word document

Where & How to Embed One’s Practice – Respecting the Vulnerability of the People One Interacts with

PADLET DRIVE

Word document

let's keep in touch indeed, I just read your kind message. are you available this week for a

PADLET DRIVE

whatsapp call ? relational art practices are at the core of my research, I'd love to hear about your experiences and your work ! my website is www.aidadiop.com, there are a few personal projects on it :) XO

TATJANA SCHAEFER & CATALIN PISLARU OCT 23, 2020 09:41AM

Durational Practice vs. Creative Intervention

TATJANA SCHAEFER & CATALIN PISLARU SEP 19, 2020 08:02PM

Hi everybody, looking forward to ‘meeting’ you all !

DAFNE SALIS NOV 12, 2020 10:06AM

<3 Lots of love!

We are Tatjana – a German curator & researcher, currently embarking on a PhD in relational art and the psychologies of participation, and Catalin – a Romanian artist

Postcards From Home / Dafne Salis

expanding his conceptual practice based on drawing towards social engagement.

Your collaboration is precious : chose an object you use daily to show affection to your loved one. With the photo of that object and the story of how that object is used, I will create postcards. These, instead of representing our territory through monuments and landscapes, will represent it through the beauty of what happens in our houses.

We come to the residency as a temporary artist-curator duo that we’ve formed in order to pursue a cross-disciplinary research project. What we are mutually interested in is to analyse how a creative intervention can spark a positive psychological impact, and how this impact manifests in an aesthetic dimension. Let us break this down ;-)

PORTFOLIO

Our project shifting zones takes a socially engaged drawing exercise (=creative intervention) as a starting point by which we seek to investigate whether something simple as drawing can account for a liberating experience (=positive psychological impact)

ALICE PEDROLETTI OCT 29, 2020 03:55PM

At 7pm :)

in the face of physical con nement and social distancing. The aesthetic dimension will be

https://meet.jit.si/ParliamentaryOccupationsDenyDe nitely

pluralistically de ned by all the drawings we collect in this project. Pooled into an artistsbook, the drawings will encapsulate the moment currently lived, while also serve as

trim.F6A70578-A602-4460-8E33-90957C9D9F94.MOV

steppingstone towards further creative developments.

0:57 video

STEFANO VOLPATO OCT 24, 2020 03:37PM

PADLET DRIVE

Rumours

A few words on our backgrounds:

Hi Tatjana, I would be very interested in deepening the meaning on rumour as a way to

Tatjana: I hold my M.A. in Cultural Policy from Goldsmiths University of London and am

establish social bonds...my email is stefanovolpato@msn.com; hope to get in touch soon!

working as assistant curator at Pinakothek der Moderne in Munich since 2018. My

TATJANA SCHAEFER & CATALIN PISLARU NOV 19, 2020 01:21PM

Encountering the Pandemic - an article I wrote for the cultural policy lab on relational art amidst the current crisis over the past three weeks I've been pretty much absorbed in writing a piece on relational art in the age of social distancing for a new online publication (to launch in the next weeks). Attached I'm sharing the nal version I submitted. It gives insight not so much into my curatorial work here as part of Catalin's and my collaboration, but more so on my

curatorial focus lies on rethinking museum and exhibition spaces as uid, discursive structures. For this reason, I strive towards a PhD in relational / socially engaged artistic practice.

TATJANA SCHAEFER & CATALIN PISLARU OCT 23, 2020 10:04AM

The Aesthetic Component Durational Practice vs. Creative Intervention Word document PADLET DRIVE

art historical background. I guess the key nding for me was that I can no longer support the past three decades. The case studies I've looked at provided the impression that

TATJANA SCHAEFER & CATALIN PISLARU OCT 23, 2020 09:40AM

'relational' today, especially within the pandemic context, no longer xates on

Where & How to Embed One’s Practice – Respecting the Vulnerability of the People One Interacts with

relational as primary outcome. Rather the relational component is organically integrated into much vaster, transdisciplinary practices... for more see the pdf attached:

from the Academy of ne Arts of Rome. My artistic focus lies on drawing and the expansion of the picture plane. In my most recent practice, I have been investigating how the free-handed gesture relates to prede ned structures. More precisely, I execute drawings on industrially manufactured surfaces such as the table tennis plate. I am now

a clear-cut distinction between relational practices as it has been done in art theory over

terminology (relational, antagonist, socially engaged etc.), nor does it produce the

Catalin: I hold my MFA from The Academy of Fine Arts in Munich and a BFA in painting

transitioning into a new phase, where I seek to integrate community voices into this practice. You can nd my work here: Catalin Pislaru - NIR ALTMAN CATALIN PISLARU(B. 1988, REPUBLIC OF MOLDOVA) LIVES AND WORKS IN MUNICH -> PREMEDITATED FLIGHT OF AN INNOCENT BIRD 2019 -> UR-... NIRALTMAN

Camila Aguais CAMILA AGUAIS NOV 29, 2020 08:06PM

Great to have such an open, stimulating and just feel-good conversation with you two :)


CAMILA AGUAIS SEP 27, 2020 10:41PM

workshops will become part of the gallery exhibition, so that it can be an evolving space of process, creativity and activities around a theme. Maybe something around

Update 1

international/multicultural/global community/travel without traveling and/or materials

For my action research project, I would like to investigate closeness and distance in

based like the example ‘Creative Sundays’ by Frederico Morais mentioned by Mick in the

relation to various kinds of ‘space’. I think this will also tie into the question from the

seminar. Any other ideas/thoughts from you guys would be much appreciated! Feel free

micro-brief ‘How will you communicate?’. I currently live in in Egham, Surrey which is

to write here or camila.aguais@gmail.com :)

very close to where London begins. Because of our proximity to London and easy access to the city through public transport, the various communities have become increasingly eclectic and diverse over the years just as London has also changed. With the evermore

CAMILA AGUAIS NOV 24, 2020 03:16PM

What next?

frenzied pace of working like and ever-changing fabric of these residential areas, it can

Now that I’ve put my methodology into practice a couple times, I’ve been re ecting on

feel isolated, which has been especially the case throughout the pandemic. Although the

how to document and/or trace this project over time. One key phrase that came up in a

spaces we inhabit are in close proximity, to what extent do we feel close or distant

discussion with Andy recently was ‘curating a space for discussion’. I think the making part

considering these diverse communities? What spaces can we use to open channels of

goes hand and hand with the conversation, so I’d like to ask those who participate to send

communication? How can we better use existing channels? I hope to facilitate self-

me images of their paper things and quotes/words that came up in the social part. Then,

re ection through hands-on activities and in turn create opportunities for conversation

maybe I can think of curating these in an online space to trace the project. I also think

and connection.

feel that a sense of community is missing. While we may be physically close, we can still

’location’ is important, and I quite like the idea of participants being able to ‘locate’ themselves in the chain.

TIARA J. OCT 15, 2020 07:08PM

Thank you for that document

CAMILA AGUAIS NOV 27, 2020 12:32PM

Thanks Alice, looking forward to it!

ANDRA NEDELCU NOV 15, 2020 01:15PM

:)

ALICE PEDROLETTI NOV 26, 2020 09:14PM

Dear Camila, thanks for writing me. Sorry, I am a bit late with checking the padlet... I saw your message just now. I would also love to connect and collaborate. Let me know what your ideas are. :) andra.nedelcu88@yahoo.com, +40729949555

CAMILA AGUAIS OCT 12, 2020 10:52PM

P.S. Really happy to see another teacher here.

Jeanne van Heeswijk and Alessandra & Ruggero

Ciao Camila! I will write to you about the gallery! I'm discussing with a school here in Milan: they want to organise a project with us (Atrii, my collective project) both on and off Zoom. It's related to the lack of physicality affecting the School Atrium before considered a social space for the students; today, it is a place to clean hands and run faster to the class. I think we can think about something together if you want :) I see similarities with the gallery concept, the student, the use of space...

CAMILA AGUAIS OCT 01, 2020 12:47PM

the major ideas or themes I took away and where some may connect.

certain forms of emergence, which I think you may be contending with through your work

Elena Blesa Cábez

CAMILA AGUAIS NOV 08, 2020 08:44PM

ELENA BLESA CÁBEZ NOV 29, 2020 05:33PM

I thought yesterday's presentation and discussion was really interesting and thoughtCAMILA AGUAIS NOV 24, 2020 04:53PM

provoking. It brought up lots of broad concepts and questions that are useful to re ect on

Connecting with Andra last week

for all creative practitioners. The breakout room prompt was also excellent food for thought that I will de nitely continue to re ect on in relation to my practice. The seemingly simple metaphor combined with a visual was a great device to discussion.

the everyday visual poetry emotional space soul space

CAMILA AGUAIS NOV 05, 2020 08:06PM

Updates

body as home

I’ve de nitely been feeling like I’m making slow progress on my project between being

opening the door

preoccupied at school as we begin this second lockdown and re ecting on possible next

moving forward

steps. So over the past week, I’ve been focusing on research and learning about various

PADLET DRIVE

CAMILA AGUAIS OCT 01, 2020 12:25PM

Walking, talking, re ecting

my paper houses activity with others, in whatever form that can take! Time to get out of my head and make something with my hands! (sigh) I feel better already.

ALICE PEDROLETTI OCT 24, 2020 05:56PM

Let's do it! If not tonight another one :)

CAMILA AGUAIS NOV 29, 2020 12:51PM

Recent notes I've updated my Action Research Project - 1 padlet (which I previously shared below). New notes are in yellow boxes. Please feel free to comment/ask questions directly in my padlet. Also, if anybody would like to connect, please feel free to contact me at camila.aguais@gmail.com. I'd love to hear about anybody's project/thoughts/questions/anything!

CAMILA AGUAIS NOV 24, 2020 04:37PM

ALICE PEDROLETTI OCT 24, 2020 02:47PM

An idea for my school gallery

:)

workshops via zoom for students in the gallery. Whatever is produced during the

PDF document

particularly intriguing https://www.youtube.com/watch?v=IoloNoVKDXE. I especially like discussions with Sandi and Yvonne too, and I’m thinking I really need to do something like

of the year. I’m thinking of creating a programme of visiting artists that will hold

JvH A&R

artists, including Rick Lowe, Suzanne Lacy, and Tania Bruguera. I found this interview the part about how the “aesthetic can be the thing inside the thing”. I had great 1:1

On a separate note, I’ve been rethinking how to programme the school gallery for the rest

art works, each of these roles informs how I approach the others. During the residency

CAMILA AGUAIS

Yesterday

story-telling

embrace the element of chance as well as an intuitive approach to arranging compositions. Whether I’m making collages, facilitating my students’ learning or arranging

Camila Aguais

aaditac@gmail.com

Looking forward to continuing our discussion soon!

media. My passion for dance also plays a role in how I approach the visual arts as I

PORTFOLIO

here. Let me know if you want to chat sometime!

Instagram: @atidaac

on exploring abstraction and geometric forms through drawing, printmaking and mixed

making, people and communities.

Your collaboration is precious : chose an object you use daily to show affection to your loved one. With the photo of that object and the story of how that object is used, I will create postcards. These, instead of representing our territory through monuments and landscapes, will represent it through the beauty of what happens in our houses.

I also like to think about space, space/place-basedness as a requirement/prerequisite for

exhibitions of visiting artists. For the past few years, my own creative practice has focused

and moving forward, I hope to better integrate these practices while connecting art-

Postcards From Home / Dafne Salis

Hey Camila,

The American School in England and manage our school teaching gallery. I teach both 2-D and 3-D media to students from 11-16 years-old. I also mount and frame student work and

<3 Lots of love!

AADITA CHAUDHURY NOV 26, 2020 12:34AM

Hi everyone! My name is Camila, and I’m really looking forward to getting to know each of you! I’m originally American and Peruvian, but I live and work in Surrey, UK. I teach art at TASIS

After two fascinating and inspiring talks this week, I thought I would share a mind map of DAFNE SALIS NOV 12, 2020 10:07AM

CAMILA AGUAIS SEP 21, 2020 08:37AM

Oropa Sanctuary


SOPHIE SKELLERN OCT 17, 2020 10:53AM

Biella Day 10 Breakfast in Biella Leave for Airport Ciao!

bell-hooks-teaching-community-a-pedagogy-of-hope.pdf PDF document THECHEAPESTUNIVERSITY.ORG

ELENA BLESA CÁBEZ SEP 28, 2020 02:55PM

Week 01. 02 At the moment, I am setting up the rst two sessions of this program, inviting to join the conversation Guille Mongan, an Argentinian art historian who uses drawing as an archiving and learning tool, and Bernardita Croxatto, a Chilean performer and dancer very interested in oral communication. The aim is to invite people who experience with "other ways of learning" and sharing and circulating knowledge to dialogue with the "study group".

ELENA BLESA CÁBEZ SEP 28, 2020 02:49PM

Week 01. 01

Biella Day 9

During this year, I will carry out several meetings within the framework of Una conversa

Interview Nicholas

indisciplinada [An undisciplined talk], a proposal that arises from the desire to create a DAFNE SALIS NOV 12, 2020 09:59AM

Elena, thank you for the institute of radical imagination, it is very precious to me! :)

SOPHIE SKELLERN OCT 17, 2020 10:52AM

Group lunch

ELENA BLESA CÁBEZ OCT 19, 2020 12:09PM

space

Present our research

Some images from week 3 :)

for debate and re ection to interrogate current forms of knowledge, to build a critical apparatus that allows us to relate to our environment, completely modi ed after the

Group dinner

Last walk round Biella

appearance of COVID-19. The new forms of knowledge generation go through dismantling the hegemony of the ELENA BLESA CÁBEZ OCT 28, 2020 02:53PM

hypermasculinized genius discourse and opening the gaze towards a new network of

Una conversación indisciplinada.

decentralized and interdependent knowledge, a transversal, participatory and

Finally, our rst meeting is going to take place next thursday 5th. Due to the

one.

experimental

circumstances, is going to take place as an online meeting. Despite this, I would like to

The rst step is to create a periodic study group -in the broadest sense of the word-, a

arrange some physical meetings for the last sessions, probably next spring.

Temporary Autonomous Zone, open to the general public connected to Sant Andreu Contemporani, the institution that selected the project through Miquel Casablancas Award

ELENA BLESA CÁBEZ OCT 28, 2020 02:49PM

open call. With the impetus of embedded Arts Practice in a Post-pandemic Future I hope to be able to give continuity to the proposal, linking it with the work done by the FASE education commission and linking it to the practice of different transnational collaborators with whom to maintain a dialogue sustained over the time. Furthermore, I hope to de-hierarchize the relationships between theoretical and practical knowledge, opening this project to something more experimental in its forms.

ELENA BLESA CÁBEZ SEP 18, 2020 12:50PM

hi! ELENA BLESA CÁBEZ OCT 19, 2020 11:57AM

Week 4. Project update After my stay at Citadellarte, I was working and re-shaping my project. The rst session had to happen next Friday (the 23rd) but, due to new covid-19 restrictions in Catalunya, we have postponed it until the next 5th November. In case the situation has not changed for this day, the session is going to be an online activity.

My name is Elena, I am a researcher, artist and cultural mediator based in Barcelona, Spain. My professional career is situated between pedagogy and artistic production. My research, mainly conducted from collective methodologies and dialectical practice, focuses on common strategies adopted from contemporary art to rethink the concept of citizenship in the Mediterranean. For the last year, as part of my thesis, I have been working on transnational self-organized platforms on mutual aid and education to rethink how to

DAFNE SALIS OCT 12, 2020 09:30AM

assemble in a post-pandemic context.

Thank you, Elena!

I am part of Espècies invasores and Frente Sudaka, both artistic and curatorial research collectives and I am collaborating with the Institute of Radical Imagination.

ELENA BLESA CÁBEZ OCT 08, 2020 02:14PM

bell hooks. Teaching community. A pedagogy of hope.

Sophie Skellern

SOPHIE SKELLERN OCT 17, 2020 10:51AM

Biella Day 8 Group critique New group arrive Dinner together in Biella


SOPHIE SKELLERN OCT 17, 2020 11:38AM

SOPHIE SKELLERN OCT 17, 2020 10:48AM

SOPHIE SKELLERN OCT 17, 2020 10:45AM

SOPHIE SKELLERN OCT 17, 2020 10:43AM

Biella Day 7

Biella day 5

Biella Day 3

Biella Day 1

Drive to Aosta

Free day

Burcina Park

Arrive

Stealth presentation Visit Pistoletto Collections

Explore Biella Dinner

Group critique

Check in

Check in to Via Cernia

Wander round

Dinner

Meet last weeks group Dinner

SOPHIE SKELLERN OCT 17, 2020 11:38AM

SOPHIE SKELLERN OCT 17, 2020 10:47AM

Biella day 6

Biella Day 4

Interview Juan Sandoval

Third Paradise

Trip to Cerruti textile factory

Cittadellarte Tour

Explore Biella

Interview Paolo Naldini

Oropa

Group lunch

Aperitivi

Fish & chips

Research presentation from week 2

SOPHIE SKELLERN OCT 17, 2020 10:44AM

Biella Day 2

Oropa Group dinner

SOPHIE SKELLERN OCT 17, 2020 09:54AM

Presenting my research on "The Wall"


There are also similarities between how both Cittadellarte and In-Situ de ne their work, as embedded in their communities, and using socially engaged practice. My UNIDEE 10 week research project is a micro-study of the practice of Cittadellarte, which will sit alongside my PhD Research on In-Situ. I will be exploring the practices, the embeddedness and the impacts of Covid-19 for both organisations. During my week in Biella, I questioned Cittadellarte’s work, using the following provocations: 1. How is the work of Cittadellarte de ned? 2. How embedded is Cittadellarte within Biella? 3. Why is it important that Cittadellarte exists here? 4. How has the Covid-19 pandemic impacted Cittadellarte and Biella? 5. What does the future of Cittadellarte look like? Whilst in Biella, I interviewed: 1. Juan Sandoval - Head of projects and Director of the Art Of ce at Cittadellarte 2. Paolo Naldini - Director of Cittadellarte

RACHEL GRANT OCT 27, 2020 10:31AM

3. Nicholas Ferrara - from HYDRO, the youth organisation whose space at

Skype chat with Leslie Mabon

Cittadellarte was demolished by the river during the ood SOPHIE SKELLERN OCT 17, 2020 09:50AM

These interviews will be transcribed and analysed, to draw out themes and conclusions

Senior Science at the Scottish Association for Marine Science which is part of the

which can be presented back to Cittadellarte.

University for the Highlands and Islands.

Here are the 5 provocations that I made during my week in Biella, using street signs from

Broad interests relate to people’s relationship to the sea and the coast and the natural

SOPHIE SKELLERN OCT 17, 2020 09:51AM

around Biella and Cittadellarte as the font, and images of In-Situ in the Third Paradise venue as the background.

resources that we nd within those. Previous context for his work is research in the Just Transition movement at both national (Scotland) and local levels (Aberdeen and the wider North East)

SOPHIE SKELLERN OCT 11, 2020 04:13PM

Hello from Manchester! Hi everyone! Its great to connect virtually, and I am really looking forward to meeting a few of you in Biella soon. I am a producer and collaborator, have worked with arts and communities in Lancashire since 2012. More recently, I am a PhD researcher am studying embedded arts organisation In-Situ in Brier eld, East Lancashire. For my research, I am doing a four-year Action Research project with the organisation, and will be monitoring the impacts that 4 years of core Arts Council England NPO funding has on them. Heres In-Situ's website if you want to check them out. SOPHIE SKELLERN OCT 17, 2020 09:50AM

Catch up with you all soon! x

SOPHIE SKELLERN OCT 17, 2020 09:51AM

HOME | In-Situ Website Our art is a part of everyday life; our art is an art of action; our art contributes to society as a whole; our art aims to challenge current thinking about the environment, people, place, and culture. IN-SITU WEBSITE

Rachel Grant leslie mabon RACHEL GRANT NOV 18, 2020 08:04AM

Word document

Oil Experiences conference [online] 22nd - 24th November

PADLET DRIVE

Wanted to share this for anyone interested in energy politics and climate crisis. The conference is organised by the wonderful curator Anne Svefer Carlson and Stavanger Art Museum. Super interesting perspectives from artists, curators, writers and researchers

RACHEL GRANT OCT 16, 2020 12:52PM

with a key note from

David Hunter Skype call

Kathryn Yusoff Professor of Inhuman Geography in the School of Geography at Queen Mary, University of London.

SOPHIE SKELLERN OCT 17, 2020 09:50AM

SOPHIE SKELLERN OCT 17, 2020 09:50AM

I'll be on Platform 2 on Tuesday, delivering a paper on the uidity and friction in the

Research Update

narrative of oil in Aberdeen. Antagonising oil's myth as a kind of cultural hero through an

My 10 week action research project, and one week intensive in Biella, sits within a wider 4

aberdeen in the 1970's. Aberdeen's peoples press was part of the wider radical community

year action research PhD project that I am carrying out in the UK. Community embedded arts organisation In-Situ are the focus of my PhD, and as mentors on this UNIDEE programme, I was able to be in Biella whilst In-Situ were also there too. This added a fascinating layer to my research journey, as I was also to have conversations with and about In-Situ, whilst in Biella and Cittadellarte, and this helped to deepen my

anarchist/socialist community newspaper that sought to critique the arrival of oil to publishing that happened across Britain in the 1970's. Tickets are free but booking required here's the link! https://stavangerkunstmuseum.ticketco.events/no/en/e/online_conference_experienc es_of_oil

understanding of both. RACHEL GRANT OCT 27, 2020 10:32AM

There are many similarities between Biella and Cittadellarte in Italy, and In-Situ and Brier eld in the UK. These include the textile heritage of both areas, and both arts organisations operating from old textile mills.


RACHEL GRANT OCT 16, 2020 12:52PM

taking place in a real site, a park or a square. The 'sweet spot' based on Ana and Marc's

Skype chat with Bird Ringer David Hunter

experience for future imaginings was ten years. The Bordeaux project used extracts and

David is a member of the 'Hands of our Torry Green Spaces' and as a licence Bird Ringer has been monitoring the Birds at St Fitticks Community Park. Notes on content: The steering group are in the middle of building a constitution, with a plan beyond the ETZ proposal to develop community engagement with St Fitticks. "What can we do as a community to make this the best possible space for Torry?"(Question from David) [Methods of listening and consolation, future imaginaries, ownership and engagement] The current land is proposed as it's most convenient to the harbour, rather than using existing industrial zones. David cited the use this land as "The community park has got no use from a money perspective and that’s what matters. That particular area of land has no revenue coming into it, it provides no jobs so is not useful." Measuring use value through economics, and jobs. What if there were jobs created in this site through areas that are generally not seen as valued? Health, play, care. Real or imagined jobs. Whats the job of St Fitticks as an ecology to the community? What does it provide (mental health of cer, personal trainer, educator, historian) What are the possible job roles of the community in St Fitticks; skater, player, conservationist, care taker, bird ringer, litter picker The community employed by the park.

themes from the city development plan, to antagonise the faults directly. Park Fiction was used as an example in which speculative ction became a 'hijacking' process. The site, in Hamburg was earmarked for development by private investors. Today, instead of private development the park, designed by members of the public has been realised. About Park Fiction Park Fiction organises Collective Productions of Desires for a park in Hamburg’s red light district, St.Pauli, since 1995. Park Fiction: https://park- ction.net/park- ction-introduction-in-english/ Footnotes: Community owned wind turbine in Scoriag, a Scottish west-coast peninsula. The islanders have used rubbish from the islands to build micro - wind turbines, usually tted to the side of their homes or gardens. There was a long period of skills sharing, that continues today and relates to the design,

leguin

building and operating of the turbines,

PDF document RACHEL GRANT OCT 14, 2020 11:50AM

Rather than selling back to the grid, the energy is used locally so for example if your neighbour is showering theirs's not enough energy for you to make your dinner therefore, you have to negotiate how and when and consequentially why you use this energy. Really

*Bird ringer

PADLET DRIVE

Future questions to ask a bird ringer at St Fitticks RACHEL GRANT OCT 10, 2020 06:32AM

making it more visible in a lot of ways. Started over 40 years ago by Hugh Pigott. *A person that rings and monitors birds. It really reminded me of the position of co - operative models and collaborative working within Ana and Marc's work. It also raised some questions around the possibilities of co operative models, that don't go back to the main energy system (the grid). By not selling back this example attempts to resists the governance of energy systems, de-centralising

'Rehearsing Hospitalities Companion 1 & 2' by Frame Contemporary Arts, Finland. The publications accompany their ve year public programme Rehearsing Hospitalities. Companion 1. (2019) Looks into questions of hospitality and knowledge.

power around energy production. In the islanders need to negotiate their energy usage it also contributes to future energy imaginaries that will need to be more negotiated,

Companion 2. (2020) Looks into questions of hospitality and access. (selected texts

collaborative or could be more intimate in its scale.

particular re ective on the context of COVID)

About the project

Can download the PDF for free here: https://frame- nland. /en/tietoa-alasta/julkaisut/

https://scoraigwind.co.uk/about/ Essay by Social Anthropologist Annabel Pinker

RACHEL GRANT OCT 08, 2020 07:34AM

Tinkering with Turbines: Ethics and Energy Decentralization in Scotland https://www.academia.edu/38199043/Tinkering_with_Turbines_Ethics_and_Energy_

Questions: Between Aberdeen & Biella Can the use of embedded practice support a post-oil imaginary that is social, cultural,

Decentralization_in_Scotland

ecological? Can it be produced by and for its citizens? Expanding on the position of energy beyond power and infrastructure; the sound of energy, the ghosts of energy, reading (re)reading energy – in relation to the river.

RACHEL GRANT OCT 15, 2020 10:34AM

Conversation with artist Angela Margaret Main Angela is a performance artist with a background in community theatre, working in Aberdeen. Much of her working practice surrounds the facilitation of groups with performance, mediating between the collaborative performances and her own works.

What can ecology tell us about communities? (industrialisation, plant migration patterns, Bird ringer

water)

PDF document PADLET DRIVE

RACHEL GRANT OCT 08, 2020 07:33AM

'Situated Knowledges: The Science Question in Feminism and the Privilege of the Partial' Cultural Theorist Donna Haraway

Her recent works relate to critical feminist perspectives on water, speci cally through the relationships of communities to water locally, through the River Dee (Aberdeen). Having just completed her MA, she is currently working in collaboration with a group in Aberdeen for whom English is there second language. This is with support from a PHD researcher in linguistics who is exploring the potential of creativity within learning a second language. David Hunter_bird ringer Word document PADLET DRIVE

This introductory chat was to talk through her more recent works around water, and her experience in working with communities in the context of community theatre methodologies. Angela sets a particular importance on the use of the body in this methodology. COVID came in the nal stages of her MA and in the middle of her work for the linguistics project, therefore we also explored the role of digital space within these

RACHEL GRANT OCT 16, 2020 12:52PM

projects. The frictions, opportunities and negotiations of this new (for her) platform in

Speculative ction and Energy imaginaries

which to collaborate.

Met with Ana and Marc to ask some further details on the role of speculative ction, both in relation to the Bordeaux project and the co -operative energy models. The questions speci cally related to the role of speculative ction within the projects, how they situated it as a methodology, and in what way it related to real social/political

Secondary conversation to come, framed around a more in-depth interview related to the methodology of community practice, and meeting Angela at St Fitticks park (the site of

RACHEL GRANT OCT 11, 2020 09:29AM

Stealth.Unlimited (Ana Džokić & Marc Neelen) What's the role of ction in relation to energy imaginaries, ecological breakdown and politics? The proposal for future developments comes from a position of governance, such as the proposed Energy Transition Zone [ETZ] within my own action research project. Can ction be used as a space of; con ict or decent? In the context of ecological breakdown, the speculative future can often be caught in a utopian/dystopian binary - what are the methodologies for a more plural approach? Point of reference, speculative feminist writer Ursula Le Guins 'Carrier Bag Theory of Fiction' Le Guin retells the story of human origin by rede ning technology as a cultural carrier bag rather than a weapon of domination.

the project) to possibly go through some exercises with her. https://angelamargaretmainliveartist.wordpress.com

relationships within communities, particularly in the Bordeaux project where it spoke to the city development plan. HARSKT.1 Notes:

PDF document

As a tool for imagination, mentioned the role of 'sparing partners' within this process.

PADLET DRIVE

Sparing partners, being members of the community, artists, designers, researchers. Anyone apart from those involved in the actual city planning process. A relationship between the 'real' TIME - PEOPLE - PLACE. This could involve the reality of histories, example, the history of co - operative models in the area. The speculative ction

RACHEL GRANT OCT 10, 2020 10:18AM


'Hydrofeminism: Or, On Becoming a Body of Water' Astrida Neimanis

East Tullos Burn

Water is the element that ties human beings in to the world around them. Oceans that surround us, rivers that build industry to the water in our bodies. Neimanis positions 'Hydrofeminism' as a way of thinking through human bodies as being intrinsically part of the natural world and not privileged from it. Positions feminist ideas in relation to embodiment and ecological ethics.

RACHEL GRANT SEP 30, 2020 12:11PM

The site: Social Groups Dog Walkers Walkers Skaters

RACHEL GRANT SEP 30, 2020 12:11PM

The site: Bio

RACHEL GRANT SEP 28, 2020 04:36PM

Brambles Dandelions Buttercups RACHEL GRANT SEP 29, 2020 02:20PM

Thistles

Route two from the centre to St Fittcks

Reeds Hydrofeminism_Or_On_Becoming_a_Body_of PDF document PADLET DRIVE

RACHEL GRANT OCT 07, 2020 06:32AM

Ferns Rowans (Tree associated with warding off witches)

RACHEL GRANT SEP 30, 2020 12:08PM

The site: More than human Magpie Dog RACHEL GRANT SEP 28, 2020 04:36PM

Moths Herons

route two 5:33 video PADLET DRIVE

Warblers Duck Tits

RACHEL GRANT SEP 29, 2020 02:18PM

Route one from the centre to St Fitticks

Rabbits Deer Moths RACHEL GRANT SEP 30, 2020 12:14PM

The site: Infrastructure

Gulls Flies

Waste Water Treatment plant St Fitticks Church and Commonwealth Graveyard

RACHEL GRANT SEP 30, 2020 11:15AM

Proposal for the Energy Transition Zone.

RACHEL GRANT SEP 28, 2020 04:35PM

Benches Skate park Play park

Route 1 5:28 video PADLET DRIVE

Wetlands RACHEL GRANT SEP 30, 2020 11:16AM

Wild Meadows Tower Blocks Doonies Rare Breed Farm

The area of St Fitticks park currently


Aberdeen is not post-industrial but rather sit’s awkwardly in the grinding persistence of the oil economy. It’s arrival in the 1970s has restructured and transformed urban development, politics, and cultural identities. In recent years a new post-oil imaginary has emerged in the form of an 'Energy Transition Zone' the proposal is led by oil tycoon Ian Wood and the city local development plan. Its focus is on job creation for the renewable energy market and situating Aberdeen as an 'Energy City', the proposal ags the area of Torry, Aberdeen for the proposal. In particular, it proposes one of the last green spaces in Torry [St Fitticks park], and Doonies Rare Breed farm to house the infrastructure. The action research will take place in Torry a community in South Aberdeen. The community is separated from the city centre by the River Dee this distance is not only physical. Torry is on the list of SIMD*, with Torry East being described as the most deprived areas in the city. It was originally a shing village however since oil arrived in the 1970s the community has felt the impact of forced evictions, and industrial development. Despite the Energy Transition Zones' attachment to 'cleaner' energy it is propelled by the same apparatus of destruction and radical simpli cation of bio/social worlds as oil. Globally and locally the rapid development of the renewable sector continues the same Energy_Imaginaries_Feminist_and_Decoloni PDF document PADLET DRIVE

RACHEL GRANT SEP 28, 2020 04:34PM

system of continuous growth, disregarding those communities and land that have no value. Can the use of embedded practice support a post-oil imaginary that is social, cultural,

FRANCESCA CARION NOV 26, 2020 10:55AM

ecological? Can it be produced by and for its citizens? RACHEL GRANT OCT 07, 2020 02:28PM

*SIMD [Scottish Index of Multiple Deprivation] identi es areas where "people are

References

experiencing disadvantage across different aspects of their lives" through indicators such

Anthropologist Tim Ingold 'Perception of the environment' Cultural Theorist Donna Haraway. Term 'Situated Knowledge' and text 'Staying with the

as income and housing. www.fertileground.info @fertilegroundarts

trouble: Making Kin in the Cthuluscene' Astrid Neimanis 'Hydrofeminism: Or, on becoming a body of water'

Dr. Nuno Sacramento. 'Shadow curating: a critical portfolio' 2006. https://discovery.dundee.ac.uk/en/studentTheses/shadow-curating

Francesca Carion FRANCESCA CARION NOV 26, 2020 11:01AM

Interview with Alessandra Saviotti 11 November 2020

Development in Devon Projects.

My questions: What are the greatest dif culties in integrating the population, usually

'ARTocracy in the Making' 2010. Claudia Zieske and Nuno Sacramento.

heterogeneous and disinterested. Which of Tania Bruguera's projects have, in your opinion, achieved a better degree of participation?

Dr. Caroline Gausden Gausden's research explores the intersection between feminist theory and social art RACHEL GRANT SEP 28, 2020 04:34PM

In what direction is the museum of useful art moving, are there any extensions or collaboration planned?

practice through practice-based curatorial research. She also has interests in guest/host

FRANCESCA CARION NOV 26, 2020 10:52AM

relationships in the context of her current position as a development worker at the Glasgow Women's Library and within her curatorial practice.

Alessandra replied by citing examples of participatory art promoted by the Museum of

My project during the residency week

PhD: 'Social art practices as feminist manifestos: radical hospitality in the archive.'

Useful Art which, in my opinion, are very interesting!

https://rgu-repository.worktribe.com/output/248904/social-art-practices-as-feminist-

I attach the links

I called my project "broken Italy in a broken world", I started from my research

manifestos-radical-hospitality-in-the-archive

https://www.arte-util.org/projects/talking-hands/

https://www.arte-util.org/projects/freehouse/ https://www.arte-

'Knowing with' rather than 'Knowing about'

util.org/projects/homebaked/

Chu Yuan is a Malaysian visual artist, practice-led researcher, and cultural producer.

participatory work. Today I will show you the project where it arrived today, obviously it is a work in progress. Starting from the focus on the relationship between public space and private space proposed by the previous group, I considered the public space as a political space and the word as the relationship between the public and private spheres. I wanted to investigate

PhD: Negotiation-as-active-knowing: an approach evolved from relational art practice

with a series of interviews how the single individual approaches the public sphere through

https://rgu-repository.worktribe.com/output/248388/negotiation-as-active-knowingan-approach-evolved-from-relational-art-practice

background on the themes of art and politics, I would like to propose a political, real and

FRANCESCA CARION NOV 26, 2020 10:56AM

his own ideas. I would like to interview different people with different points of view: People who live in the north and people who live in the south, young and old, citizens and immigrants,

deniers and fearful, people who live in small realities and people who live in big cities.

Timespan

Initially my work was born with a focus strictly linked to the Italian reality, in this week of

Director Sadie Young

residence I felt the need to expand the project to other countries, this need derives both

Timespan is a cultural institution in Helmsdale, a village in the very northeast of the

from the discussions during the interviews, and from the similarities that I found in the

Scottish Highlands. The organisation is comprised of a local history museum,

address the pandemic from the political point of view of the various countries.

contemporary art programme, herb gardens, bakery, and café. Holding '…local, global, and

The main questions I asked people are: "what do you think about the management of

planetary ambitions to weaponise culture for social change.'

Covid19 from a political point of view?" "Do you think a strong man with centralized

https://timespan.org.uk

powers is the answer to the fragility of the moment?". In this rst week of my research I got completely heterogeneous answers, even though I remained in a small eld of action as is Biella.

RACHEL GRANT SEP 20, 2020 08:19AM RACHEL GRANT SEP 20, 2020 08:59AM

If you hear or read the interviews, in fact, you can listen to deniers and observers of the

Hi everyone!

laws in con ict with each other.

I'm a freelance curator based in Aberdeen in the North East of Scotland. In 2018, I set up

I would like to try to get a stream of consciousness, trying to give the viewer a greater

the curatorial platform Fertile Ground which takes a grounded, context-speci c

level of privacy. I would like a cross-section of today's society to emerge to bring out the

approach. The projects often support new commissions of work, are interdisciplinary, and

truly heterogeneous feelings and ideas that break up the country.

attempt to remain sensitive to site during this process. A food bank, a library, and an industrial estate have been sites of previous projects.

I would like to create an active participation of both the person speaking and the audience, but I still don't know how to get it, perhaps debate is the most appropriate form.

The project was initially born in the form of video, now it's only audio, I'm thinking about

From 2018-19 I was Co – Shadow Curator for the 'Curatorial Fellowship' run by Peacock

the right format for this project.

visual arts, Aberdeen. This was a pedagogical programme that supported ve curators to

work collectively to develop a pubic programme. My research areas in general terms relate to critical feminist practice, arts ecologies and pedagogies, and energy politics. FRANCESCA CARION NOV 26, 2020 10:56AM


My artistic path is eclectic, as my works want to be. I am convinced that the means by which a work is expressed derives from the work itself. This is why I love to experiment with different techniques and modes of expression, ranging from video, photography, sculpture, installation, painting, writing. My academic and working career is based on a long research of the relationship between art and politics, for this reason often in my works there are references to contemporary politics. The artists who inspire me for political commitment, which they have carried out in their works, are many, from Cubans Ana Mendieta and Tania Bruguera, to Joseph Beuys, to artists of the fties / sixties engaged in social art such as the GRAV Group or Jean Jaques Lebel, to the committed artists who occupy the center of the contemporary scene such as Anna Imhof, Doris Salcedo, Kara Walker, Shilpa Gupta (for her commitment against censorship) and Teresa Margolles (for her feminist commitment). Other works, on the other hand, have a more intimate theme, dictated by moments of personal life, but always linked to the theme of memory, a theme very dear to me, as in memory the intimate and the social come together: starting from recollection and personal memory, a collective and social memory is built, which itself becomes a political act. Like Christian Boltanski, in fact, I am convinced that remembering is a strong political act. My goals are to continue wandering through the media and experimenting with other ways to carry out my artistic research. At the same time, I am working hard to continue my research on the relationship between contemporary art and politics in an academic environment. Home | francescacarion FRANCESCACARION

FRANCESCA CARION NOV 26, 2020 10:46AM

Aosta with Sophie Skellern and Elena Cábez 10 Oct 2020

Katja Verheul MIRIAM REJAS DEL PINO NOV 11, 2020 04:06PM

Hey Katja, how is your project going? I would really like to know more after our Biella Week.

KATJA VERHEUL OCT 08, 2020 11:57AM

I will be using this google drive to organise my thoughts and ideas.

I did not have time to check both my locations yet. But this week another leak was brought to daylight - FinCEN. Again a Dutch bank (ING) was named as being part of a big nancial scandal. For the coming week I am planning to get in touch with some of the journalist who worked on analysing the leaked documents. I will obtain my research from two location, my own neighbourhood and the industrial area which is based next to it. For the Action Research: How will you feed yourself?(the business area) I guess I will order from ubereats/ deliveroo (my area) there are these trash cans were people can throw away their old bread leftovers.How will you learn?(the business area) checking their online website, make phone calls. For the outside world everything looks not very inviting. (my area) talking to the people, observer their behaviour. How will you dress? (the business area) upgrade, clever, expensive business clothes. (my area) downgrade, I should cover myself more and wear more neutral colours. How will you live?(the business area) In my o ce, working non stop. (my area) In a small family home. We live with too many people on one spot. The men leave the house during the day and the women stay at home to take care of the children. How will you travel?(the business area) by uber(my area) by bike, by feetHow are you going to say hello?(the business area) There are no people to talk to. Is it because it is Saturday ? Or is this a business, non people area. (my area) I am the outsider looking in. I do not speak the language. I will try to make eye contact and nod friendly. Some people make eye contact, smile or turn their face away. How will you communicate?(the business area) I am the outsider looking in. There are no people around here. Many businesses are o cially located here. But no one is around. (my area) I am the outsider looking in. I do not speak the language. I will try to make eye contact and nod friendly. Some people make eye contact, smile or turn their face away. KATJA VERHEUL SEP 17, 2020 10:47AM

I am a Dutch lmmaker, visual artist and researcher based in Amsterdam (NL). I graduated with a BFA in Audio-Visual Arts from Gerrit Rietveld Academie (NL) in 2012 and hold a MFA in Fine Arts from Goldsmiths University (UK) in 2016. My research and lm projects evolves around performative realities, post-truth and power structures. The pandemic made me more aware of social and political issues within my own neighbourhood. I have been bothered with the Netherlands as tax haven for many years, but I have not yet found an interesting way to dive into this. I am living in a broedplaats, a creative housing project where the municipality places young creatives in disadvanced neighbourhoods. At the outskirts of these disadvanced neighbourhood there is this newly developed business area with many trust agencies are based. During the pandemic a sort of basic income was created for every citizen in the Netherlands and after reading Piketty I felt more the urged to do something locally and to Trust

address these nancial inequalities between big companies and people here in the

by Katja Verheul

Netherlands.

GOOGLE DOCS

Through the residency program I want to develop a research project concerning the Netherlands as tax haven for big companies and to question basic income and depth, while working closely within my own neighbourhood.

KATJA VERHEUL SEP 26, 2020 09:28AM

Laia Ventayol LAIA VENTAYOL NOV 28, 2020 08:53PM

Now Now I'm going back to my project on tourism which I expect to be nished (at least conceptually) in January.

FRANCESCA CARION SEP 22, 2020 09:02AM

Hi, I'm Francesca Carion, I'm Italian, I live and work in Venice, Padua and Ferrara. I graduated in Disciplines of the arts of music and entertainment in 2016, I obtained a specializing degree in directing, specializing in documentary at the National Academy of Cinema in Bologna and a few months ago I graduated in Visual Arts at the IUAV University from Venice.

LAIA VENTAYOL NOV 28, 2020 08:56PM

Week 7 This is how the nal piece looks like. It is a sculpture but also a fountain where water runs throw all objects. It is made in a collective with artist C. Moreno García.

LAIA VENTAYOL NOV 28, 2020 09:01PM

Week 6 I needed to pause the project because of an exhitibion I was about to have on the 7th of November in Amposta (Tarragona, Spain). Anyway, the meetings and conversation about embedded art practices during the weeks before in somehow in uenced my work so that spontaneusly I decided to spend 4 days at the port next to Amposta, where I knocked at the door of some shermen who were unexpectedly involved in the exhibition: talking with me everyday, driving me with their car, taking me to the sea, they were visiting the exhibition and lending me even handmade material to show. I learned about shing, the dif culties and troubles, also about their connections with the sea and with Mallorca. Eldery sher families in Amposta remember spending their childhood in Mallorca. In this picture one retired sherman explains how this eel shing trap works.


relationship game: start the project by inviting you rst to your house ask yourself about authorship theme start with me spontaneously and then create a frame and inspire others start by giving a frame of what I do spontaneously (inviting friends to my house during summertime) tell the story of the place to the hosted people make people feel like contributors how to tell a story about a place?

IRENE ANGENICA OCT 19, 2020 01:55PM

2nd Crit session (with Aria) Aria Tutoring: search for a focus → TERRITORY MIRIAM REJAS DEL PINO NOV 13, 2020 10:16AM

hospitality → provision of spaces, hospitality of the place and hospitality of the artist

Hey Laia, how is your research going?

vs tourism temporary communities

LAIA VENTAYOL OCT 10, 2020 03:08PM

as an exercise, choose one of these 3 themes and try to put the accent

Week 3

ask me what attracts me most → emphasis on experience on the territory

Research - Reading on Marc Augé's "Impossible Trip: Toursim and its imagery", about Disneyland, Mont-Saint-Michel in France, Louis II Castle in Bavaria ...

CAMILA AGUAIS OCT 19, 2020 03:31PM

LAIA VENTAYOL NOV 28, 2020 09:07PM

Hi Irene, I'd be interested in connecting with you and learning about your project as I have connections with Sicily :)

Week 2

camila.aguais@gmail.com

put the emphasis on one of these points, keep the others as connected but not focus think of a project that brings out the theme you want to highlight give yourself points of reference through the residence what interests me to get out for my research

This article is about a study by the CSIC on the preservation of octopus in Spain. Most of our conversations after that week were around an encounter with a native octopus species. I got to know closer about this existence because of the conversations

IRENE ANGENICA OCT 19, 2020 03:20PM

application for summer2021 in Sicily are now open XD

discourse on narration → ephemeral work → planning sharing the work in progress ---> choice of the important process It is important to de ne geographic areas to look for funds, to understand which Sicily is

with the group.

being told, to do local mapping After this encounter we came to the idea to buy an underwater camera. The group began put emphasis on second homes

independently to take pictures / videos as documents to give in for this research.

explain what role the artist has LAIA VENTAYOL OCT 19, 2020 09:52AM

nd a way remotely to track the return part

Week 1: 12 - 19 /09/2020

question: how to describe a territory?

My goal was to co-live with tourists from Germany in Mallorca, which I did. I asked for archive fotos from this week that I can post next.

Chronology draft concept to have clear people and places

LAIA VENTAYOL NOV 28, 2020 09:06PM

My name is Laia Ventayol. I'm right now moving to Mallorca / Barcelona from Germany,

ask for funding

where I studied and worked in arts for long time . I use time-based media: performance, video and lately also continual dialogue. I'm

For UNIDEE:

interested in movement, transformation, transition, change..., phenomena which I see as

add images and physicality, mapping

in-between periods of time. I'm also working on my immediate surroundings, trying to gain or lose awareness of the nearest reality. During the UNIDEE Residency I wish to undertake research on tourism in Mallorca, where I originally come from.

REFERENCES (PLS if any of you have bibliography or other projects to suggest they are

I hope to hear from all of you on saturday!

welcome!!)

LAIA VENTAYOL NOV 28, 2020 09:06PM

Week 5

Oreste project

Irene Angenica

https://www.kunstmeranoarte.org/en/exhibitions/archive/from-and-to-2.html

After the meetings at Biella, I started to rethink my approach to hospitality. ALICE PEDROLETTI NOV 26, 2020 05:57PM

chambre d'ami

Let me know about Sicily! :) LAIA VENTAYOL NOV 28, 2020 12:35PM

Week 4 At Biella I was telling about the underwater videos we took with the group that I invited to my place. The pictures made me realise that what I want to do for this project is to sink the island (thinking of the mass), so that I'm able to gain time to think about tourism with some physical and mental distance to this issue.

guilmi art project DAFNE SALIS NOV 26, 2020 11:53AM

francisco garcia dory → INLAND

Hi Irene, as Camila I am also interested in connecting with you and Sicily...as I am working on an ongoing/non nished project about motherhood and greek tragedies. dafne.salis@gmail.com

IRENE ANGENICA OCT 19, 2020 02:10PM

3rd Crit Session (with Sandi) IRENE ANGENICA NOV 25, 2020 04:36PM

Tutoring: Sandi

after the one to one session I had today with Mick & Andy came up this bell hooks text in my mind <3

don't be shy about telling the story from your own perspective try to make the places understood try to attract people come with a story to tell, draw a story ask yourself: why am I interested in this prospect of returning to my land? what am I hiding behind this will?

IRENE ANGENICA OCT 19, 2020 01:52PM

Self questioning about the project Doubts: online platform? → padlet (digital publication) Why should artists write a guide? Can a production make sense or is it just research? Do you think of a collective or individual research work? Should the research be produced only by the foreign artist or also by the local one? How long should the residences last? How to connect them together? editorial project as output? a blog online? what to ask the artists? how to make this format "salable" for regional foundations?


IRENE ANGENICA OCT 13, 2020 08:07PM

Thank you girls!

Miriam Rejas del Pino (TBD Ultramagazine)

IRENE ANGENICA OCT 19, 2020 01:51PM

MIRIAM REJAS DEL PINO NOV 13, 2020 10:17AM

Concept of the project

NEWS about our project

The _______ project was born during the "Embodied post pandemic future" residency

Here you can nd a little text with the updates of the TBD project for UNIDEE.

program held in Biella, at the Pistoletto Foundation within the UNIDEE residency program in 2020. Starting from the stimuli received during the lessons and tutoring, the curator has developed a research aimed at the Sicilian territory in the creation of a non-touristic guide of the region, the result of moments of exchange and dialogue between resident artists, or Sicilian natives, and artists from other territories. The goal is to create, through moments of non-formal teachings and exchanges, a vision of the Sicilian territory that goes beyond the most touristic circuits, embodying the knowledge of the territory from a perspective of affection towards the places and then returning one unconventional storytelling. The analysis of the territory can be carried out from three thematic perspectives: - Naturalistic

Sin título-4

- Historical / archaeological

PDF document

- Anthropological / study of local traditions and customs

PADLET DRIVE

The central theme of the residency is the discovery of the territory in which the interconnected themes of hospitality and community creation will intertwine. IRENE ANGENICA SEP 27, 2020 10:15AM

The idea is to create an online platform (padlet) where "Sicilian artists" can offer hospitality at their homes or second homes to one or more "foreign artists" of their choice, playing the role of "godfather" or "godmother" of the artist they invited themselves. The local artist plays the role of mediator and facilitator of local customs and traditions, the foreign artist will be useful to the local artist to have an external look at the landscape elements and the local tradition from which one is often anesthetized. The curator selects the local artists to be involved, they propose the names of foreign artists to work with. In dialogue with the curator, collaborative groups are formed and the geographical and research areas to be investigated are outlined.

Each couple / group of local-foreign artists will be asked to think of a contribution that can be collected in the form of an editorial project in the construction of a non-touristic guide to Sicily that will give back a double local and non-local vision of characteristic elements. and non-touristy places, thus promoting sustainable and extensive tourism throughout the territory. The emphasis of the project is on the sharing of research in progress that will be brought to the territory under analysis and returned in their process.

IRENE ANGENICA OCT 14, 2020 04:48PM

1st Crit session about my project (that still has no name) Aria suggest: address the theme of the residence from the point of view of the narrative.

I have never managed to develop a cultural project in my region of birth, Sicily. I feel this lack of mine very strongly and for several years I have been investigating the possibility of developing a residence project aimed at getting to know the area (outside the tourist circuits). My proposal consists in creating a platform of residences in the island that allows to offer hospitality to a community of local and foreign artists in the creation of a common path of knowledge and exploration of the territory and local culture. By putting local cultural agents in dialogue with foreigners, new prospects for investigation and new visions of the places themselves can be born. Each local operator involved in the project can make a space available to welcome other cultural agents, thus initiating a sort of exchange aimed at dialogue and mutual comparison. During the residency period, people are invited to propose discursive activities aimed at self-training, exchange and debate.With this project my goal is to create a temporary community that explores naturalistic places, traditions and local customs and then rework them during the residency and return them in the form of publication which can serve as an alternative tourist guide of the region.

MIRIAM REJAS DEL PINO OCT 15, 2020 03:12PM

Week 3 Digital monumentality

During this week in Biella I am breaking down all the informations and data collected in

PDF document

these days.

PADLET DRIVE

Trying to gure out some parts of the research that has to be decided and discussed.

MIRIAM REJAS DEL PINO OCT 15, 2020 03:12PM FEDERICO POZUELO OCT 29, 2020 05:24PM

Hi Miriam! How are u doing? I´m alsa working in Turin about FIAT and post-labour scenarios. Maybe I could give you some data of interest? <3

Week 2 We are collecting data related to the social network and search engines that we have selected. We are studying how to analyze this data and thinking about the output they could have.

MIRIAM REJAS DEL PINO NOV 25, 2020 09:19PM

How to narrate a place? 37.4146401,13.0889559 Working on Biella as a mirror --> look at those characteristic aspects of a territory that are observed when you are new. Try to mirror those same elements of the "foreign

Find local businesses, view maps and get driving directions in Google Maps.

territory" in the territory that you have analyzed for your project --> vs anesthetized gaze

GOOGLE MAPS MIRIAM REJAS DEL PINO OCT 08, 2020 08:16AM

In Situ suggest: Give importance to the moment of the artists' match. Allow local artists to

Updates 27/09/2020

choose which artist and theme they want to work with.

Our methodology starts from the analysis of the virtual as a material place. During the

IRENE ANGENICA SEP 19, 2020 09:35AM

Hello!

UNIDEE Residency, the challenge for us will be to generate a methodology that keywords copia

I am an independent curator graduated in Contemporary Art and in Communication and

PDF document

Didactics of Art in Bologna. I carried out several collaborations between Bologna, Turin

PADLET DRIVE

and Barcelona. In 2019 I attended CAMPO18 - course for curators of the Sandretto Re

a traveling platform that aims to activate collective processes of knowledge through discursive practices and artistic projects. I use to co-curate most of my projects, because I believe that in sharing and co-authorship there are stronger opportunities for professional and individual growth than working as an individual. Working in a group has always been a fundamental element of my practice and a kind of experience that I am constantly looking for to update my research. My curatorial practice is always aimed at the participation and direct involvement of the public in the creation of a temporary community. With the dif culties in the movements

(a neighbourhood or a city). Therefore, TBD will select a speci c place, that is unfamiliar to any of the participants of the collective and that will be analysed starting from its digital identity: speci cally, there will be analysed the results of search engines and social networks (Twitter, Facebook,

Rebaudengo Foundation and I co-founded the curatorial collective CampoBase (https://campobase.cargo.site/)

interweaves an analysis of the web infrastructure with the one of a speci c physical place

Instagram). MIRIAM REJAS DEL PINO NOV 25, 2020 09:20PM

The aim of the research is to de ne a pro le of a speci c geographical place through the lens of the online tools. Different kinds of data will be intertwined: images, real estate ads, commercial data and news. The second part of the project will consist in the elaboration of these data and their reintegration in the real context of the place, which will involve the inhabitants to compare the spatial and social identity of the place with its virtual identity. This process may involve producers of different kinds of content;visual artists among others The output of the process will be published on the TBD website.

that we are experiencing and with the almost impossibility of doing group activities in a presential manner, I am exploring new strategies for implementing this practice. Is it possible to address only local communities? What does it mean not being able to have exchanges and comparisons in presence at an international level? How can we nd new strategies for creating communities in a remote way?

MIRIAM REJAS DEL PINO NOV 25, 2020 09:18PM

Hi everyone!


I'm Miriam, a independent curator born in Barcelona and based in Venice (IT). I graduated with a BFA in Fine Arts from the Barcelona University. In 2019 I hold a MFA in Visual Arts

Instagram pro le

wish to do the experiment after coming back from Biella and I am also exploring the more

In the following days I will create a google drive folder where I will put these descriptions

"day to day life" materials for Biella experience.

and share them with you guys. I hope to make a small collection of these descriptions that will give me a clue of what these images are.

from the IUAV University of Venice and during the last year I've been holding a masters in curatorship by the Fondazione Sandretto Re Rebaudengo.

WWW.INSTAGRAM.COM

For the UNIDEE Residency program I will be the spokesperson for TBD Ultramagazine, the

REYHANEH MIRJAHANI SEP 20, 2020 01:02PM

I don’t know what the next step will be. But I want to wait until I gather these descriptions

editorial/curatorial project that I co-founded with other nine young curators.

Hello everyone!

and understand what these images not meant to be seen look like. And maybe get a glimpse

I'm Reyhaneh, an Iranian artist based in Tehran and Gothenburg. I have my bachelor in sculpture and recently graduated with a MFA from HDK-Valand.

TBD is an ultra-editorial project which provides the publication of a thematic magazine and the collaboration with artists for the realization of events related to it. Artists are invited to react to contents, theories and critical positions expressed in the magazine through the presentation of an action or an artwork (the Ultra event).

Livia Daza Paris

In each issue the critical path develops from a single current event which we call zeitgeisting, meaning potential maker and viral icon of the cultural spirit of our era. This

TIARA J. OCT 15, 2020 07:12PM

event is a symptom and/or a coadjuvant of larger subject matters, which are addressed in

Hi Laia

written essays and visual contents. The magazine opens up to dialogue and to a perpetual inquiry around art and aesthetics, focalising on contemporaneousness. The aim is to call into question the connection among the artist, the critic and the curator de ning a practice that urges a mutual

I'd love to connect with you! Have you read Saidiya Hartman's 'Venus in Two Acts" where she coins critical fabulation? My broader work is on the archive, death, and disappearances. I'm very excited about your project

exchange of ideas and opens to endless – and not exclusive – interpretative possibilities. TBD Ultramagazine is a web-based project. We like to analyze and consider the web and the social networks as a “physic” place, as suggested by many new-materialist scholars. For Unidee, the main challenge is trying to locate our practice in a physical context. We are con dent that our methodology could activate a speci c place, where engage a deep relationship with its people, local artists and non-conventional histories. As a project born during the pandemic we’ve tried to consider the problematic situation as

LIVIA DAZA PARIS SEP 21, 2020 01:21AM

Hola a todos! Just a brief note to say that I'm very excited to be part of this residency and I'm looking forward to our learning, experiencing and exploring "apart/together" collectively!

My inquiry-based artistic practice is concerned with the idea of video, sculpture and participatory installations. For UNIDEE Residency program I am going to continue my ongoing project which is

My lms often deal with communication and its limitations, ction and multi-voiced

ongoing research and organizing a series of audience-activated installations and

storytelling.

conversations.). In this project, I aim to create a space to intellectually challenge the

Over the last year I've becoming very interested on exploring lm language outside lm

participants of my installations, in order to facilitate an study and later a discussion on the

itself. I've becoming interested on working on publications that play with lm language,

(im)possibility of agency within a critical framework. This “intellectual discomfort” is

as if these publication were themselves, lms on paper, documentaries on paper.

designed to affect a wide range of people with white mentality who think of themselves as intellectuals. Within this public, I aim to highlight our subjective positions, and with my

For Unidee residency program I would like work on a publication exploring ction (and multi voice story telling) as a political tool to imagine, describe and think about images

work, facilitate a shift from talking about politics, to the political aspect of a con ict.

that are used as tools of control such as security cameras on controlled borders.

REYHANEH MIRJAHANI SEP 20, 2020 01:02PM

ABOUT my work: I am a Venezuelan-born, independent interdisciplinary artist and researcher. Through a

While Investigating those topics, many concerns step up, especially related to the

process I call Poetic Forensics, from the Greek "poiesis", meaning to bring into being what

technologization of society and the problem of economic access to technology, just as

was not there before, and the Latin "forensis", to speak notions of truth in a public forum, I

REYHANEHMIRJAHANI

much as the consequences of the mass-transmigration of cultural, critic and artistic

contest of cial histories of forced-disappearances—including that of my own father, who

practices to the on-line realm.

was of African descent —in a Latin American context of systemic colonial violence and US

de ning those consequences, trying not to be part of the digital over ow characteristic of

senses from attunement approaches, including haptic visuality and spatiality. My practice

the pandemic period. This goal is connected to the necessity of creating a deep

grapples with ‘disappearance’ as a concept and felt experience as deeply disorienting and

knowledge of the online dynamics in order to develop the right tools for understanding

defying representation. It is also participatory art that imagines intersections where

and evitate a complete colonization of online spaces and communication means by

personal, collective and even non-human (nature) histories meet and form testimonies.

capitalizing processes. --------------------------------------------------------Here is a reference to my recent article Unexpected Witnesses: an artistic practice from a

Text in English available online: https://www.tandfonline.com/doi/full/10.1080/13528165.2019.1717866. ---------------------------------------------------------

Stefano Volpato STEFANO VOLPATO NOV 28, 2020 03:42PM

This is a writing on wall of a small building near my apartment, just behind the train

Twisting walls and public discourse station in Treviso (north-east of Italy). It’s located in a dif cult neighbourhood, not a posh one at all. Here and there, you can trace a sort of political struggle through signs and

Daniela Delgado Viteri

writings on the walls. Many times, someone censors the opponent’s intervention erasing and overwriting it. But that’s not the case I have photographed. “Marò liberi / di amarsi” is the result of two interventions. The rst one, “Marò liberi” (“Free the Marò”) was written

TIARA J. OCT 20, 2020 02:24PM

with the particular font called “Ultras Liberi”, that comes from a vernacular graphic

Hi!

tradition related to post IIWW fascist movements. It refers to a murder case that involved

Hi Daniela, I'm really loving your project. I work with archival material to locate what's

in national political discourse, mainly by right-wing parties. The second one, “di amarsi”

hidden in my academic work. I'd love to chat more.

(“to love each other”), is much simpler and direct. Instead of censoring the rst part, it

Italian navy personnal jailed in India (the two “Marò”) and that has been largely exploited

ironically demysti es it, putting on the foreground another struggle, the one for LGBTQ+

“plurality of ways of knowing” surrounding political disappearance published on 17/02/2020 in Performance Research, Volume 24, Issue 7. MIRIAM REJAS DEL PINO NOV 25, 2020 09:21PM

Hi Everyone! I'm Daniela, I'm an Ecuadorian lmmaker and lm programmer living in Spain.

with a speci c attention to online cultures.

My work takes me to eldwork with a camera in hand, where I work with my body and

DANIELA DELGADO VITERI SEP 20, 2020 07:09PM

situations, and the position of ethics in this discourse. (This has been developed through

topics of research focus on the relationship between human, non human and technology,

For TBD is now crucial to continue its research program while actively considering and

can't wait to see some results and share them with you.

focused on the notion of political agency (individual and collective) in dilemmatic political

Martin Hewson describes Agency as a condition of activity rather than passivity. It refers to the experience of acting, doing things, making things happen, exerting power, being a subject of events, or controlling things. This is one aspect of human experience.

interventionism. In my work, the personal and the political are always entangled.

I would love to hear what you guys think about this exercise. I have lots of doubts so I

political agency, international relations, nationality and institutional critique through

An Experiment on Agency #1

a starting point to investigate some cultural and social aspects of our lives. Our main

of these counter histories behind these images?.

civil rights. The sense of the rst sentence is completely twisted: from “free the Marò”, to “Marò free to love each other”. DANIELA DELGADO VITERI SEP 29, 2020 11:13AM

Week One: Being con ned made me think about how we tell our history through images. We are constantly, consciously and unconsciously creating images of all sorts to tell our history and de ne who we are at different levels: The images we put on social networks, the institutional images, the images of a country, the images that we dream of, the images we reject, etc. I nd very interesting thinking about images and how we use them to tell our history,

Livia Daza Paris|Poetic Forensics These artworks represent an intersection between interpretive knowledge, poetic interventions and documentarian forms. They navigate a terrain of non-o cial history while experimenting with performativities, video, participatory art and primary sources. POETIC-FORENSICS

especially in these times of confusion. This made me think of this idea of “Images not meant to be seen”: Among the accelerated processes of image production, we nd images that are meant to be seen and read as stories -cinematographic images- under narrative codes. Other images are produced not to be seen or read, but to be used as tools. As Allan Sekula states in the text The Instrumental Image, these are

Reyhaneh Mirjahani portfolio TBD-2.0 PDF document PADLET DRIVE

REYHANEH MIRJAHANI OCT 13, 2020 02:39PM

Update 2:

Keenan, Thomas. ‘Counter-forensics and Photography’ from Autonomous Archiving. Edited by Artikişler

This week I have been engaged with some text and research about the aestheticization of

Collective (Özge Çelikaslan, Alper Şen, Pelin Tan). dpr-barcelona. April 2016

political issue in participatory projects. I am still struggling with this issue but I nd it very essential for continuation of my work. MIRIAM REJAS DEL PINO SEP 18, 2020 12:23PM

Website

Moreover, I am preparing for the next week in Biella, to prepare a small event, testing one of my experiments in that context. Hopefully soon there will be some update about that :)

REYHANEH MIRJAHANI SEP 30, 2020 04:40PM

Update 1: The past week I started reading again about the debates on the (im)possibility of agency. I am still struggling thinking about how to think of the third experience I want to create MIRIAM REJAS DEL PINO SEP 18, 2020 12:23PM

I think that “images not meant to be seen” are images that trigger clues into understanding counter histories of our contemporaneity. I have lots of doubts about these concepts and I thought I would start this research with a simple exercise. So for my research project at Unidee I would like to think about this counter history created by images not meant to be seen.

TBD ULTRAMAGAZINE TBDULTRAMAGAZINE

“tactical media [](that) function in conditions where the goal is to minimise the mediations of time and signi cance as radically as possible”.'The gamma-ray images are less images to be looked at than images to be used.’[]The images are understood as evidence, then, but a special kind of evidence that aspires to be immediately operational’

and how to avoid aestheticization of the issue I want to talk. I have contacted the venue I

I will invite people to think about these images and describe them in a very simple language. For now I’m interested in gathering descriptions of these images in order to identify what would be the next step to take.

STEFANO VOLPATO NOV 28, 2020 09:55AM

Notes on Mick Wilson's seminar / the ction of cultural or art object Re ecting on Mick Wilson's seminar, these words by Yesomi Umolu came to my mind, in particular the following: "Museums [we could refer, widening the discourse, to a vast range of cultural institutions] have always been exclusionary, and for the privileged. They were built for the betterment of the western subject and society at the expense of the other. This is further complicated by the ction of the emancipatory power of the cultural/art object—museums [cultural institutions] deem themselves to be spaces of respite away from real politics and societal injustices".


I spent the last days re ecting on embedded practice and its potential link to cultural

On the Limits of Care and Knowledge: 15 Points Museums Must Understand to Dismantle Structural Injustice | artnet News

institutions. The hypothesis I have considered in this article I wrote for Roots&Routes, is the following: a common ground is represented by the precarious condition that unites cultural institutions and marginalized communities. Within this scenario, the choice of

If there is one thing that marks our collective experience in the rst half of this year, it is the way that our understanding of how care and knowledge function in our society has changed.

radical permanence by an institution can nd reciprocity with the perspective of gender identity understood as a discursive and performative matter, highlighting spaces of convergence and alliance between the institution understood as a precarious body and

ARTNET NEWS

the queer body. [The article is in Italian; I am sorry for non Italian speaker, I will try to provide for an

TIZO ALL NOV 24, 2020 06:52PM

English abstract soon]

Hi dear I just want to say - periphery should be lled with centres of creative interesse - perhaps

Spazi di con itto. L'istituzione come corpo queer. di Stefano Volpato - roots§routes

it would dissolve the condition of inferior in relation to the city. I come for a periphery from a big center, and what I observe is that, there is a lot of creative energy in the

Una prestigiosa categoria di istituzioni culturali, raggruppate nell'ICOM - International Council of Museums, è impegnata a livello globale in un'importante discussione, dal 2016: quella per una nuova de nizione di museo. Non è solo una questione lessicale, perché in base a cosa possa essere o meno un museo dipendono scelte importanti come, ad esempio, l'accesso ai fondi pubblici.

borders, and it needs to be channeled - not better than creative people for that

STEFANO VOLPATO OCT 30, 2020 08:08AM

ROOTS§ROUTES

Notes from chat with HYDRO [thanks to Luca and Nicolas] Very low access threshold; lots of music and visual experimentation; aggregation

STEFANO VOLPATO OCT 23, 2020 10:37AM

STEFANO VOLPATO SEP 20, 2020 08:28PM

around culture; hands-on approach

Visit to biellathewoolcompany.it

Some projects

with Nigel Thompson 10/23/2020 better places working with an inclusive and social perspective (different from a

monoculture / i.e. tourism approach) centre/periphery: “I am a river sh; how do you nd your space in a large sea?" small-town: the work to be done is here; a territory to be cultivated Culture as a classist issue: it was a medium-high thing; path of emancipation started in the 1980s

STEFANO VOLPATO OCT 23, 2020 10:38AM

Great idea for business, based on traceability and consortium, applied to wool supply chain

Hydro experience: led to the development of community skills / empowerment

Portfolio_Stefano Volpato PDF document TIZO ALL OCT 15, 2020 07:03PM

PADLET DRIVE

Such a great article. Very accurate. Thanks for sharing it! STEFANO VOLPATO NOV 28, 2020 04:48PM STEFANO VOLPATO OCT 23, 2020 10:39AM STEFANO VOLPATO OCT 25, 2020 10:18AM

Regarding the smell, as Nigel puts it: "well, it's not Chanel n. 5" :)

GOING BACK (home?) as a cultural agent This is the issue I have mainly been dealing with during my one-week intensive in Biella.

A chat with folks from HYDRO

Here some notes about that:

Yesterday night we've had a drink (some of Week5 physical residents+Orecchie d'Asino

KNOTS TO UNTANGLE

from Week6) and a nice chat with Sara and Tommaso, very kind folks that are involved

precariousness as a shared condition and an opportunity within a discursive /

with Hydro. They told us about Hydro's birth, growth and ideas for the future. Hope they

performative approach

will nd soon a new home!

pandemic as a catalyst for ongoing process of leaving big cities/moving back polarity: small-town and big city; so close and yet so far (especially in Italy, which has a long and strong debate on peripheries as "dif cult territories") necessity of bringing in subjectivity in analyzing this themes -> and then to share it [what is periphery?] Feeling of disconnection from urgencies of the public discourse

STEFANO VOLPATO OCT 23, 2020 10:57AM

Notes on STEALTH seminar / intimacy After the seminar by Ana and Marc, I was thinking about their quite radical choice to embed their practice through a longer commitment to their locale; I just would like to share these interesting article by researcher, curator and activist Marco Baravalle which is very active in Venice, suggesting a similar approach (radical permanence) in relation to the Venice Biennale and its problematic relationship with the city. I was very impressed by the re ection that followed in our breakout room, on the urgency of providing a dimension of intimacy, in a healthy, growing discussion. I would like to deepen the links between these concepts: permanence and intimacy, working on them through a range of tools (time, space, ctional/speculative, ...) ON THE BIENNALE'S RUINS? INHABITING THE VOID, COVERING THE DISTANCE by Marco Baravalle

QUESTIONS

Illustration by Kaya, On the Biennale's ruins, 2020. translation by Gabriella Riccio Too much love and friendship connect me to many people working for and around Venice Biennale. Too much admiration connects me to many that thanks to La Biennale made Venice a place to come back to instead of a "once-in-a-lifetime" tourist destination.

How do we feel about “being back”? Do we feel any bond or responsibility towards your

INSTITUTE_OF_RADICAL_IMAGINATION

going back as as an act of resistance / sense of failure going back as a cultural agent: shall we bring cultural institutions in the discourse?

context (whether you chose it or not)?And speci cally as a cultural agent What opportunities are we missing here? What resources do we have? TRIGGERING THE CONVERSATION

STEFANO VOLPATO NOV 28, 2020 11:37AM

Starting from self-narration, to connect individual experiences and subjectivities; chain

Hello!

conversations with “free entrance” (virtually?); asking for questions, not answers

I am Stefano, 32 yo, currently living in Italy. I have been working as independent curator between Venice and Turin, cooperating with public and private Institutions. I am part also

STEFANO VOLPATO OCT 23, 2020 10:36AM STEFANO VOLPATO OCT 14, 2020 08:57AM

On queer precariousness and cultural institutions

of the curatorial collective CampoBase. I am particularly interested in exploring strategies that institutions or groups can design to provide social change realted to processes of commoning. The theme of the artistic and cultural practice’s role in contemporary society


has been a main focus in my research; I think it is a fundamental question we should try to answer today, as artists, curators and cultural workers. More important than that, we should try to answer these questions as a collectivity. Since the start of the sanitary crisis, I have been forced to make my way back to my hometown, Treviso, in the north-east of Italy. I carried out some artistic projects in this context, which is not far from Venice but it is rather dif cult for contemporary art practitioners. Although the presence of the Venice Biennale - which is nevertheless complex and problematic in its relationships with the context and its future - the Veneto region does not seem to be very welcoming towards contemporary experimentation and research. Although, many curators, artists and activists are making their way back here, due to the current situation. At the same time, there are extraordinary examples of small and medium-sized cultural institutions - i.e. local heritage landmarks and museums - with unexplored potentials. I would like to investigate in which ways it would be possible to promote connections and actions, beyond a narrow “supply and demand” scheme, on the common ground of precariousness as a tool of exchange and reciprocity. In relation to

CHRISTINE MACKEY NOV 28, 2020 05:21PM

long-term change, I would like to facilitate a challenge to a conservative identity politics that permeates the way the community looks at its territory, relationships and future, widening the spectre of possibilities and opportunities. The dif culties of a community-based curatorial approach goes deeper than the need of implementing its activities that naturally imply in presence - discursive practices often requires people to share time and space, not only virtually, but breathing the same air. I am convinced we are facing the need of confronting with new territories, audiences and communities, being able to intersect local and global in innovative ways. I believe that this process pushes cultural institutions towards a different model, as they feel the urgent need to establish meaningful relationships with their contexts and communities, facing a common ground of precariousness.

JADE BLOOD NOV 04, 2020 11:16AM

Christine Mackey

Hi Christine, I am just enjoying 'Mushroom at the end of the world' and thought about your project. I

CHRISTINE MACKEY NOV 28, 2020 05:43PM

Ongoing seed collection. What I think about seeds: time capsules, form of renewal and resilience, adaptation and change, micro engagements that embody environmental traces, climatic patterns, wild relatives, intentional communities and entangled kinship .... and on

put it on as audio and walk through the allotments to mine, I always feel better when I do. Thanks for sharing the Guattari too!

And for all those interested in the politic of the 'garden', seed saving, allotments, there are some some great presentations and discussions here: Cosmological Gardens: Land, Cultivation, and Care is the rst in an ongoing series of workshops and projects by the Center for Arts, Design, and Social Research (CAD+SR) in partnership with the Associazone Culturale Matilde Pianciani, Spoleto, Italy.Over four successive Fridays and Saturdays in October-November 2020, a globally diverse group of activists, artists, agronomists, farmers and scholars will meet online to engage a range of concepts related to agroecological practices, including soil and land, care pedagogies, and herb and seed heritages. We will discuss community initiatives informed by transdisciplinary agricultural thinking, including a wide-range of Indigenous knowledge and other structures of social cooperation and production. These conversations will rede ne gardens, growing, and growth through broadly sustainable processes that involve both human and nonhuman entities. We will consider racial and environmental justice as ontological and political projects. Cosmological Gardens is led by curator, artist and architecture theorist, Pelin Tan (Mardin, Turkey), CAD+SR Senior Researcher, with CAD+SR’s research staff, Chris Bratton, Dr. Dalida María Ben eld, and Mary Ellen Strom. Con rmed speakers include Maria Puig-de-la-Bellacassa, Elizabeth Hoover, Vivien Sansour, Otobong Nkanga, Luigi Coppola, and Ou Ning.Cosmological Gardens: Land, Cultivation, and Care will meet online Fridays and Saturdays, October 16-17; October 23-24; October 30-31; and November 6-7, 2020. http://www.centerartsdesign.org/happenings

Designs_for_the_Pluriverse_Radical_Inter PDF document PADLET DRIVE

CHRISTINE MACKEY OCT 20, 2020 09:18AM

The Three Ecologies

CHRISTINE MACKEY NOV 30, 2020 09:30AM

Nursery is taken shape! Managed to nd photographs of the garden when it was a family space dated 1982.

CHRISTINE MACKEY OCT 20, 2020 09:20AM

Guattari_Felix_The_Three_Ecologies PDF document PADLET DRIVE

CHRISTINE MACKEY OCT 20, 2020 09:52AM

CAREDAVIDABRAH PDF document PADLET DRIVE CHRISTINE MACKEY NOV 28, 2020 05:26PM

I would just like to acknowledge the support of the Arts Council of Ireland who provided me with a Professional Development Award for this residency programme. All are familiar that most of us who are not in regular employment witnessed our incomes shattered during these exceptional times. Thank you.

CHRISTINE MACKEY OCT 20, 2020 09:24AM

CHRISTINE MACKEY OCT 20, 2020 09:19AM

Designs for the Pluriverse

In light of the embedded/embodied discussions on socially engaged arts practice - I would like to divert the discussion towards notions of 'care' which also challenges the other discussions around arts 'usefullness' or its utility in the greater good of human kind. Can we also consider all other 'critters' the hidden, the unknown, the forgotten - drawing from Anna Tsing, Donna Haraway and Karen Barad amongst others on 'multi-species' communities, where the human is no longer in the top rung. My attention was recently drawn to a number of publications which might be of interest to people such as Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds (New Ecologies for the Twenty-First Century)by Arturo Escobar; Matters of Care: Speculative Ethics in More than Human Worlds by Maria Puig; The Spell of the Sensuous by David Abram and a keystone publication that I always return to is The Three Ecologies for my work is Félix Guattari. Please nd attached.


CHRISTINE MACKEY OCT 13, 2020 04:42PM

“The rst man who, having enclosed a plot of land, took it into his head to say this is mine

town is severely lacking. Since COVID shops are closing down, our favourite cafe will not

The document.

and found people simple enough to believe him, was the true founder of civil society.

reopen and the pubs are closed. More to follow! I would like to add here

What crimes, wars, murders, what miseries and horrors would the human race have

acknowledgement of the Arts Council of Ireland who provided a Professional

been spared, had someone pulled up the stakes or lled in the ditch and cried out to his

Development Residency award to participate on this programme over the course of the

fellow men, “Do not listen to this impostor; you are lost if you forget that the fruits of the

residency. Artists paid work collapsed during (and continues on) during this pandemic and

earth belong to all and the earth to no one!”

for time to come and brought forth a list of challenges and dif culties through this

Jean Jacques Rousseau

programme. It is amazing we all engaged albeit in a

The Autonomous Garden as a site for Temporal Politics

www.christinemackey.info

This work is contextualized within a historical and contemporary framework that has its roots in early activist art in the 1960’s, land and environmental art to present

Working independently whilst based in a studio at the Leitrim Sculpture Centre, life-work

political and social concerns of environmental issues and site-speci c practices. Land Art,

attends to the complexity of plant matter and the politics of seeds narrated though

inclusive of environmental and ecological practices superseeded by the term ‘Ecovention’.

various contexts, processes and public’s.

This is broadly de ned as an artist’s aesthetic invention and/or intervention within the context of an eco system. Coined by Amy Lipton for an exhibition she co-curated with Sue

Thank you for your time and I am really looking forward in catching up with people’s

Spaid: Ecovention: Current Art To Transfer Ecologies (2002), is based on the idea that a

practice and projects. For now the sun is calling and I am off out exploring the local

new form of artmaking has emerged, combining an ecological and aesthetic framework

hedgerows and the various critters embedded in these unique habitats.

concerned with environmental pollution and degradation. Outline of methods Research a wider and more thoughtful development in contemporary art practice i.e. the work of the artist as ‘gardener’ + ‘farmer’ framed within a site-speci c community context.

Maria_Puig_de_la_Bellacasa_2017_Matters_of_Care_Sp

This will be analyzed and critiqued with

PDF document

reference to philosophical discussions of the meanings of vegetal life, evolutionary

PADLET DRIVE

stories of plants and seeds and the intersection of art, biology and environment. Speci c works by artists will assist in thinking through the crucial issues and

CHRISTINE MACKEY NOV 26, 2020 06:20PM

CHRISTINE MACKEY OCT 13, 2020 04:36PM

Online survey in the town on whether people are in favour of a allotment. Due to increased covid restrictions (we are now on Level 5) this seemed like to a good way to gauge peoples interest.

METHOD 2. FEEDER PROCESS How they we know what is interesting to you as an artist is interesting to the public 'other'? During Phase 1. of The Long Field, research exhibition project held in a small shop on Main Street, I had set up a meeting space to conduct regular contact with the viewing public.

CHRISTINE MACKEY OCT 20, 2020 09:04AM

The Nursery cleared.

(In the past week all public galleries have been shut down due to covid) The exhibition provided a talking point for the local community on plants, seed saving and the living repositories of hedgerow systems. I have been actively collecting seeds and taking cuttings from key areas in and around the town from these interconnecting systems with the aim of planting out this material in a temporary 'nursery' bed that I am developing this Autumn on an unused 'plot' at the back of Mckennans house. The intention is to use this space to cultivate 'medicinal' plants, trees and shrubs for communal exchange and to open a dialogue of intention. It also lays the foundation for the public allotment that I intend to plan out this year in terms of gauging interest, locating suitable public sites in the town and nding support. I devised a very simple document asking for peoples interest in such a scheme and whether they were interested and willing to sign with their details. As this public access is now closed, I will utilise on-line tools to spread the word, garner interest and gather signatures for now.

challenges of the contemporary world. This will begin with some key American based artists such as Fritz Haeg ‘edible estates’; Alan Son st ‘Time Landscape’ and Amy Franceschini ‘Future Farmers’ amongst others. I will open this research by reconsidering the site of the ‘garden’ as a ‘radical living herbarium’ that draws both on the biomedical properties of plants and the importance of re-wilding the built environment. These radical herbariums will also be thought about in terms of usevalue/functionality, and as aesthetic communal spaces that can become testing grounds to activate relevant issues in relation to plant knowledge and wider environmental debates on art and sustainability, land-use, climate change, food security and collaborative practice. A key question will be whether these sites can become an embedded space for experiment and innovation? How do they merge creative and scienti c methods through new ways of collaboration and engagement with communities, artists themselves and social activists? Theoretically this will be in part guided by a number of social and spatial geographer’s to include for example Nigel Thrift (2009) who reveals a revival of interest in place making processes as a kind of re-animation of place that is concerned with movement and dynamic biocircularity. Places or in this context the ‘garden’ weaves together particular social constellations, they are meeting places of relations, part of a wider and open network (Massey 2005). These gardens argue are re-cultivated as temporal moments of encounter, and not xed in space and time, but as variable ‘seasonal’ events that follow a particular dynamic rhythm to life (Amin and Thrift 2002). (An interesting 6 minute video to New York’s community Garden of Eden: Adam Purple) https://www.youtube.com/watch?v=3odo7kEneT4 https://vimeo.com/29275235

CHRISTINE MACKEY OCT 13, 2020 04:43PM

Tiara Jackson

The Nursery.

TIARA J. NOV 28, 2020 01:46PM

This body has not been my home which has made somedays nearly impossible to engage with a project that is focused on the body as a home. I have found that I struggle with gauging how much of my sensual to share online. I have been feeling exhausted and I've been thinking alongside a friend exhaustion as disability and we've been carving out times to be supine--inviting rest and CHRISTINE MACKEY NOV 28, 2020 05:16PM

Hello everyone Greetings from a small rural town in the North-west of Ireland, where I have just installed CHRISTINE MACKEY OCT 13, 2020 03:14PM

a temporary project in an empty shop on main street, Manorhamilton, Co. Leitrim. The

Action Research Project

work centres on 327,258 km of land known as The Long Field. These hedgerow systems

METHOD 1. SOME NOTES ON THE THEORETICAL BACKGROUND OF GARDEN 'PLOTS'.

change since human cultivation begin. It is here in this space and under the context of this

are an important part of the cultural landscape and have been sites of resistance and project that I will develop my Action Research Project for UNIDEE. Here, I intend to open

Here I will lay out my interest in 'gardens' and by extension including all kinds of spaces

conversations with local residents and beyond on the future potential of fostering spaces

abound with ora and fauna.

of biodiversity as well as providing sites of inspiration for gardens, nurseries, allotments and various culture uses. Ultimately the plan is to establish a number of satellite green spaces for the town for growing food, for rest, for play for social interaction, for which the

weakness in. With hurricane season, covid fatigue, exhaustion I often feel imprisoned in my house so I often feel unable to access my body without the invitation from others. This invitation into my body has looked like taking classes and being apart of other projects.

TIZO ALL NOV 01, 2020 11:36AM

Hey Tiara. My body my home. Always have this perception and carried the certain uncertainty feelings of being. Also Im with you on the premises that we are not in a Post, instead on the course of hopefully change some of it. Thanks for sharing

TIARA J. OCT 20, 2020 01:42PM


I think that we’re not post-pandemic just like we’re not post-colonialism, and we’re living in the “afterlives of slavery” so my interest in the body as home is not To dismiss identity but to recognize that home is slippery and doesn’t quite exist externally for many people. So how do we nd home elsewhere. That elsewhere is the body for me.

CAMILA AGUAIS OCT 19, 2020 05:11PM

Hi! Glad you liked the document. I'd love to connect and hear about your project :) camila.aguais@gmail.com

TIARA J. OCT 15, 2020 04:49PM

What is public about doing the art in private? I've just been thinking about this a great deal.

TIARA J. OCT 15, 2020 04:48PM

Sometimes We're just sad//Melancholic Speaking on being outside the body, sometimes coming into the body is facilitated by other movement artists. I posted this movement of embodying melancholy on the IG because so much of my Art is embedded with, informed by, and existing because of the work of others. In this Pandemic Present, my ability to create and move is intertwined with my ongoing learning.

Talking to one of my beloveds today about feeling like I can't engage in this project right now because I don't feel at home in this body. Praise be to this black femme who reminded me that this too is part of the work. Right now I'm just trying to get inside the house with an aim towards feeling my way back home. Where do you begin when you're "outside the house?" This can be outside of routine, outside of your body, or just not quite settled. Move as if you're outside the house (waiting to get it, trying to get in, looking for the key, whatever outside looks/feels like for you). by thisbodilyhome INSTAGRAM

TIARA J. SEP 29, 2020 02:21PM

Outside the house: sometimes (often for me) I lose a sense of direction and needed to be pointed towards where I'm trying to get too. Guided by @goddessafrodisiac I was able to look peek into this melancholy home that frightens me but I'm still trying to feel my way into. #thisbodilyhome #publicart #blackfemme #feelingfemme #blackqueer

TIARA J. SEP 29, 2020 02:15PM

A Series of Exploratative Prompts

by thisbodilyhome INSTAGRAM

TIARA J. OCT 15, 2020 07:14PM

Update: The Body has not been a home My project which is taken place on IG is called: This bodily home. I've been really out of touch with my body so maintaining the page and prompts have posed a huge challenge. I hadn't posted anything on the page nor here for nearly two weeks. I started to re ect on the day 1 plenary where we discussed public art as process oriented and accessible; this re ection alongside conversing with other Black Femmes made me realize that sharing the moments where I don't feel at home in the body is just as important. My latest prompt was to invite others to explore being "Outside the House." The full re ection and prompt is on the IG.

Movement-Home 1:00 video PADLET DRIVE

TIARA J. SEP 29, 2020 02:19PM


WWW.INSTAGRAM.COM

LAUREN HOLLOWDAY NOV 02, 2020 02:57PM

KIRILA CVETKOVSKA OCT 12, 2020 11:55AM

Thank you for sharing today! It was great to see the space and the work. Some very deep, meaningful words. Lots to think about.

Week 3 I’ve been ruminating upon the emotional charge of interior domestic spaces and looking into the plans of the old houses in the town’s Old Bazaar. With the current health crisis,

KIRILA CVETKOVSKA NOV 04, 2020 02:20PM

many families have been forced to stay indoors together, which was also the case with big families and different generations living together in the Old Bazaar’s houses. I am investigating ways of how to approach the community and unveil these types of memories, thinking about storytelling as a way to convey an 'embodiment of feelings'

Kirila Cvetkovska

rather than a direct narration of the tales of life.

KIRILA CVETKOVSKA NOV 29, 2020 11:29AM

Week 10 Where do we go from here?

KIRILA CVETKOVSKA NOV 24, 2020 01:24PM

Week 9 I had a chat with Marilou, sharing our ideas, which for me brought to the surface some aspects that I feel my research could expand on, something that was lingering in the back of my mind before, but that I haven’t thought of as a possible link to my project. We talked about the emotional impact of a disruption in the built environment, from the remnants of war to abandonment of different kinds. In my surrounding, people are constantly leaving to work abroad, then they come back only to build new houses which are in turn left empty as they leave again for work in foreign countries. This motion has created ‘ghost neighborhoods’ that even though orderly displayed, still emanate a very heavy feeling of social abandonment. I am interested in relating this issue to the problems of social polarization and the detachment that occurs all along.

KIRILA CVETKOVSKA NOV 04, 2020 02:17PM

Week 6 This week I was one of the virtual residents and throughout the many valuable conversations, I was exploring ways of how to subversively discuss/approach complex

AÏDA DIOP NOV 23, 2020 08:12AM

issues such as social polarization, a speci c local context and memory. I have created a

Dear Kirila, thank you so much for the link ! so interesting.

storyboard with ‘instinctive’ drawings and writing/poetry that addresses these issues

p.s : "Art is You" is my favorite sentence (to reply to your last update)

through different metaphors.

I love that you work on rituals.

JADE BLOOD NOV 17, 2020 01:35PM

Kirila, thanks so much for that link, it's great! I hope you manage to reclaim some dreams <3

KIRILA CVETKOVSKA NOV 17, 2020 02:45PM

Week 8

KIRILA CVETKOVSKA OCT 05, 2020 05:16PM

I’ve been grappling with some issues and questions this week. How does art become part

Week 2

of life? When thinking about artistic practices and my project for the residency more

TIARA J. SEP 29, 2020 02:16PM

This Bodily Home After Saturday's plenary, learning about curating and public art as process oriented, I decided to move forward with carrying out my project on instagram. I have created a new page called @thisbodilyhome

WWW.INSTAGRAM.COM

speci cally, I am interested in the ways of how this thought process / research / action

I’ve been thinking about the ‘production of forgetting’ that happens through new intrusive

becomes a daily event or a ritual even, such as for instance the everyday activity of

construction, especially in places with a certain cultural signi cance, as in the case of the

preparing a meal. If art is the type of ‘food’ that I feed off of, how do I ‘cook’ every day,

Old Bazaar in my hometown. I am also interested in the poetics of architecture in relation

what are the ingredients and how do I share? Outside of the structured process, I am

to constructions of social history and how a disruption in the built environment affects

trying to nd new forms so as to also push the limits of the possibility to envision new

the emotional strata of a place. This week I have contacted the municipal Department of

worlds. The collective imagination in my context has been stolen in a way and I am intent

Urban Planning and after navigating the administrative labyrinths, I acquired a copy of the current Old Bazaar’s master plan. Since these departments work in isolation and with no

only on lighting a spark in the community, so that each one of us can start reclaiming the dreams we lost.

KIRILA CVETKOVSKA OCT 29, 2020 02:27PM

community collaboration, I am exploring ways to interweave the seemingly technical data

Chat with Yvonne and Alice

with storytelling, memory and emotion.

MARILOU VAN LIEROP NOV 12, 2020 11:48AM

After the group crit on Tuesday and the valuable shared thoughts, I had a chat with

Very interesting approach!

Yvonne and Alice around the professionalization of art, alienation and the process behind embedded practices, as well as the context of a small town. We touched upon the risk of forgetting art while doing socially engaging projects and how to create a balance between

KIRILA CVETKOVSKA NOV 10, 2020 03:48PM

Week 7 TIARA J. NOV 29, 2020 08:46PM

Hey from New Orleans, USA Hi everyone my name is Tiara J. I'm on Instagram as @notyouraveragehousedyke. I am a Black Fat Queer Femme in New Orleans, Louisiana, USA. I'm a scholar and creative. My

This week I had a conversation with my aunt who has been directly affected by the situation around the Old Bazaar, as she has grown up and inherited a family house in this part of town. We conversed about the overall disruption that has happened, but also tried

work" by Christina Sharpe. "Wake Work" is an investment in Black being in the wake of the transatlantic slave. I am deeply invested in sensual dance as a means of returning to our bodies in times of crisis, and in the ongoing mourning of lives lost to anti-blackness. While we exist in present that has both a pandemic and anti-black racism. This research project

issues such as social polarization, stemming from a global and national to a local framework, we talked about the approach, the possible medium such as a video essay, drawing, zine and the steps of possibly doing little projects as part of the bigger, more complex and longer term research action project.

mapping out the emotional charge of the interior space, related for instance to events and stories from her childhood.

KIRILA CVETKOVSKA OCT 25, 2020 05:30PM

Week 5

action research project will focus on Feminine identi ed folks exploration of sensuality through sensual dance. I begin with a Black Feminist theoretical framework called "wake

art making and community engagement. As my research project explores more general

KIRILA CVETKOVSKA NOV 04, 2020 02:10PM

Thank you Lauren and Jade for generously sharing your thoughts and bringing up important conversations! And thank you for letting me see things that I didn't even realize were there! :)

I’ve been investigating the conversational metaphors that have emerged around the issue of extreme social polarization in my country (exacerbated during the pandemic) and then speci cally in relation to the Old Bazaar – the problem and the new architectural constructions regarded as the ‘social ulcer.’

intends to grapple with existing in the not yes (post)ness of it all. JADE BLOOD NOV 04, 2020 12:06PM

KIRILA CVETKOVSKA OCT 25, 2020 05:04PM

Thanks Kirila for sharing your work- just reading all these Padlet entries and thinking

Week 4

about this alienation- and how much I got this from the black and white images you made- perhaps its the 'wood cut' look- German expressionist feel? x

I’ve been exploring the problem of ‘institutionalization of values’ as one of the issues that leads to social polarization, speci cally in the context of the Old Bazaar in my hometown.

KIRILA CVETKOVSKA OCT 11, 2020 05:41PM

Musings on research


The Macedonian society is one of extreme polarization embedded in all aspects of life due to high levels of corruption, that in turn have caused poverty, hopelessness and loss of motivation, especially intensi ed with the current pandemic. In a place with omnipresent defensiveness and unfounded division of attitudes, there is no space for open dialogue within institutional, but also within more intimate social and domestic spheres. My intention for the action research project is to nd a “channel” through which this polarization can be challenged on a microscale. I will focus on investigating a speci c part of my small hometown (Kriva Palanka, in the Northeast region) that is regarded as the Old Bazaar. The authentic architecture in this part has been seriously neglected, ruined and was never protected by law as part of the national cultural heritage. This has resulted in a complete loss of the original ambiance, impacting directly the immediate community that lives there and creating a serious division between them and the wealthy individuals who have built new modern houses in this section of the town. The question essentially is one of loss, also experienced by different generations. By employing the idea of psychogeography, I am intent on engaging with the immediate community, as well as with the wider population of the town, through conversations and participatory interventions, pondering on the issue of memory. I would also like to explore the psychogeography of the interior spaces of the houses and the shops, as this is also the prevalent type of space to which we have been constricted due to the pandemic. In the past week, I have contacted the City Museum and have started doing research in their archive on the history and the social signi cance of the Old Bazaar.

CABARET 0:27 video PADLET DRIVE

ORECCHIE D’ASINO NOV 26, 2020 01:21PM

Hi everybody! We’re nearing the end of the residency and for this we would like to propose to you a group game: a show of variety, a poor theatre, a BLUNDERET! It’ll be a collective cabaret on Weds 2nd December from 18:00pm to 20:30pm (CET)following the completion of the residency and the presentation of the webzine - for us to have a drink and fun informal time together-apart! So as the cabaret is a form of entertainment that combines theatre, song, comedy and dance, we would like to give each of you up to 3 minutes of free zoom stage in which you could entertain us, bore us, demonstrate, take us for a walk, have fun, stress us out, show

ORECCHIE D’ASINO NOV 04, 2020 09:30PM

us your work, listen to music, watch a video, cook, or maybe surprise us. In short, do as you like it. It is called BLUNDERET because it is a cabaret that embraces mistakes, errors and sharing/doing things we’re not entirely certain of or very good at. We would like to ask you to con rm your participation as soon as possible (no later than end of Saturday 28th) even if you do not yet know exactly how you will use your slot. In this way we can organize the time and give you any more information you need in

ORECCHIE D’ASINO NOV 24, 2020 11:31AM

advance. If you can’t join the live stream or you prefer to send us the material (as mov or KIRILA CVETKOVSKA SEP 19, 2020 11:31AM

mp4 video up to 3 minutes in length) before the event feel free to email (or send via

Hi everyone!

wetransfer) us at: orecchiedasino57@gmail.com

My name is Kirila and I am from North Macedonia.

by 12pm Weds 2nd December.We

My research and artistic practice dwell on themes of collective memory, loss and

Hope you like the idea and we are looking forward to your participation!

detachment, exploring cross-cultural values and their manifestation. I am also interested in constructions of history, identity and cultural imperialism, as well as the social

With love,

dynamics between so called “peripheries” and “centers.”

your Orecchie

I have a background in art history and psychology, and I am involved in collaborations in the Balkans and abroad. I am part of a group that works on revitalizing the Tiber River in

ORECCHIE D’ASINO NOV 26, 2020 01:21PM

Rome through contemporary public art (https://eternaltiber.net/). I also work around

BLUNDERET on 2nd december 2020 at 18.00 on our free zoom stage!

issues of decentralizing culture and community engagement in my small hometown in North Macedonia. In the region where I come from, the pandemic has only exacerbated the already existing inequalities within economic and political frameworks, and I am interested how these unveil in more intimate and domestic surroundings.

TIZO ALL NOV 23, 2020 09:34PM

BLUNDERET

I'm afraid it will be alone or probably some sweet person will take care of it.

0:25 video

Orecchie D’Asino (Ornella De Carlo and Federica Porro) ORECCHIE D’ASINO NOV 26, 2020 01:23PM

PADLET DRIVE

ORECCHIE D’ASINO NOV 04, 2020 09:32PM

Take care of them ;)


ORECCHIE D’ASINO NOV 03, 2020 11:12PM

Italian Lessons n.6 Thank to everybody who join the Inconsistency show, it was magic! Stay tuned, Orecchie are processing! Baci

ALICE PEDROLETTI OCT 31, 2020 11:23PM

Invisibility

6_Inconsistency PDF document PADLET DRIVE

ORECCHIE D’ASINO NOV 03, 2020 10:28PM

ORECCHIE D’ASINO NOV 04, 2020 09:16PM

ORECCHIE D’ASINO NOV 04, 2020 09:24PM

Ho una barca - Lezioni Italiane PADLET DRIVE

LAUREN HOLLOWDAY NOV 02, 2020 02:59PM

Thank you for sharing, and your generosity all week! I hope Week 7 can live up to the legacy. JADE BLOOD NOV 04, 2020 12:11PM

thanks for hosting the Italian lessons- I really enjoyed the one I could attend... this popped into my head when I was reading some of the texts you shared, and also the digram...

EDDIE JAMES NOV 02, 2020 02:54PM

“We are not going in circles, we are going upwards. The path is a spiral; we have already climbed many steps.”

Week 6

― Hermann Hesse, Siddhartha

ALICE PEDROLETTI OCT 31, 2020 11:22PM

ORECCHIE D’ASINO OCT 31, 2020 02:37PM

6_INCONSISTENCY SHOW


ORECCHIE D’ASINO OCT 31, 2020 07:00AM

Thank you for all that took part to this week of Italian Lesson! Yesterday we had the last meeting about the Multiplicity of Calvino and its blunder, the Unicity. Here some links and point that we came across

Estratto dai Diari di KH_Alice Pedroletti

5_Multiplicity

PDF document

PDF document

PADLET DRIVE

PADLET DRIVE

https://falia-air.com/about/ https://www.atrii.it

ALICE PEDROLETTI OCT 30, 2020 06:58PM

ORECCHIE D’ASINO OCT 29, 2020 10:23PM

https://www.instagram.com/_ventunesimo_/

Keith Haring (Diari)

Thank you for everybody who came to the fourth meeting of Italian Lessons!

1978

Elena Blesa Cábez have shared with us this regarding invisibility

The lesson with a quote from Journals by Keith Hating that Alice told us. (You nd it

http://otolithgroup.org/uploads/resources/10_445_Demos-Nervus_Rerum.pdf

below)

And during the conversation we talked a lot about the painting the Kiss from Hayez Tomorrow the last lesson!

ORECCHIE D’ASINO OCT 31, 2020 07:29AM

ORECCHIE D’ASINO OCT 31, 2020 07:00AM

ORECCHIE D’ASINO OCT 30, 2020 10:53AM

ORECCHIE D’ASINO OCT 29, 2020 10:20PM

6_INCONSISTENCY PDF document PADLET DRIVE

5_Uniqueness PDF document ORECCHIE D’ASINO OCT 31, 2020 07:00AM

PADLET DRIVE

5_UNIQUENESS PDF document ALICE PEDROLETTI OCT 30, 2020 07:04PM

PADLET DRIVE

Estratto dai Diari di KH. (Sorry is in Italian!) https://keithharing.tumblr.com/ ORECCHIE D’ASINO OCT 30, 2020 07:58AM

ORECCHIE D’ASINO OCT 29, 2020 10:20PM


ORECCHIE D’ASINO OCT 28, 2020 08:03PM

Presentazione

3_INACCURACY

PDF document

PDF document

PADLET DRIVE

PADLET DRIVE

ORECCHIE D’ASINO OCT 28, 2020 10:53AM

ORECCHIE D’ASINO OCT 29, 2020 10:18PM

ITALIAN LESSONS - Lesson n. 3

ORECCHIE D’ASINO OCT 28, 2020 07:57PM

ITALIAN LESSONS N.3 Inaccuracy

4_VISIBILITY PDF document

3_Calvino_Exactitude

PADLET DRIVE

PDF document PADLET DRIVE

ORECCHIE D’ASINO OCT 29, 2020 10:24PM

ITALIAN LESSON

ORECCHIE D’ASINO OCT 29, 2020 10:18PM

N.4 Invisibility

Thank you for everybody who came to the third meeting of Italian Lessons, it is so nice to

ORECCHIE D’ASINO OCT 28, 2020 10:53AM

see you taking part of our research program! Here below some suggestions, links and references shared during the meeting. We are looking forward for the meeting of tomorrow

Henry David Thoreau https://rabbitisland.org Gaston Bachelard - Poetics of reverie

3_Inaccuracy PDF document PADLET DRIVE

https://tsoeg.org ORECCHIE D’ASINO OCT 28, 2020 10:54AM

Marilou van Lierop also shared one of her works with us: https://www.marilouvanlierop.be/?page=video ORECCHIE D’ASINO OCT 28, 2020 07:57PM

4_Invisibility PDF document PADLET DRIVE

ORECCHIE D’ASINO OCT 29, 2020 10:18PM

ITALIAN LESSONS N.2 Slowness


ORECCHIE D’ASINO OCT 28, 2020 10:52AM

2_Slowness PDF document PADLET DRIVE

Slowness PDF document

1_Heaviness

1_LIGHTNESS

PDF document

PDF document

PADLET DRIVE

PADLET DRIVE

PADLET DRIVE

ORECCHIE D’ASINO OCT 28, 2020 10:52AM

ORECCHIE D’ASINO OCT 26, 2020 08:44AM

ORECCHIE D’ASINO OCT 28, 2020 10:52AM

ITALIAN LESSONS - Lesson n.1, heaviness

Hello everybody!

ITALIAN LESSONS -Lesson n.2

Hello everybody,

Tomorrow it will start our residency week in Biella, unfortunately the pandemic

Here a small recap of the rst day of our project!

circumstances didn’t allow the other participants to be here with us. This gave us the

ORECCHIE D’ASINO OCT 28, 2020 10:53AM

STAY SLOW

chance to think about a possible option to be able to involve the other participants in a common discussion, and not feel so alone ;) For this reason we thought to try to involve all of you. What we ask you is 30min more or less for a daily meeting on zoom, everyday at 18.00. Our idea starts from the book American Lessons, six memos for the next millennium by Italo Calvino. We turned the six purposes for the next millennium into their opposite: six blunders of this millennium. Everyday we will take a coffee together discussing and sharing the different opinions and ideas about one of these blunders, starting from monday to saturday. So this would be the ideal organization of the week: Monday > Heaviness Tuesday > Slowness Wednesday > Inaccuracy Thursday > Invisibility Friday > Uniqueness. Saturday > Inconsistency Sunday > Let’s nd a new blunder! In our Padlet you will nd some materials plus we invite you to share any kind of material that you think can connect with the content of the blunder. (music, video, text, image, events…) 2_QUICKNESS PDF document

Lezioni Italiane - Heaviness

PADLET DRIVE

PDF document

We are looking forward to meet all of you.

PADLET DRIVE

ORECCHIE D’ASINO OCT 28, 2020 10:52AM ORECCHIE D’ASINO OCT 28, 2020 10:51AM

ITALIAN LESSONS - Lesson n.1 Here you nd the rst chapter from Calvino's Book

intro PDF document PADLET DRIVE

IMG_8998.mov

ORECCHIE D’ASINO OCT 28, 2020 10:52AM

0:19 video

ITALIAN LESSONS - n.1 Heaviness

PADLET DRIVE

ORECCHIE D’ASINO OCT 25, 2020 10:01AM


After the seminar of last weekend with STEALTH.unlimited we had the chance to think

allow to think the whole of society, but also to keep it in a state of permanent revolution.

chance both to be artists and curators. During the week we could work to generate

about the sense of generating a community where different people with different

It’s more important to plan a relationship with each other than to leave traces on a

common moments in which not only the participants were involved but also the few

interests can come together to work and collaborate with the aim of generating

medium. In the new regime of creation the artist no longer accepts the composition,

inhabitants of the mountain, and at the same time coordinating the work of the various

something and maybe create a change in the system. We would like to start showing you

writing or drawing of a message, but conceives a generator system of works. We are far

participants and organizing the days and different activities. This long term project is

how our giornate spropositive (un-propositional days) were ending: around the bon re,

from the disinterested contemplation of aesthetics, far from any superiority of the artist

giving us and to the other participants the chance to think about the artistic engagement

talking, discussing, sharing ideas and personal experiences.

who would inevitably fall into pure and simple solipsism or into the elitist realm of each for himself. Founded on the personal choice of a style of existence and no longer on any

inside the society in different spheres and also to re ect on what the pandemic period

During our self-organized residency Lezioni Italiane we experienced the sense of

naturalized moral law, art induces a morality underlying the search for exchange and the

community in many aspects but there was a strong and unique moment that could create

construction of shared situations. It moves away from the glittering egocentrism of the

a deep sense of connection and relation between people that were not knowing each

heroes of the art of living to approach an ethics of dialogue. The artist poses the question

other: the bon re. Riccardo Vitali, one of the artists of the residency, silently operated

of a division with the other, to produce possibility of life, subjectivity relationship with the

inside this contest creating the perfect location for the night bon re. He took care to

other. The stakes? Time lived.

create the right basement for the re and he was always feeding it to be able to least until everybody went to sleep.

Italian lessons, rather than a residence, turn out to be a program of resistance towards the

generated. More about our project on our webstie: https://orecchiedasino57.wixsite.com/o-d-a

Eddie James

planetary homologation of behaviour, towards disciplinary barrier. Italian lessons uses art All the six days of residency were ending here.

as a means to make life more interesting than art.

EDDIE JAMES NOV 21, 2020 03:37PM

Silver Falls-120 So you can see her.

Walk On - Instructions (3) PDF document PADLET DRIVE

LAUREN HOLLOWDAY NOV 02, 2020 03:00PM

Thank you for sharing today! Please can we have the information to participate, a must-do for me this week :) And I would really love to connect to talk about your practice some more, if there might be time to share on opposite sides of the world!

ALICE PEDROLETTI OCT 31, 2020 11:24PM

Thanks so much dear! Talk this upcoming week <3

Lezioni Italiane-Bon re PDF document PADLET DRIVE

ORECCHIE D’ASINO SEP 27, 2020 06:04PM

EDDIE JAMES NOV 20, 2020 02:57AM

ITALIAN LESSONS six blunders of this millenium

Update on my project!

A house, lost in the Monti di Grotto (CO), is the perfect place to break away from the

https://contemporaryarttasmania.org/programs/cobra-walk-on-eddie-james/

urban uproar, focus on primary needs and create a community in which the participants can overturn the lessons of Calvino starting from six absurdities of this millennium:

ALICE PEDROLETTI NOV 17, 2020 11:01PM

heaviness, slowness, inaccuracy, invisibility, uniqueness and inconsistency. From 8 to 13

I was wondering: should we keep the reading book for after the Residency? To keep -

September OD’A along with seven other artists, graphic designers, seamstress, botanist

somehow - a distant common ground? Part of my work is related to "what's next", it means

and engineer, voluntarily isolated themselves in this house. Here every day was dedicated

after the pandemic. It will be nice to have this opportunity as a future outcome. :)

to a blunder and collective activities that converged to moments of re ection and

Let me know.

discussion: round tables, dinners and night bon res. These moments give the opportunity to think of a new self-management in response to the changes that have occurred and the uncertainty that follows. Lezioni italiane proposes as exemplary trivial works actions, concretized or not through a painting, a scenography, an event around a possible work, powerless to be realized if not in the form of notes or events on art or itself: the spectacle of a fundamental doubt about the very possibility of making art. Doubt leads to replacing hard and imposed work, a playful notion of work. The event is conceived as a briefcase of social games and the game as a generator of renewable living forms: the most ordinary phenomena are transformed into aesthetic experience, creating for the spectator-player an in nite theater of potential events. Now art has at its disposal an evolutionary material that does not need to be xed in time and space. Instead of the nished product he can explain the stages of his work, of his thought. The stakes of aesthetic perception become the awareness of an event whose beauty disappears for an economy of existence that includes the set of micro-behaviors that emerge on its surface. The artist never stops creating new group games: the group itself becomes the work of art and leads to generate a solution to no longer depend on traditional models, a founding instance of practices, rituals. The art is no longer in the object, but in a series of methods that aim to improve the everyday through the construction of situations and original environments, on a temporary basis. These methods are commutators of the imaginary, employed in the cultural struggle against the normalization of lived time, of the modes of subversion of bourgeois culture. The artist thus becomes an analyst of the real, producer of events and relationships between very distant facts rather than a manufacturer of objects or images. Art has become a secondary activity in the visual chain, today the task of the industries. The present art becomes a producer of attitudes and provides pictures and models that

JADE BLOOD NOV 17, 2020 01:37PM ORECCHIE D’ASINO SEP 21, 2020 11:56AM

Hello to everybody, We are Orecchie D’Asino (OD’A), we are an artistic duo made by Ornella De Carlo (Taranto,

ALICE PEDROLETTI OCT 31, 2020 11:23PM

Wows! Wow Eddie, the MOFO festival looks amazing and what an eccentric place!!!!!!!

1991), graduated in Visual Arts, and Federica Porro (Como, 1994), graduated in Modern Literature. Two years ago, during a trip on a train while reading Dreams by Tabucchi and Impro by Keith Johnston, we started to compose a lucid and shared dream following some theatrical exercise of improvisation. In this way they create our practice with a narration rst oral and then written. Driven by a necessity to represent it, the text is dismantled in a net of links between images, objects and settings, then staged inside a scenography. The leftover of this is recomposed in the form of totem, a solid and commemorative monument of primitive

JADE BLOOD NOV 04, 2020 11:20AM

Eddie, I am going to do your walk with a friend I haven't been able to spend much time with, so thanks for sharing and facilitating this. Also I wanted to ask you about Hobart, as my school does exchanges with one there (or has historically) and I met a really nice person from there who told me all about some kind of wacky excentric lord(?) festival... which I seem to have forgotten... must've been in the pub!

culture, a recall to order. After crossing the object and its images, we arrive at the creation and organisation of events with a performative action or participatory practices to stage tails using dialogs, gestures, dances and plays. The art-work’s wavelength moves from a medium to another, from a format to a new one

MARILOU VAN LIEROP NOV 04, 2020 11:02AM

Just give me a few days....

as the artists themselves who move from a gure to another: an attempt of defetishization of the art work and the artist, an abolition of forms and roles, following a winding curve of reprocessing where the art piece is presented as a never-ending comment to a text already given on a network of existing signs and chains. In the last period we focused even more on participatory practices trying to create a direct connection with the society. In particular in the last month we had the opportunity

EDDIE JAMES NOV 03, 2020 10:27PM

Walk On Instructions. Hello all would love if you could participate in my research project by taking a look and

EDDIE JAMES OCT 30, 2020 09:55PM

doing the following...

W

to organize a self-managed residency in the mountain near Como: inside a house we could put together different gures (artists, graphic designers, seamstress, botanic and engineer) with a common focus, the six un-purpose of this millennium a personal interpretation of the America Lessons from Italo Calvino. Lezioni Italiane gave us the

JADE BLOOD OCT 28, 2020 05:23PM


Eddie- I love the aneur article- Ive been thinking about this loads- I nearly sent this

EDDIE JAMES SEP 24, 2020 11:34PM

exact one to the group last night for their 'slowly' session but in aneur fashion, I decided

Readings

to just be quiet and observe. There is a Walter Benjamin story or paper called 'Myth of the Flaneur' which is interesting! -Sorry if you already have read! Also the situationist international reimagining of Detournment is fun.

EDDIE JAMES OCT 27, 2020 11:52AM

An 1958 lm that talks about the modern mapping..

What is Psychogeography_ — Kevin Greeland PDF document ALICE PEDROLETTI OCT 13, 2020 04:24PM

PADLET DRIVE

Hi Eddie, I love Bachelard, I did a project about his Reverie book last year, let me know about this one, maybe we can chat one day about it/him. I also have part of my research related to time, space, I'd like to connect if you want. :)

Walking the walk_ A phenomenological study of long distance walki PDF document

EDDIE JAMES SEP 24, 2020 11:35PM

PADLET DRIVE

Reading EDDIE JAMES SEP 24, 2020 11:33PM

Readings EDDIE JAMES OCT 08, 2020 10:34PM

Here a are some things I'm reading at the moment...

New book! Looking forward to reading this one.

Tasmanian Magazine Number 3 (1958) by Libraries Tasmania YOUTUBE

EDDIE JAMES OCT 27, 2020 11:15AM

an interesting article on woman and walking. https://www.theguardian.com/cities/2016/jul/29/female- aneur-women-reclaimstreets

‘[no title]’, Richard Long, 1994 _ Tate PDF document

A tribute to female âneurs: the women who reclaimed our city streets

PADLET DRIVE

It's never been more fashionable to write about walking in cities. Books on psychogeography have become a cottage industry, their authors held up as philosophers of modernity. The roots of what they do lie in a 19th-century phenomenon - the âneur, a gure of privilege and leisure, with the time and money to amble around the city at will.

EDDIE JAMES SEP 24, 2020 11:35PM

Hamish_Fulton__Walk__Turner_and_the_Ele___review___Art_and_design___The_Guardian.pdf

Reading

PDF document

THE GUARDIAN

EDDIE JAMES SEP 24, 2020 11:27PM

EDDIE JAMES OCT 20, 2020 12:35AM

Walk On

UPDATE

Here is the proposal for my project. I'm in the hope that I can take this project around the

Hello. Just a bit of an update. I've been out walking and recording, i almost have the rst

world and collaborate with a multitude of artists, and bring communities together within

audio ready. i'm working with another Artist Bert Spinks who is a writer/poet/walking

Nature and the senses.

guide. I've also been taking rubings and doing sketches, and taking photos on my walks. I've managed to get a mentorship with a wonderful artist here called Jane Giblin, she is teaching me lithography. It is my hope to produce approx. 7 walks and 7 prints over, punctuating it with an exhibition September/October 2021 exhibiting the prints, photography and audio as well as taking the visitors on a physical walk. We are currently in development already with the support of Contemporary Art Tasmania's Cobra grant to develop 1-2 walks by the end of the year in the Hobart Region. I've also spoken with Rocky cape parks TAS, Cradle Mountain Parks TAS as well as Jessie Pangas at the wilderness gallery and they have all expressed interest and are keen to see the project developed. I'm looking into purchasing a wireless audio set up that includes 12 sets of headphones and a transmitter for the live walks and also researching into app development so there is access to take themselves on the walk. So yeah truckin on. I'm wishing I could be in Biella physical and have the chance to develop one of the walks there! Hopefully one day! I've attached a map of where the rst walk it planned for you to see. It's a beautiful spot called Silver Falls and is situated on the foot hills of Mt. Wellington.

PADLET DRIVE

EDDIE JAMES SEP 24, 2020 11:34PM

Readings forget aneur PDF document PADLET DRIVE


Hi Victoria.

in remediating toxic soil, speci cally petro-oil spills in the Ecuadorian Amazon. Through

Thank you for sharing your journey with movement. I'm attempting to do the same. I look

design for multi-species living as we head further into the entangled era of the

this research I am thinking about what it means to form a ‘commons’ with nature and

forward to seeing and learning how this is progressing for you!

anthropocene. Whilst doing my Phd thesis part-time I work full-time at an architecture rm which, along

UNIDEE RESIDENCY ADMIN NOV 05, 2020 08:53AM

with my dance practice, allows me the ability to understand the circulations and somatic inclinations of being a body in space as well as how the "built environment" isn't always built for everyone which is where foundational characters of capital (the black body and nature) stand to be outcast. I'm currently thinking about the question "what does it mean to be a collective, live collectively, act communally today?"

UNIDEE RESIDENCY ADMIN NOV 05, 2020 08:52AM

Walk On PDF document PADLET DRIVE

EDDIE JAMES SEP 22, 2020 04:21AM

Hello World! Hi, I'm Eddie I'm a Kiwi/Aussie that currently resides in Hobart, Tasmania. I'm a visual artist, performer, and creative producer. I trained at Swinburne school of theatre and performance as well as The National Institute of Circus, and later at the Newcastle School of Art with a focus on photography and Printmaking. I've worked both on the stage and behind the scenes across the international festival circuit, in theatre and lm as well as visual art exhibitions, and online platforms. My work engages with the ideas concerned with space, time, comfort and isolation and the constant struggle to nd balance in the ephemeral race that is life. I have a fascination

Weronika Zalewska

with how the human eye sees and reads body language, and how the mind processes thoughts and feelings as a result. As a touring artist who spent half the year on the road, my work has been heavily in uenced by the transient life, and the chaos of instability. But

GINEVRA LUDOVICI OCT 24, 2020 03:04PM

now, due to the nature of covid19, I've been given the opportunity to stop, to be in one place. To make time for nature and to use a slower more meditative process to think

Hi Weronika!

about my art. In the turmoil of change and groundlessness, I contemplated how this

I have been reading on your pro le about the School of Love and it seems really

enforced change may impact the mental and physical health of the population and began

interesting to me.

to walk every day to relieve the stress. To give my mind and body space and in that space

My PhD research is about platforms initiated by artists, so it would be really nice to talk

to create a new vision. One of openness and connection to self, community and

with you about the project and your practice :)

landscape. UNIDEE RESIDENCY ADMIN NOV 05, 2020 08:52AM

ginevra.ludovici@yahoo.it

@eddie_james & @_v_a_c_a_n_c_y WERONIKA ZALEWSKA SEP 25, 2020 07:40PM UNIDEE RESIDENCY ADMIN NOV 05, 2020 08:56AM

Journal 1: The (Body) Speaks, Yearns, Howls, Rifts, Ruptures

slow future/s Hello dear undidee's,

Thinking a lot this week about sound and its relationship to the body. What am I moving to and what moves me? What predicts the movement and what ensures its "energy"?

I'm an artist/activist based in Warsaw (graduated from Royal Academy in Ghent, Belgium), especially interested in the post-artistic combination of art, activism, philosophy, science

A piece I've enjoyed recently comes from a jazz ensemble called 'sons of kemet' based in

(...). Collaborating is such an exciting possibility for us to mix our views and practices,

the UK who are entering the tradition only to rupture and rede ne it. In the act of improvisation, the musician (and the dancer) always seek the '1' -- the 1 is where you're

develop new insights, even more in the times of insecurity and shifting changes. The strength is in our polyphony and in practicing future through more concious present-

able to discern the origin of repetition, or deviation. It's where the entirety of the

however populist it might sound I'm all for it.

collective align to create something of a rhythm--unison. The '2' and '4' is traditionally where the swing happened, where you get a feel of the push and pull of the phrase. You

I'm very interested in sensitive perspectives and practices that go beyond the

can stress the 2 to create a different accent on the beat, to create a solo. But the idea is

institutional, market-based concept and functioning of art. Ecological, feminist practices

the 'rhythm' is created through unison and tension--a type of 'balance' Deleuze and

give me much insight into a thoughtful radicality.

Guattari would argue as a de-territorialisation/re-territorialisation of the thing. You hack the object, align with the object, and from the object you at times create something

In recent years, a signi cant part of my artistic practice has grown out of projects created

entirely different.

with the School of Love collective - a platform that explores experimental solutions and alternatives to existing hierarchies in art institutions and explores concepts of social and

The rhythms of life, the crises and revolutions stem from a history and sometimes those

political love. (https://www.schoolo ove.info/)

moments don't make sense, the actions don't always make "sense", the improvisations don't always make "Sense" but the beauty is that you're not necessarily looking for a

I'm also involved in the activities of the Consortium of Post-Artistic Practices - an

"sense" but the source of expression -- the '1'

informal group of artists/artists and curators/curators in all art-objective and postartistic practices. These are some of our actions: (https://www.theartnewspaper.com/news/polish-government-issues-artists-with- nes-

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then-withdraws-them?

Let the Circle be Unbroken

f bclid=IwAR2mYae0pd1sZZ08kecyeFJ9bwY9bT6Jvr8LTIuhI04HygpKq0TbfFBb7Nw ;

Hello Everyone! My name is Victoria and I am an interdisciplinary artist and academic living in London. My practice entails dance- performance, permaculture, lmmaking and

Victoria McKenzie TIARA J. NOV 05, 2020 08:53AM

writing as interrogative tools in the process of listening speci cally to the ecological world. I am currently doing my PhD in the History of Art at UCL, University of London and previous to that I completed my MA in Research Architecture at Goldsmiths, University of London. My thesis looks at the ‘more-than-human commons’ where I utilize mushrooms

https://magazynszum.pl/konsorcjum-praktyk-postartystycznych-na-marszuantyfaszystowskim/) You can see some of my video work by these links: https://solidarityandagency.online/weronika-zalewska/ https://www.youtube.com/watch?v=UaBjGwP9JYk&t=1s


https://www.youtube.com/watch?v=uIi4eXv8Jew&t=121s

thank you for your kind message, really.

us, better.

improve our situation, but perhaps this is a temp. way of coping, and our shrinking public green space needs rethinking and addressing now more then ever.

I never nished my message, sorry about that <3 (I'm doing my intensive week + following They're mostly based on combining the educational and more sensuous, an approach I'd also wish to take up during the residency, reconnecting the theme of (post)pandemic with

my MA classes) I hope you are doing well.

This links quite nicely to the SLOWLY session with Orecchie D'Asino last night- I was thinking about how grateful I was to be a part of various pockets of community world

There is a community garden on Bishophill in York (where I live) which is a Quaker Burial

ecology, instead of disconnecting the human from the non-human.

Would you like to keep in touch ?

wide- even eeting ones (it doesn't mean they are any less supportive or meaningful.)

Ground... the gate is open all the time for the public to use... there is even a compost heap which the residents have organised there. Residents also take it in turns to mow it, and

aka.aidadiop@gmail.com Sending lots of warmth,

insta @aidadiop

project update:

the pub across the road used to have little fetes there.

Whilst I await my rona test/ still being unsure about Italy on Sunday... I'm going to talk to

Wero

1st year art students at York St John University (where I am teaching for a month) and see

SIDE NOTE (at my school there was a really big deal made of locking the grounds- many of

if I can set a task for them to have a little outdoor gallery (DISTANCED) party ... I want

the Quakers said that it was against what they believed in... as they thought their lush

KIRILA CVETKOVSKA NOV 16, 2020 12:54PM

them to be involved in my green space project (as an unexpected eeting community that

green space should be public. Last year they started locking the gate and have a big heavy

Hey Jade, in relation to the lexicon idea, I think maybe this 'Glossary of the Present and

we are, and also clocked their little secret smoking area last week that has good

key card access one now, it was a real blow to the Quakers who are gradually retiring

Presence' published by the Moderna Galerija (Ljubljana, Slovenia) might be an interesting

potential!) -but also I feel really sorry for them paying loads of money to study/rubbish

now... their tales of teaching there in the past, having lots of animals around (important)

source:

access to materials etc etc and think they could do with some JOY and empowerment to

and a lot of freedom, seems like an epic loss- I feel the magic dwindle every year, it is sad.)

https://monoskop.org/images/0/0d/Glossary_of_the_Present_and_Presence_2011_E

take a rubbish situation and RECLAIM SPACE! (TEMPORARILY) from the university.

N.pdf

I have always been fascinated by Quakers since I was quite young, they were always (softly) made fun of by my gran, great uncle and nan (the Methodist church where they would go and hang out shared a modesty, simplicity that appealed to the very tiny Quaker

JADE BLOOD NOV 11, 2020 01:41PM

community) because of their environmental concern and their knitted jumpers (so cute).

Playing catch up/ bad week turned OK again After a really stressful week at work, feeling very much behind with everything/loosing 2 chargers/chaos/missing friends. I managed to pull myself together and watched the rest

Jade Blood ANDRA NEDELCU NOV 29, 2020 07:59PM

sounds good! Great idea, Jade! Would be nice to have some ideas/ letters exchange between the teachers from the group.

BLUNDER BOOZE

especially in Scunthorpe, when nobody around me cared about education much- just TIZO ALL OCT 27, 2020 10:45AM

of the Arte Util and the Let it Bi presentations... I am familiar with Arte Util but it was so

Hello dear Jade

good to get a deeper understanding from Alessandra and Gemma. I really like this idea of

I feel sorry for this situation, and hope we will nd the way to collaborate in this current

having to invent a new lexicon for useful art practice- this is something I often think I

frame!

need to constantly create a new dictionary for because it's constantly changing- (even in our conversation that Andy kindly set up)

JADE BLOOD OCT 16, 2020 12:49PM

I liked Tania Bruguera's criteria for useful art and it reminded me of a Lucy Lippard

a lorra lorra interest

score- which I give to students in my after school activities and have printed in my of ce

I am thinking a lot about gardens, growing things, wilding, forrest schools, etc etc. Below is the back of an envelope I designed for The Baltic Gallery, it was distributed last

I am aware of the debate around eco-feminism (which is a label I probably have) but I feel like this is one of the only ways right now, I can actually make a meaningful change as an

to always remember:

https://jadeblood.hotglue.me/?ARTGREENSPACE

artist.

'Do something that is: visually striking, socially radical, conceptually and contextually

-Have made a start with the virtual gallery of ARTISTS WITH(OUT) ALLOTMENTS.

for me, as i've given up reading English newspapers because I get so angry and depressed.

sensitive, sustainable, in the public domain (outside of art venues), and hurts no living of your action and upload them using the buttons below.' (do it compendium, 2012)

SO MUCH GINGER- RECIPE BY EAR Not a bad way of de ning 'success' I would say!

I've been yering/ getting in touch with allotment associations/ The Green Party etc. or are interested in art/gardens/ community and want to be involved. I found that sharing my story about not having any green space, invited people to tell me about their lockdown without gardens ... but how they make-shifted them! (one artist lives on an industrial estate and turned the parking spaces in to her garden... she is now sad to

EDDIE JAMES NOV 10, 2020 02:42AM

The project could also be used as a MODEL (or at the very least an rough outline/

wacky eccentric lord

pattern/template) for people who can't show their art work perhaps? Cancelled shows?

I'm going to assume you're talking about David Walsh

I very much accept that people will do it better than me, and so they should!- I think

https://mona.net.au/museum/exhibitions/past-exhibitions/on-the-origin-of-art/davidwalsh Also the festival, that i work for! https://darkmofo.net.au/

LAUREN HOLLOWDAY NOV 03, 2020 03:58PM

Thank you so much for sharing today, I'm so inspired by the self-governing attitude of the work and such a vital and urgent response both to the pandemic situation but also the speci city of York. With permission, I'd be keen to share this project with connections here in Armley and look at ways to also claim-back green space for the commons.

building an archive of green space art would be a good idea as this project grows (I think the rst talk we had, the guy mentioned about researching people who are doing a project similar to yours- better and worse! I'm also thinking here of valuable resources like Art Util.) I want the project to truly be EMBEDDED (just got the gardening connection. nice) - as inself organised and welcoming to ALL. Because otherwise, for me, there is noooo point... and also I really love jumble sales- bad posters- nice grandmas- any attempt at community organising melts my heart. Perhaps this is why I speak so plainly. AIM: Taking ownership of space- resisting hostility- inviting everyone- having as many conversations as possible. HAVING SOME JOY thank you very much!

EDDIE JAMES OCT 30, 2020 09:54PM

Oooooh thanks Jade i will look these up! JADE BLOOD OCT 10, 2020 12:00PM JADE BLOOD OCT 28, 2020 05:07PM

Chat w/ Yvonne and Alice plus an enjoyable s l o w musings hosted by Orecchie D'Asino Caught up with the recording of Yvonne and Alice and was very pleased to be able to meet them virtually today. Their embedded-ness is one that works so well because of their attitude, energy and approach, I can see why the residents place their trust in them and they make South Square work. They display willingness to adapt too and being honest about those challenges was really refreshing! Thanks guys, you made me want to move there and ALSO the party planning inspired an idea! (see below in project update!) Since listening to Y&A I have been re ecting a lot about where I live and my small community. AÏDA DIOP NOV 23, 2020 08:09AM

My city doesn't need or want me (a rich city in heritage and tourism does not need residents, low earners or contemporary art) BUT my complex community DOES want and need me- so we 'work' together to modestly and slowly make our lives in a city that rejects

I feel SO optimistic when I read/listen to our lass Donna Harraway... which is really crucial I don't know if anyone has watched her lm but Its v. cool, I keep returning to it. (trailer link below)

Artists and had loads of great info from people who have 'thought of this idea themselves'

bring it all indoors! subsequently questioning why she is where she is geographically and also 'in life'- the narratives around the feedback are so revealing and very honest.)

dear Jade

surviving.

week and contained wild ower seed note paper and pencils for people to plant...

types of work- like 'work-work' or 'heart work' which is something that Lucy Barker said

thing – something that will change the world. Good luck! Please take video or photographs JADE BLOOD NOV 28, 2020 05:31PM

But I loved them because they would always talk to me about books, so engaging,

Green Space- track and trace- and too much obsession with Quakers. Personal notes/non linear thinking around the action research so far: Artists with green spaces. I am hoping to gather 'green capital' data alongside the action. (with hope to try and address the inevitable lack of green space for certain demographics. I am not going to use excel.) At my workplace (I teach art at a Quaker school) where many students and teachers have countryside houses and gardens- they did not seem to consider those who do not have this luxury... when talking about living through a pandemic (Only the cool teachers would mention their empathy for those who might not have any access to outdoors- before modestly saying they were so thankful that they did) Green space is a luxury, especially if you own it. Maybe, perhaps when looking at the photographs of the ingenious balcony gatherings, the roof top make-shift gardens around the world we think that we will always nd a way to

https://vimeo.com/189163326


JADE BLOOD SEP 30, 2020 08:07PM

printed- probably the best thing I've made for a while!

Allotment Gallery

(our digital show is here- which was made during locky: https://masters.hotglue.me BUT we will be having our ' nal IRL show' at Baltic 39, Newcastle on Oct 9th- anothertrip-around-the-sun)

Taking inspo from Yorkshire Sculpture Park- a free open air gallery! This could be a teeny weeny scaled down version and self organised by artists with green space- a luxury that

I have worked mainly as a DIY artist for the last 10 years- running a community print

some haven't got! (my friend asked me to share her allotment mid lockdown- as she knew

room, exbos, workshops, being part of a collective which puts on gigs in York etc. The last

I had no garden, it has been a sanity saver ever since!)

couple of years I've started to actually get paid, and be involved in some pretty cool projects- like this one!

Setting up this group might also encourage others to share their patches with younger people or those without access to green space?

My interests/research sit around: optimism-DIY-function-craft-textiles-friendshipcollective work-collaborative-art and life-home.

I also really liked the Jeremy Deller and Jarvis Cocker public art trail around Kinder scout: https://www.nationaltrust.org.uk/features/artists-explore-landscapes-at-the-forefrontof-social-change

Most recently I created a website which hoped to draw together research and action during lockyHERE

I think it would be nice to work up to having an allotment art map/trail but the paths are

I hoped to open up research rather than HOARD IT all to myself- I would hope that this is

so narrow that it might not be possible with social distancing etc... so a digital version for

a step in the right direction to contributing to 'a generous culture'- could this change the

now would be interesting!

world? Not sure. Maybe... My website has a avour of my work if you are interested! Insta: @jadelblood @yorkzinefest @hashtagdreamphone @boothamartdept PLEASE also do get in touch if you have any gardening tips or rehoming cat tips- as I plan to use this throughout the project!

JADE BLOOD SEP 21, 2020 11:06AM

current listening/reading list Jane Bennett, Vibrant Matter. https://www.google.com/search? client=safari&rls=en&q=jane+bennett+vibrant+matter+pdf&ie=UTF-8&oe=UTF-8 Staying with the trouble- Donna Harraway David Sedaris- Holidays on Ice- because comedy is important

LAUREN HOLLOWDAY NOV 29, 2020 07:31PM JADE BLOOD SEP 21, 2020 03:48PM

Beginning- yer making-distilling the project.

Lauren Hollowday

Beginnings of yers to put up around -aiming to meet residents around York to start an

LAUREN HOLLOWDAY NOV 29, 2020 07:49PM

Amateur, Friend, Enthusiast Club. Location of posters will be crucial so I am making a list of civic / community places that are still functioning IRL so I can go and talk to people.

https://embodiedresident.wordpress.com/

Usually I would start at music venues as this is where I feel comfortable- but this is not possible at the moment. Where do people hang out now?

JADE BLOOD SEP 30, 2020 03:52PM

Social Art Library https://www.socialartlibrary.org -Hi folks, slightly off topic but I was invited to submit some work for this platform ^see link^ and wondered if people here might also be interested in submitting their 'social projects?' to the library?

LAUREN HOLLOWDAY NOV 29, 2020 07:30PM

It's also an interesting archive to look through as well. I'm currently working towards an IRL exhibition in Newcastle, which Is proving pretty tricky to be in the studio because of stupid Covid, it opens next Friday but after that... I have an action plan for the which will involve: My students- mainly year 7s who have chosen my after school activities Zine Club and Forth Plinth Sculpture Club. My local bread maker (Haxby Baker) Flyering around town (scoping out the city and seeing what public stuff is being used still!) Artists with Allotments! Also I made this window seat for my cat, its from a bit of wood, padding and some fabric I

JADE BLOOD SEP 24, 2020 03:30PM

Hallo! Hiya, I'm an artist based in York, UK where I live and teach art at a Quaker school- I have an allotment here too which I hope to utilise during this project. I also have a new rescue cat- pls don't tell my landlord. Parallel to this I also work in Newcastle, UK - where I am a member of 'The Collective Studio' at Newbridge Project space- having just nished my MFA on the BxNU programme.


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Trace

LAUREN HOLLOWDAY NOV 29, 2020 02:59PM

Inspo: 'Hiding in Plain Site'

the bench is long, there's room for everyone

programming for the lurkers

Thinking about looking, observing, lurking, hiding, noticing...

Katarzyna Warzecha (Director), 'We Have One Heart' World Animation Competition 3, Leeds International Film Festival 2020

And opening up to talking, telling, showing, sharing, involving others, other voices, other stories, other people with their own perspectives...

LAUREN HOLLOWDAY NOV 29, 2020 06:26PM

I love this project:

Hiding in Plain Sight Discovering the lost cinemas of Leeds LOSTCINEMAS

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UNIDEE SEMINAR 21/11

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Emma Bearman, Playful Anywhere CIC

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Trace

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JADE BLOOD NOV 04, 2020 11:26AM

LAUREN HOLLOWDAY NOV 29, 2020 06:11PM

Hey Lauren

Performing

ditto- I really loved your walking with strangers and the drawing box- I was thinking about your stoop and how you could use it to give out matchboxes and tiny pencils to people- you could be a new Armley myth! (I sent a link to Sophie Calle- incase you haven't already researched her) I was going to suggest our group goes for a collab walk so we can have a peek at Biella- but would be nice to do some drawing too! Please do share the green space project or contribute, that'd be great!

EDDIE JAMES OCT 30, 2020 09:53PM

Walking. Hi Lauren, I've posted a few articles on my pro le that my be useful to you. My project is also centered around walking and the senses. We should have a chat!

TIZO ALL OCT 27, 2020 10:45AM

Hello dear Lauren I feel sorry for this situation, and hope we will nd the way to collaborate in this current frame!Â

LAUREN HOLLOWDAY NOV 29, 2020 07:00PM

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Speaking


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Talking

Following

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Group Crit

The act of walking is to the urban system what the speech act is to language or to the statements uttered.

Speaking about the process and the project and the journey, and sharing with others, being vulnerable, being open, putting something felt into something spoken... There is so much value in conversation. This was my strongest moment of connection. I am so very grateful for it.

LAUREN HOLLOWDAY NOV 29, 2020 06:25PM

UNIDEE SEMINAR 31/10 De Certeau_Walking PDF document

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Touching

PADLET DRIVE

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Walking

Crit Powerpoint presentation PADLET DRIVE

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Collecting

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Walking Before the lockdown I never made time to walk. I walked to the bus stop on my commute to work. I walked into town after lectures to get groceries. I walked to friends' houses, and to the pub, and around galleries as ways to spend my free time. But I never made time to just walk, aimlessly, nowhere. When the lockdown began, and my world shrank to the four walls of my apartment, a daily walk became the highlight of my day. They started off small; I did laps around the churchyard across the street. Slowly the walks got longer, an hour turned into two, an afternoon, a whole day, not returning home until the sky was black.


Armley I am based in Armley, a socially deprived area on the edge of Leeds, which suffers from high crime rates and wide-spread unemployment. Despite these economic pressures, the resilience and interdependence of the local community is inspiring. Armley, like Biella, has a rich industrial history and the area is characterised by the remnants of a once thriving textile industry. Rows of back-to-back terraces which once housed workers sprawl out from the shadow of Victorian mills. Situated on the banks of the Leeds-Liverpool canal, the area is directly connected to the heart of the nancial hub of Leeds City Centre, and yet receives little in the way of funding, support, or interest from the council. Somewhat forgotten, the community in Armley risks regression in the face of unprecedented challenges brought about by the coronavirus pandemic. There is a strong impetus from Armley residents to improve the local area, to forge new and prosperous relationships with one another, and to reclaim a sense of pride in their locality. These community motivators embody an urgency to work towards useful and sustainable partnerships that address local needs, ensuring that Armley is not left behind in a post-pandemic future.

LAUREN HOLLOWDAY OCT 02, 2020 07:08PM

archive pending This is an ongoing project which seeks to explore collective ideas for tomorrow, whilst challenging the performative role and practical function of ‘the archive’. The themes of the project resonate strongly with the future-building and community focus of this residency. I'd love it if you'd take a look, and perhaps add a contribution to the archive? archive pending What does your tomorrow look like? Add your response to this community-generated, online depository of plans, thoughts, and hopes for an imagined future. Contribute to Tomorrow. The archive is pending. ARCHIVEPENDING

LAUREN HOLLOWDAY OCT 02, 2020 07:08PM

Reading List Here's what I'm currently reading, and I hope to keep updating this as the residency

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Gathering

Strangers

Armley

The process of gathering in order to inform my residency practice has so far involved:

The necessity to social distance and limit our interactions caused by the pandemic has

-walking -looking -listening

had a tangible, negative impact upon our sense of community. There is heightened hostility on the streets, passing one another like timebombs rather than neighbours, and

-talking -writing -dreaming

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UNIDEE SEMINAR 03/10

progresses. Recommendations for books and articles I should check out are always welcome :) Matarasso, F. (2019) A Restless Art. Laing, O. (2020) Funny Weather. Bilton, C. (2007) Management and Creativity. Marstine, J. (2017) Critical Practice: Artists, Museums, Ethics.

the ability to build connections, familiarity and belonging has been compromised.

LAUREN HOLLOWDAY SEP 17, 2020 10:16AM

As we enter the initial stages of a ‘new normal’, I am concerned about the potential longevity of these hostilities. I am fearful for the loss of collective action when personal

Hello!

circumstances are so dire, and an ongoing wariness towards strangers as potential threats rather than potential partners. As my practice revolves around forging intimacy and trust,

Hi everyone! I'm Lauren and I'm based in Leeds, UK.

I am concerned about the feasibility of this work, particularly mediated across digital voids. I also feel a great challenge facing the cultural sector; striving to remain relevant to

I'm a student, currently working towards an MA in Arts Management and Heritage Studies. Last month I nished my PGDip in Socially Engaged Practice in Museums and Galleries, while my background is in Fine Art. Alongside my studies, I also work in Special

everyday lives in times of crisis and in building a post-pandemic future.

Collections with my time split between their archive and art gallery. LAUREN HOLLOWDAY NOV 29, 2020 07:12PM

My artistic practice explores discomfort, submission and trust through experiments involving participation and confession. This dialogical approach revolves around

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Armley

impenitent honesty, in order to nurture meaningful exchanges between audience and artist. I’m captivated by the intricate and transitory power dynamics of human interaction and seek to provide intimate experiences in which these hierarchies can be interrogated. My latest project produced an online archive of community-generated visions for a collective future, in response to the pandemic. My academic interests focus around vulnerability, and relationships between audiences and institutions. I’m motivated by a criticism of the positivity associated with socially engaged practice. Most recently, I have been involved with a research project that explored the ‘usefulness’ of museums and generated practical recommendations to support community groups through these unprecedented times. I've attached my portfolio from the residency application process in case anyone is interested in seeing the sort of work I tend to make. I look forward to e-meeting you all soon! :)

LAUREN HOLLOWDAY OCT 02, 2020 07:22PM


TIZO ALL OCT 29, 2020 12:13PM

It's great to hear that! I'm looking forward to it! JADE BLOOD OCT 28, 2020 10:43AM

Hey Tizo- I think I am joining you in Italy next Sunday? assuming my test returns in time and I am covid free!!!

TIZO ALL OCT 21, 2020 09:22AM

I would like to share this doc. I'm sure some of you, have already read it, but if not, I nd it very relevant.

Portfolio

A practice of not yet

PDF document

PDF document

PADLET DRIVE

PADLET DRIVE

TIZO ALL SEP 29, 2020 10:53AM

Tizo All AADITA CHAUDHURY NOV 26, 2020 12:38AM

Hi Tizo, I did not have a chance to attend to this earlier (was it last week or the week before?) that you led us through movement-based practice because i am increasingly moving away

Syndemic

from the ocular-centrism of both the experience of the arts (visual or performance) and drawing closer to the inner experience. The academic part of me thinks that "affect

PADLET DRIVE

PDF document

theory" is one approach to it, but it does a very poor approximation of felt experience itself. I'd be very curious to see how your project develops further. I'd love to keep in touch. aaditac@gmail.com instagram: @atidaac

TIZO ALL OCT 21, 2020 08:56AM

Dears I wanted to share this book with you all Decolonization is not a metaphor Eve Tuck K. Wayne Yang

TIZO ALL NOV 08, 2020 12:09PM

Jade and Aïda thanks for your feedback. About the body movement practice it happen last night and was great. Planning to repeat next week after the Saturday meeting. Would you like to join? Cats are very incredible movers and very good at self care too.

it's possible to access under the link: http://creativecommons.org/licenses/by-nc/3.0)

TIZO ALL OCT 14, 2020 01:20PM

Cópia de Portfolio2021 by Tizo All GOOGLE DOCS

Lauren, thanks for your feedback as well. I'm looking forward to go on with this project and start to gathering people around it. Here some photos with the great time and collaboration with Antonio this week in Biella.

TIZO ALL SEP 21, 2020 11:36PM

We went public before the new regulations started. The video will be soon available from this cctv perspective.

Dear AllI I’m an independent artist, Brazilian based in Berlin. My practice ows between a concept of “practical anthropology”, and a body movement performance practice. For many years, I’ve been doing interventions in public space and work with people in the confection of a choreography that aims to create relationships within the city and among the people. Using choreography as a form of resistance, denunciation and connecting to the passer-by. Coming from the individual addressing the collectivity. I’m queer, migrant, social scientist, and besides my artistic path, I’ve been working as a cleaner, waitress, and other competences among our complex society, which also shapes my experience as a human, artist, and activist. I’m an artist of the Brazilian diaspora. I’m a human being in constant transformation. As a migrant for me is quite blur the idea of community even though I can relate and dialogue with different groups and their struggles/ ghts/ feelings. Thus my experience is among people, and I want to exchange a consciousness and sensitivity that is proper to the body awareness with other people that have distinct/other experiences. It’s done in confront and or harmony with honesty and empathy. I’m a person concerning the art process as a platform for discussion and re ex of current and past matters, like colonization and decolonization, working creatively and actively within these themes. In Berlin, right now, I’ve been trying to approach community association and other platforms that gather mainly immigrants and refugees that are in the process of “inclusion” within the German system. Other initiatives that I’m taking part in are like, neighborhood associations that try to approach the diversity and multiplicity that Berlin aggregates, promoting group dynamics like cleaning the neighborhood, cooking together, and other similar activities that have been frozen since the beginning of the year, and are getting slowly back. My main interest right now is not to implement something new, but to observe what has been done in those groups to see how my artistic practice can bring relevant contributions to that. For now my practice is listening, talking, and exchange perspectives of the current/local/global realities. Also joining collective urban gardening. In November, one more edition of the movement laboratory named “Crossing” will happen between two bordering cities, Kehl and Strasbourg, as an invitation of the festival “Inact” to promote a sort of empathy/ coalition between these two cities. Besides that, I’m designing a process to work with peripheral artists in Brazil from 2021. tizoall.com

Antonio di Biase

UNIDEE - Cosa è Davvero 11 new photos added to shared album GOOGLE PHOTOS

TIZO ALL NOV 12, 2020 04:38PM

Great experience. Grazie mille Antonio! AÏDA DIOP NOV 07, 2020 04:09PM

ANTONIO DI BIASE NOV 09, 2020 03:31PM

I shall bring my cat too then :) can't wait.

Documentation Action research project_webcambiella

JADE BLOOD NOV 04, 2020 11:28AM

Thanks for sharing today Tizo- I look forward to doing some movement this evening- I will bring my cat! All of our group could maybe go for a walk separately but together maybe later in the week too?

Unidee - a practice of context PDF document PADLET DRIVE

TIZO ALL OCT 05, 2020 09:30AM LAUREN HOLLOWDAY NOV 03, 2020 04:00PM

Thank you for sharing today Tizo! Your project has so much potential for real, impactful change which is really exciting. I look forward to exploring the outputs of your collaborations there in Biella.


Zina Zarour

install my own?! For now, here is the live cam of the Peregrine Nest at the top of the building I work in: https://sustainability.leeds.ac.uk/peregrines/

ALICE PEDROLETTI NOV 29, 2020 07:00PM TIZO ALL OCT 27, 2020 10:45AM

Dear Zina, looking forward to talk more after the residency. :)

Hello dear Would like to know how you are feeling about the upcoming week?!

Here you can nd me: alike.notalike@gmail.com skype: alikep IG: alice.pedroletti

ANTONIO DI BIASE OCT 15, 2020 11:23AM

The editing of the images taken for the surveillance cameras is well under way. I'm also

Be safe and get well soon! Love and hugs.

involving in the project a group of musicians who are going to improvise musical pieces directly on the images.

AADITA CHAUDHURY NOV 26, 2020 12:45AM

Dear Zina, I am very sad we did not get a proper chance to get acquainted in person during our residency, especially since Palestine and the Palestinian con ict, and its social and intellectual heritage is something that has deeply in uenced me as a person. I thank you Action Research Project_Tizo All_Antonio Di Biase_UNIDEE RESIDENCY 2020 by Antonio Di Biase

ANTONIO DI BIASE SEP 30, 2020 12:02AM

YOUTUBE

ANTONIO DI BIASE NOV 09, 2020 03:31PM

un/Hook

conversation.

For my action research project I would like to investigate not a speci c place but different places around the world through the eyes of the public surveillance cameras. Aseptic

aaditac@gmail.com Instagram: @atidaac

"Trace" from action research project in Biella

shots, total elds and mechanical movements: a form of control over atmospheric agents, over population movements, over the secret life of animals. What interested me are those

here is a screenshot of the webcam that we used as part of our collaborative experience in Biella with Tizo All. Around 17.30, when the light goes down the webcam turns from color

moments where the cameras are subjected to external in uences (fog, thunders, wind, etc) nullifying the control purposes. The images that emerge from these moments are totally unexpected and recall different collective imaginaries: paintings of the 1700s, extracts of analogue experimentations of the underground cinema of the 60s, futuristic

to black and white. I used a strong lamp to point on the webcam to make it become colorful again. It was interesting for me to investigate the limits of this technologies and

views like Blade Runner. Abstract and pictorial landscapes, de ned by the “pigment” of the pixels and by digital arti ces. From this concept comes the title un/Hook: unhooking, or

to play with that.

for drawing my attention to the burning of olive trees in Palestine as an act of aggression. I would be very interested to follow along with your project and continue this

freeing the image from its original function, dragging the viewer into a new and unknown path, between forms and collective imaginaries estranged in a dream dimension. ANTONIO DI BIASE OCT 15, 2020 11:15AM

ZINA ZAROUR NOV 27, 2020 09:33AM

Diaries from outside/inside prison I am currently working around the concept of forced absence ... all around the world people are facing different oppressions; incarceration, displacement, and even are being killed by theses oppressive regimes. I my diaries in words and photographs in the period when my partner Faris was imprisoned by the Israeli occupation forces. For 4 months I have been exploring what it means to be partners in such situation. I would like to explore more around the concept of forced absence in different contexts as well.

ZINA ZAROUR SEP 22, 2020 09:01PM

Hi Everyone, I am a Palestinian artist and activist. I have over 8 years of involvement in both the performing and visual arts; I was involved with different art events and performances such as “Badke" dance performance co-produced by the KVS (Brussels), Les Balet C de la B (Ghent) and the A. M. Qattan foundation (Ramallah), Qalandiya International Art Biennial, The Young Artist of the Year Award, “Kef yeh: Made in China” co-produced by the KVS (Brussels), the A. M. Qattan foundation (Ramallah). I am the co-founder/ performer of “Radio No frequency”, a podcast that tackles different political, social and economic topics, the podcast was created into a performance and

ALICE PEDROLETTI NOV 07, 2020 12:36PM

Ciao Antonio, I was reading your idea: you also spoke about animals. I have some suggestions, they might be useful to look at. During the rst lockdown, several Italian

toured in Palestine, Belgium, Slovenia, Portugal, Tunis and Jordan. I am interested in areas related to bringing the culture and arts to the people, in addition

photographers and Artists worked with webcams or live cams. Between them, Alessandro Sala worked on animals' lives during the lockdown; I guess they were in public parks and

to starting dialogues through my practice about issues related to underrepresented groups specially women and the feminist struggle in a settler colonial reality in Palestine.

zoos. Some others worked with skype portraits. Irene Fenara is an Italian artist working with surveillance cameras, also an example to look at. I understand you're looking for "mistakes." I might be useful too. In April, I published a project using more or less 1 thousand cameras and collecting around 1700 mages. After getting through so many livecams we can talk if you want. Most of the open-source cameras don't have wrong shots (or framing), and they are managed remotely so corrected quite immediately. I am in Milan like you :)

JADE BLOOD NOV 04, 2020 11:30AM

Thanks for sharing yesterday- I love what you captured. here is my nearest cameraperhaps I should send you guys in Biella a message via it? The river has burst its banks in York https://www.farsondigitalwatercams.com/locations/york

MARILOU VAN LIEROP NOV 04, 2020 10:44AM

beautiful images! LAUREN HOLLOWDAY NOV 03, 2020 04:12PM

Thank you so much for sharing today, the footage you have gathered thus far is so intriguing and I'm excited to see what evolves from the car park in Biella. I haven't been able to nd a camera showing Armley, but I do own one so perhaps I should

ANTONIO DI BIASE SEP 19, 2020 06:20PM ANTONIO DI BIASE OCT 15, 2020 11:14AM

Dear all, I'm Antonio and I live in Milan where I'm about to nish the master in Visual Art at the Brera Academy of Fine Arts. My practice is very much connected with cinema: during my studies I made different lms ranging from videoart to documentary and ction, some of which have been showed in different art exhibitions and lm festivals. My research focuses on the relationship between documentary and ancient Art History, with attention placed on the popular paesant universe. “De Sancto Ambrosio” (2018) is a mid-lenght lm entirely shot from the belltower of Sant'Ambrogio church in Milan with a long lens, focusing on little special moments of everyday life. Il passo dell'acqua (2019) is my diploma lm at the ZeLIG – school for documentary in Bolzano, shot in 16mm, which tells the stories of three “ancient” people that live in three different areas from the Maiella mountain to the Adriatic coast, in Abruzzo. At the moment, with a friend of mine, we founded a collective called “Tafano” which deals with organization of lm reviews, didactics and lm production. For the residency program I would like to develop a project based on the observation of the “webcam live”, surveillance cameras around the world. Aseptic shots, total elds and mechanical movements: a form of control over atmospheric agents, over population movements, over the secret life of animals. I would like to take this chance to develop this project and to share ideas with all of you!

ZINA ZAROUR SEP 20, 2020 08:25AM

Radio No Frequency https://soundcloud.com/taraddod https://www.youtube.com/watch?v=C3ewCiRwDDI

Annabelle Craven-Jones ANNABELLE CRAVEN-JONES NOV 29, 2020 08:55PM

second b0dy [becoming_broadcast] screenshot of yer for car-based larp / screenshare zoom meeting / presented at Intensive Week #8 / thank u for the feedback :)


language of travel signage UK / car pov eld work / conditions > pandemic

ANNABELLE CRAVEN-JONES NOV 29, 2020 09:53PM

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:41PM

schermata / screenshot

remote research

Through the last Unidee zoom meeting, I discovered that the Italian word for

location for larp via webcam pov / for Intensive Week#8 / Guy Fawkes Night / Pandemic Lockdown 2.0 / Bristol-Biella

<screenshot> is <schermata> / almost sounds like a neologism of schema-stigmata (curious if we think about the nature

Fieldwork/Conditions // Site / Non-local

of the inscribed body and the internet)

AADITA CHAUDHURY NOV 26, 2020 12:46AM

Dear Annabelle,

ANNABELLE CRAVEN-JONES NOV 29, 2020 09:29PM

I like how you are framing your eld-work condition sites as "non-local" - this is a methodological issue I have had to contend with both in my academic and now my arts-

Intensive Week #8

based research. If you want to talk more, I'd love to have a chat sometime.

My group met online to play Genevra's Little Crossword Game to help us create a common grammar / it was amazing to work through different language translations / you can learn so much / it helped me to articulate GRIEF as an absence of presence (which

aaditac@gmail.com Instagram: @atidaac

made think that being online is making us feel melancholic/distant at times)/ thank you GL / hope we can continue >>>

ANNABELLE CRAVEN-JONES NOV 29, 2020 10:02PM

Intensive Week #8 screenshot of Zoom meeting / Giulia reads my mind for a car larp and seamlessly drives whilst be-masked and Zooming from one location to another

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:44PM

ESSENTIAL TRAVEL ONLY STAY HOME SAVE LIVES Language of travel signage / car pov / Lockdown 2.0 / eld work / conditions > pandemic ANNABELLE CRAVEN-JONES NOV 29, 2020 07:42PM

remote research location for larp via webcam pov / for Intensive Week#8 / Pandemic Lockdown 2.0 / Bristol-Biella Fieldwork/Conditions // Site / Non-local

ANNABELLE CRAVEN-JONES NOV 29, 2020 09:28PM

One-to-Ones with Alessandra Saviotti was super helpful / particularly around learning-through-doing

ANNABELLE CRAVEN-JONES NOV 29, 2020 09:06PM

Intensive Week #8 with mentors Alessandra Savoitti + Gemma Medina Screenshot of a background from a Biella webcam whilst on Zoom / Pretending to be in Italy / Residency goes completely remote-online :( / Lockdown 2.0 We managed an amazing session and found lots of overlapping concerns and interests :) I hope to meet them IRL

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:42PM

Remote Research ANNABELLE CRAVEN-JONES NOV 29, 2020 07:17PM

location for larp via webcam pov /

GAME CHANGER

for Intensive Week#8 / Pandemic Lockdown 2.0 / Bristol-Biella

Language of home streaming / EE / Pandemic Lockdown 2.0 Bristol UK /

Fieldwork/Conditions // Site / Non-local

Fieldwork/Conditions // Site / Non-local ANNABELLE CRAVEN-JONES NOV 29, 2020 07:17PM

Stay Home Essential Travel Only 2020


nomadic yoga practice / car / between homes / post-pandemic

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:18PM

> car as studio hello fellow Unidee Residents / Intensive Week #8 / zoom meeting in car

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:38PM

> car as studio post-it notes on car interior / between homes / <when you examine life on a global scale, you lose sight* of yourself> from The Second Body by Daisy Hildyard *spelling <site> should read <sight> but I guess you could lose your body-site too

ANNABELLE CRAVEN-JONES NOV 29, 2020 06:53PM

ANNABELLE CRAVEN-JONES NOV 29, 2020 09:44PM

> car as studio

Live

post-it notes on car interior / between homes

Language of online yoga practice / Facebook / Source > Trika at Home

<THE LARGER THE SCALE THE MORE THING-LIKE becomes the signi cance of the person registered on it>

Fieldwork/Conditions // Site / Non-local

from The Second Body by Daisy Hildyard

ANNABELLE CRAVEN-JONES NOV 29, 2020 06:47PM

Yoga Elettronico / Electronic Yoga 1972 Nam June Paik video, black and white, color, sound, 7 min. 30 sec

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:20PM

> notes

Collection Castelli Di Rivoli, Torino

sphinx position / duration 5 minutes / folded printout on quadrille paper / source> internet search for yin yoga sequence for grief

[Proposed visit for week#8]

ANNABELLE CRAVEN-JONES NOV 29, 2020 06:55PM ANNABELLE CRAVEN-JONES NOV 29, 2020 07:38PM

> car as studio yin yoga sequence for grief with yoga block on car dashboard / source > nancynelsonyoga.com

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:01PM

> car as studio

> car as studio equipment / car interior / between homes / Reader <The Second Body> by Daisy Hildyard 2017


ANNABELLE CRAVEN-JONES NOV 29, 2020 07:15PM

Beyond Limits Language of home streaming / BT / Lockdown 2.0 Bristol UK / Fieldwork/Conditions // Site / Non-local

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:00PM

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:29PM

> car as studio

Live

post-it note on car interior /

Language of online yoga practice / Online Yoga Practice / Between homes /

<De nitions belong to the de ners not the de ned> from Toni Morrison

Fieldwork/Conditions // Site / Non-local

ANNABELLE CRAVEN-JONES NOV 07, 2020 12:28PM

second body [becoming broadcast] 2020 Car POV / Pandemic Post Lockdown Bristol UK / BT Beyond Limits ANNABELLE CRAVEN-JONES NOV 29, 2020 07:22PM

fellow Unidee Residents on zoom :)

Fieldwork/Conditions // Site / Non-local

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:27PM

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:31PM

Recorded Live

ROCK ON BINGE ON GAME ON

Language of online yoga practice / Facebook /

Language of home streaming adverts / EE / Pandemic Lockdown Bristol UK /

Source > Yoga SoleLuna Biella Fieldwork/Conditions // Site / Non-local Fieldwork/Conditions // Site / Non-local

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:25PM

Live Chat Language of online yoga practice / Smartphone / Screenshot / Source > Trika At Home Fieldwork/Conditions // Site / Non-local


A little crosswords game PDF document PADLET DRIVE

GINEVRA LUDOVICI NOV 11, 2020 09:05AM

Intensive week - documentation of day 2/3 Yesterday we had a fantastic group critique session. We shared our action research projects and it was interesting to hear directly from the people that conceived them. After the end of the meeting I had to enter in my car and go back to Lucca, where I am

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:32PM

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:35PM

ANNABELLE CRAVEN-JONES NOV 29, 2020 08:23PM

guarantees reliable wi- in every room Beyond Limits

more reliable. ultrafast speeds

Hi :)

Language of home streaming adverts / Pandemic Bristol UK / BT Beyond Limits

Language of home streaming adverts / Pandemic Lockdown Bristol UK / BT Beyond Limits

I have an expanded practice that encompasses artist, researcher and educator with a

currently based, because suddenly Tuscany turned into an orange zone, which means people cannot move inside/out the region and not even within it, without a proper

studio at Spike Island Bristol UK. /

certi cation. I drove for almost three hours in desert freeways and reached my accomodation just before the curfew. During the journey I thought about the question

Fieldwork/Conditions // Site / Non-local

My art practice and research draw attention to the speculative transforming post-human element between physical and digital interface. Works aim to permeate while

posed by Andy to us: How are you intending to use this week to work with your action research project? What would be useful for you?

simultaneously re ecting activities from our daily lives, presenting how mediated behaviours and altered perceptions are a part of a larger circle of somatic, cognitive,

I am trying to come up with ideas, while I drink my take-away cappuccino (bars can only provide this kind of service) in an empty square of the city.

Fieldwork/Conditions // Site / Non-local

technological, and cultural systems. / Current works/projects incorporate methods of online broadcasting (e.g. livestreaming, servers, online video chat) to speculate on the impact of remote and real-time technologies, especially mental wellbeing, through unpacking affective feedback mechanisms within current textures of broadcasted time and space. Works aim to generate experimental embodied research and practice-based methods that result in livestream broadcasting, networked installation, servers, schematics, self-publishing, teaching and more recently Larping (Live Action Role Play). / I hope to bring to the Unidee Residency my concerns for the non-normative/ neurodiverse and vulnerable through a long-term interest in our perceived relationship to the mind and body + mental wellbeing and its increasing industrialisation/ commodi cation. I am particularly interested in thinking through the pandemic as a condition and its consequent impact on our body-minds. I aim to locate embodied methods to help me analyse the impact of switching between remote/virtual and physical experiences as someone who is also between homes, whilst being open to devising a collective form of research. / Unidee has been on my radar for some time with my continued interest in experimental and alternative pedagogy and psychosocial experiments. Activities include: The Socialisation Project 2011-13, roam presents The Internet Party 2019, Google Hangout Sessions [oxytocin_states] 2018, and future larp SADSERVER 2021 x

ANNABELLE CRAVEN-JONES NOV 29, 2020 07:33PM

o ine Language of online yoga practice / Between Homes /

ANNABELLE CRAVEN-JONES NOV 29, 2020 08:21PM

300 Mbps with Wolf Moon Language of home streaming adverts / Pre-pandemic Bristol UK / BT / Wolf Moon

Fieldwork/Conditions // Site / Non-local Fieldwork/Conditions // Site/Non-local

Ginevra Ludovici GINEVRA LUDOVICI NOV 13, 2020 04:19PM

A little crosswords game During our group critique sessions I have written down some of the words that were emerging from the conversations. Then I decided to group some of them together and place them in the grid of crosswords, creating a sort of reversed version of a crosswords. The aim of this game is to collectively discuss with fellow residents of week 8 and try to nd together the de nitions of the words in the grid. It is an exercise to create a sort of shared and common grammar.

GINEVRA LUDOVICI NOV 11, 2020 07:53AM

Intensive week - documentation of day 1 Unfortunately, due to the current restrictions my week 8 fellows and I couldn't reach Biella this week. So I decided to move somewhere else for the time of the intensive program, just to try to get a sense of suspension coming from the separation with my actual environment. I ended up in a family house by the sea, located in Southern Tuscany. Yesterday, after our online meeting, I took a walk outside, and, once I came back home, I poured some wine in the glasses of me and my friend Alice and we started a reading session together. --Addendum We read excerpts of Silvia Federici's book Witches, Witch- Hunting and Women. I found very interesting that the day after, during the group critique session, Aadita mentioned Federici's work as a reference for her research action project on re/combustion phenomena.


the realization of a residency program in the Venetian context.

GIULIA MENEGALE NOV 16, 2020 08:43AM

GIULIA MENEGALE NOV 10, 2020 10:55AM

GIULIA MENEGALE NOV 10, 2020 08:58AM

EMBEDED PRECTICES IN PANDEMIC TIMESON THE NEED OF REFOCUS YOURSELF.

Giulia Menegale GIULIA MENEGALE NOV 16, 2020 09:05AM

research connection!!! yeah!

GIULIA MENEGALE NOV 16, 2020 08:43AM

UNIDEE-Week 8 GINEVRA LUDOVICI OCT 07, 2020 09:22AM

PAGES document

Bibliography

PADLET DRIVE

For Zanzèga we draw inspiration from several projects/texts/publications, including: - Jacques Derrida, The politics of friendship - Jacques Derrida, Of Hospitality

GIULIA MENEGALE NOV 10, 2020 10:57AM

DOCUMENTATION FROM

- Viktor Misiano, The institutionalization of friendship - Beatrice Von Bismarck, Benjamin Meyer-Krahmer (eds.), Curatorial Hospitality: Hosting Relations, Sternberg Press - X-Apartments, Matthias Lilienthal - Home Visit, Rimini Protokoll

When I visited the space... GIULIA MENEGALE NOV 16, 2020 08:51AM

FINAL PRESENTATION OF THE PROJECT

GINEVRA LUDOVICI OCT 07, 2020 09:23AM

Action research project GIULIA MENEGALE NOV 16, 2020 08:44AM

My action research project Zanzèga, conceptualized with curator Giovanni Paolin, is conceived for the city of Venice. The aim is to build up an annual international residency program in a private house in which curators and artists can share ideas and co-inhabit the same places. More than concentrating on the production of new artworks, the project focuses on the collective creation of meanings through a series of activities – such as, for example, reading sessions, video screenings, thematic discussions – aimed at sharing one’s own practice and at critically understanding the territory, in order to investigate issues related to the speci city of the city. We consider Venice a critical microcosm in which to analyze more general and, to a certain extent, global issues, being constantly at the center of debates and issues related to massive tourism, environmental sustainability, overcrowding and depopulation by residents. By adopting discursive practices as the main investigative tool, Zanzèga wants to introduce “the other” into a sharing scenario, pushing the ambivalence of the relationship between curator and artist, private and public, local and foreign, to its limits. We aim to build a translocal platform for knowledge and practice dissemination that include transnational encounters and collaborative networks of cultural producers, by constantly engaging and communicating with the local actors involved in the Venetian scene – universities, spaces, practitioners, institutions.

GIULIA MENEGALE NOV 16, 2020 08:42AM

GINEVRA LUDOVICI NOV 28, 2020 06:52PM

Hello! Hi everyone, I am Ginevra and I am based… well, currently it is very dif cult to say where I am based, since the situation we are experiencing right now makes it really hard for me to know for sure where I will be in the next future. I am originally from Rome, but before the pandemic I was based in Lucca, near Florence, where I am attending a PhD degree.

GIULIA MENEGALE NOV 16, 2020 08:45AM

Actually, my suggestion when i think about emergency/space

MATERIALS FROM 1ST CRIT From UNIDEE residency programs : Here’s some use of empty shops Yvonne from South Square produced end of last decade http://artinunusualspaces.com/ From Alessandra Saviotti : Many Mini Residency: http://www.manymini.org/berlin/information.html

Due to the pandemic, I had to leave Lucca and go back to my hometown, where I am right now, but I hope to be able to be back to Tuscany soon to continue my research.

From Gemma Medina : https://www.inkijkmuseum.nl/en/ The smallest museum in the city.

My PhD research revolves around self-initiated institutions and radical pedagogic

From Gemma Medina: https://www.nuriaguell.com/portfolio/aplicacion-legal-

programs undertaken by contemporary artists in the last decades. While in the academia I carry out my activity mostly on my own, in my curatorial practice I work within an interdisciplinary collective called CampoBase (https://campobase.cargo.site/). The aim of the collective is to activate collective processes of knowledge through the creation of an open environment that favors public occasions for meeting and dialogue.

desplazada-3-f-i-e-s/

GIULIA MENEGALE NOV 10, 2020 12:12PM

NOTES FROM LUCA LO PINTO TALK ON THE REIMAGINING MUSEUM LEAD BY wc/sd Difference between hardware =/ software

Being part of a collective and actively collaborating with other groups, my practice is rooted in collaborative processes, driven by principles of care, unlearning, hospitality and

thinking the museum as an editorial publication

contamination, as a response to the displacement, exhaustion and precariousness conditions that we are experiencing in current times.

more performative, works as rehearsal

My action research project, conceived together with curator Giovanni Paolin, consists in


GIULIA MENEGALE NOV 10, 2020 08:48AM

ANTE-FACTUM: MY INITIAL PROPOSAL My initial proposal was the following conceived in collaboration with Rodrigo Arteaga Abarca: From the Thread to the Net is a month-long project with an hybrid format between an exhibition, a think tank and an artist residency. Five Chilean artists will be invited to reside in Valparaíso (CL) for the length of the project and to attend the daily meetings in a dismissed train station, known as Ex-Maestranza. The title means to be an homage to the work of Cecilia Vicuña, an artist who has been recently recognized worldwide for her capacity to convey a poetic image of the dramatic transformations that Chile has undergone in the last thirty years by revisiting indigenous knowledges related to the use of thread as a mnemonic devices. Precariousness, memory, collective rituals and environmental concerns will be the key themes which the artists will be invited to explore through the production of new works then, exposed to the public in a nal collective exhibition. Moreover, further collaborators (such as researchers, activists and art historians) will join the conversations taking place day by day in the Ex-Maestranza: these seminars will be open to the locals, documented and shared online. The aim of the project proposed is indeed twofold: one the one hand, the artists will re ect on the intimate connection between ‘critique’ and ‘creation’, grounding their research on the speci city

-Jodi Dean, “AFFECTIVE NETWORKS; -Judith Butler, The Psychic Life of Power. Theories in Subjection -Michael Focault, Technologies of the Self; -Brian Holmes,The Flexible -Personality: For a New Cultural Critique; -Herbert Marcuse, One-Dimensional Man; -Eva Illouz, Cold Intimacies: The Making of Emotional Capitalism -David Harvey, The brief history of neoliberalism; - Paolo Virno, Tiziana Terranova (in general Marxist autonomist thinkers). Socially engaged art/alternative art school/ dialogic art/ the paracuratorial - Marta Malo de Molina, Common notions; - Colectivo situationao, on militant research - The Visible project; - Janna Graham (curator and scholar) - Field - A Journal of Socially-Engaged Art Criticism (online Journal led by Grant Kester) -Maria Lind, Performing the Curatorial With and Beyond Art. -Irit Rogoff, Turning -Mikhail Bakhtin, Toward a Philosophy of the Act.

GIULIA MENEGALE SEP 20, 2020 07:03AM

socio-ecological system of Valparaíso. On the other hand, by inviting Chilean-born artists who often reside abroad, the project wish to provide a statement on a glocal young generation of art creators.

PORTFOLIO (ONLY SELECTED PROJECTS)

About the place: the Ex-Maestranza is a partially repurposed train station which regularly hosts art festivals and recreational activities addressing the local population. This location represents an image of the technological progress that the project aims to critically explore. Moreover, Valparaíso is closed to natural sites which undermines the presence of an ongoing environmental crises: the burned forests around Ruta 68 and the so-called "Zonas de sacri cio", like Quinteros and Puchuncavi, Ventanas. The artists will be asked to work possibly on site and in combination with local activist organizations.

GIULIA MENEGALE OCT 03, 2020 12:51PM

Dear all, GIULIA MENEGALE NOV 10, 2020 09:27AM

EMBEDDED PRACTICES IN PANDEMIC TIMES - ON THE NEED OF REFOCUSING ONESELF. In all of that, I believe that my questions always turn around topics related to how we build our sense of belonging in a society (and especially in art worlds) that impose on us to be so often in movement. Before pandemic this used to happen for real (boarding passes, ight, train, boxes through which to pack or unpack the objects we love), in the pandemic this happens virtuality.

VIDEO-2020-11-02-12-12-22 0:16 video PADLET DRIVE

The other day, for example, I visited the 11th Berlin Biennale online through the curators’ video-tours. Curators who are mainly Hispanic American ones and who decide to shift the focus of the art exposed to Non-Europeans Countries. In this virtual spaces, I saw a lot of works embedded in speci c - meaning geographically and culturally locatedcosmologies. I immediately thought about the feeling of unpreparedness about which I spoke in my MA thesis. How do I navigate the syncretism our presence online exposes us? What I am supposed to make out of that? This episode led me to re ect on the convergence of movement and steadiness, I am experiencing in this particular historical

I am Giulia, an independent curator and writer based between Venice and London. I received a MA degree in Visual Cultures from Goldsmiths, University of London, in 2020 and a BA in Visual art from IUAV (University of Architecture of Venice) in 2018. Recently, I have been selected among the participants to IMMA - Art and Politics summer school and to a short curatorial course at Salzburg Summer International Academy of Fine Art. In 2019, I trained and worked as an assistant curator at Castello di Rivoli, Museum of Contemporary Art. In this capacity, I contributed to the realisation of the exhibition and catalogue, From the Clay to the Algorithm, on show at Gallerie d'Italia, Milan, last year.

GIULIA MENEGALE SEP 20, 2020 06:57AM

listening and active questioning whether this might happen through exhibition making, a reading group or an online project. In my last writings and projects, I am dealing with the commodi cation of identity and differences in exhibition displays. For example, as you can read from the abstract attached, my MA thesis focuses on the investigation of 'modes

Something more happened in those weeks.

IN MOVEMENT

of othering' at work in the exposition of the works of artists from Latin America (in particular: Anna Maria Maiolino and Cecilia Vicuna).

I discovered to have access to a small space near by Venice which is an old shop owned by

UNPREPAREDNESS

I use my social media account to curate #theBIGquestions series: a number of posts which aim to focus the user’s attention around questions related to the production of

STEADINESS

knowledges and art practices. Link to my project: https://www.instagram.com/ giuliamenegale/

and electricity bills and so on), I am thinking what are the possibilities connected to having a space now when all the rest of galleries and museums have been shut down.

GIULIA MENEGALE NOV 10, 2020 08:50AM

This space is an exercise of imagination right now.

"CANCELLED UNTIL FURTHER NOTICE DUE TO COVID-19"

Bibliographies for area of interests:

Is having a space a surplus or as-never-as before a necessity? What does this space stay for?

Several weeks have passed from the time when I made my rst proposal for this residency. At that time, I was coming back from London after two years spent there with a

Decolonizing thinking/ Art from Latin America -Gloria Anzaldúa, Now we shift... ;

A shelter? Or a window over the world? Is there a sort of competition going on right now between online spaces and physical ones? If there is one, what modalities of relationships will lose?

GIULIA MENEGALE NOV 10, 2020 11:10AM

DOCUMENTATION OF THE CREATIVE PROCESS Getting ready for my intense virtual week at Cittadella dell'Arte. I feel like reorganising my thinking through folders helps me A LOT! in this way, I keep track of what I am doing, who I am as a researcher and curator, the l rouge of my research. Where Do I want to go from here and now?

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My independent curatorial practice focuses on the creation of conditions for mutual

moment. Where I am now?

my family and that, due to the current situation, is unused at the moment. A part from practical problems which need to be resolved before opening this space to the public (the current DPCM, to make it sustainable from an economic point of view, to arrange water

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Prior to that, I worked for the non-pro t art space, Island, in Brussels and for Taryn Simon's studio in New York.

WHAT KIND OF STEADINESS CAN I PRACTICE NOW?

GIULIA MENEGALE NOV 10, 2020 11:04AM

PRESENTATION - GIULIA MENEGALE - UNIDEE

parenthesis of six months in Turin in-between the rst and second years of my permanence in UK. My projects where still the ones I had made while living in London and regularly hanging out with a community of friends from all over the world. In particular I proposed a residency in Valparaíso, Chile, thought with my friend and colleague Rodrigo Arteaga Abarca (he is a really talented artist! Really worth to check:http://www.rodrigoarteaga.com ). If my questions then were more oriented toward asking myself “What does it mean to do a project in a country which is not the one of your belonging when you get invited from a friend to do so? Is friendship a way to rede ne our sense of belonging from a community beyond national identities? How to actively listen to a history which is not mine? Does friendship authorise me to intervene in such geopolitical reality? What is my position in all of that? What the impact of my actions might be?”, now they have partially changed due to the fact that we had to put on hold our project until further notice because of pandemic; a pandemic that never stopped in Chile and the second wave of COVID-19 here.

-Walter Mignolo, Local histories/global designs; - Gerardo Mosquera (curator) -Rasheed Araeen ( founder of Third Text) - Suely Rolnik (Micro- /macro-politics)

MA THESIS (INTRO)

-María Lugones, Pilgrimages/Peregrinajes: Theorizing Coalition Against Multiple Oppressions;

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Emotion/psychopower/social media/theory of labor under advanced neoliberalism -Sara Amhed, The promise of Happiness;

Aadita Chaudhury

--Lauren Berlant, Cruel Optimism; -Franco Berardi, Soul at Work;

AADITA CHAUDHURY NOV 29, 2020 01:23AM

-Luc Boltanski and Eve Chiapello, The new spirit of capitalism;

Fermenting feminism


A colleague of mine had a multi-year curating project on fermentation that I thought I'd

turquoise butter ies

share given the last session we had as a group.

leaving me tenderly over laterite soils and shades of Sal trees

https://e-artexte.ca/id/eprint/28709/1/FERMENTINGFEMINISM_FOURNIER.pdf

towering over me like the guardian of my soul, that I strive to be. Fragmented, I remain for now,

https://accessgallery.ca/programming/fermenting-feminism-0

but always held and whole. https://www.criticaldistance.ca/program/fermenting-feminism/ https://read.dukeupress.edu/environmental-

AADITA CHAUDHURY NOV 26, 2020 01:21AM

humanities/article/12/1/88/165264/Fermenting-Feminism-as-Methodology-and

November 13, 2020 Hearing you speak so softly

TIZO ALL NOV 28, 2020 04:03PM

Dear Aadtia

when I’m in convalescence is the medicine. The tulips, the juniper,

I'm happy that you joined the movement session. De nitely let's keep in touch, and

the oak, and the burnt grass on my leggings dance in unison.

hopefully the project will be happening soon in a very special center where asylum seekers can start a path into something new.

The breezes brushes past my cheeks. I blush, only to realize that I am

@t.allperformer tizoall@gmail.com

the medicine.

ZINA ZAROUR NOV 27, 2020 09:40AM

Dear Aadita,

Clara's re ections AADITA CHAUDHURY NOV 26, 2020 01:21AM

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Changing registers between the arts and academia

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Thank you for your message.

As someone who navigates the academic world (as a PhD student, my earnings come from here through my duties as a teaching assistant) and the creative/curatorial worlds, I

I would also be very interested to follow up on your project, and maybe we can meet in Canada soon, since I am planning to come in the near future.

struggle a lot with changing registers of speaking/writing and ways of being (i.e. investigative, analytical vs. embodied, though I admit it does not have be so dichotomous).

let's stay in touch <3

As I have often been warned, a certain kind of "professionalism" is required to be "taken seriously" in most academic contexts, especially in the context of the current status of the

zina.zarour@gmail.com

academic job market (which does not function too differently from the art world in some senses, but performing a certain persona is part and parcel of what is institutionally

AADITA CHAUDHURY NOV 26, 2020 12:13AM

AADITA CHAUDHURY NOV 26, 2020 12:14AM

acceptable, and while this is changing, it is a slow process). ALICE PEDROLETTI NOV 26, 2020 05:59PM

Dear Aadita, Thank you for your re ection that I 'feel' (and share) a lot. Humans are always very egocentric in thinking about living spaces or needs. I felt very guilty when, years ago, I brought my cat to live with my mother: I had deprived him of his living area, of the possibility to go out and live in the city, even if it is not, in any case, a place for cats. When we came back here in the old house together, I received the most incredible 'teaching' that love and nature (understood as instinctive behavior) could give me: forgiveness, joy, balance, memory. The cat remembered everything, every little corner of the house, the garden, the streets, and the condominium. Every little habit re-emerged, and he put himself and me back in his ability to adapt and/or modify space. And he did it without rancour, but with the wisdom of 'the waiting.' Since we are back in lockdown, the days are beautiful again, the sun is shining every day, and I have dozens of different types of birds coming to visit me in the garden. There are insects and centipedes in the house. The garden snails cross the driveway undisturbed, and the leaves cover the table, making it camou aged with plants. A pet is a sel sh gesture without any doubt: beautiful, warm, and soft pets that give a lot tu US. But some humans give back too, fortunately. With insects, there is co-habitation but little exchange. Is this perhaps the dif culty? :) Although I remember that years ago, I had adopted an old bee: 'she' used to eat honey from my hand for weeks. She was slow in her movements, and maybe lost from the others. I gave her a name: Gertrude. I hope we can keep in touch after Unidee: alike.notalike@gmail.com

My most consistent form of arts practice outside of ethnographic photography as documentation, is perhaps poetry. There is a certain vulnerability that is associated with this sharing as it draws attention to, among other things, the domain of sexuality, which for good reasons, remains something to be underplayed in the context of academic practice (given its gender politics, high rates of gender and race based harassment). The poetic form requires a certain softening that requires the same level of disciplining that some forms of academic inquiry do - that is, there needs to be time and intent set aside for it. Sometimes, however, life creates the conditions of these times and intentions. I share some of this for the journey throughout this residency.

AADITA CHAUDHURY NOV 26, 2020 12:52AM

On the topic of pandemic art

AADITA CHAUDHURY NOV 26, 2020 12:13AM

Earlier this year, during the summer, one of my neighbourhood galleries here in Parkdale in Toronto had an exhibition titled "Park closed" which really got to the heart of the social-distanced alienation that was experienced worldwide as a result of this pandemic.

AADITA CHAUDHURY NOV 26, 2020 12:14AM

Toronto photographer's latest creative series inspired by walk with daughter during COVID-19 | Watch News Videos Online While on a daily walk with his daughter, internationally acclaimed commercial photographer David Wile says he was inspired to document abandoned recreational spaces and parks as a result of COVID-19. His exhibit, 'Park Closed,' is on at Only One Gallery. Susan Hay has the story. GLOBAL NEWS

I would love to! AADITA CHAUDHURY NOV 26, 2020 12:21AM

Additional places to think with Special thanks to Alessandra Saviotti for some of the suggestions here. KIRILA CVETKOVSKA NOV 26, 2020 12:36PM

Hey Aadita, just reading your notes around changing registers, I can really relate as I constantly struggle with the professionalization of the elds I navigate within and then also use poetry somehow as a refuge. Would love to catch up sometime. kirila6@gmail.com

Forensic Architecture - Grenfell Tower Fire "Agency of Fire: Burning Aesthetics" by TJ Demos "Living with Fire (Hot Media)" by Stephanie LeMenager

AADITA CHAUDHURY NOV 26, 2020 12:13AM

Julian von Bismarck's exhibition "Fire with Fire" at Bundeskunsthalle AADITA CHAUDHURY NOV 26, 2020 12:13AM

AADITA CHAUDHURY NOV 26, 2020 01:22AM

AADITA CHAUDHURY NOV 26, 2020 12:15AM

There’s nothing coming to save me from the promises

Clara's re ections on the burning

I’ve failed to keep to myself, nightly. I shift and merge half asleep and adrift carried over seas by a carpet of


documenting how ecologists track the trails that wild res blaze through landscapes.

speci cally, I will be thinking about "the eld" in research, artistic and curatorial practice,

Some of these photographs are attached here.

as many practitioners currently lack access to it due to the pandemic, as a result of which "the eld" and the practice itself becomes fragmented. I also like to think about planetary and human futures, and my most recent publication on

AADITA CHAUDHURY OCT 08, 2020 08:50PM

Week 2/3 In the last two weeks, I have been observing how artistic entreprises in my city deal with the COVID-19 wave. What social formations are created as a result of this? Who gets to access art spaces during the pandemic? Does this further create the conditions through which only a nancially secure cross-section of society can partake in the mainstream of the arts in Toronto? To what extent can social media expand the scope of the arts in terms of participation and interest? These are some of the questions I have been contending with.

this topic was co-written with Prof. Audra Mitchell for the journal International Relations. It is available here. I also hope to develop a more streamlined research creation process with the use of image, affect and creative writing to showcase the emotional landscapes of moving through ethnographic research/natural disasters/contact with the elemental forces of nature. Website: www.aaditachaudhury.com Twitter: @thylacinereport Instagram: @atidaac

In terms of readings, I have been thinking alongside two major pieces of work. 1) Black Marxism: The Making of the Black Radical Tradition by Cedric Robinson and 2) Geontologies: A Requiem to Late Liberalism by Elizabeth Povinelli. There is a particular thread in this conversation that I am trying to trace through affect and I am attempting to

AADITA CHAUDHURY NOV 26, 2020 12:12AM

AADITA CHAUDHURY NOV 25, 2020 11:54PM

Residency trace (part 2)

Traces of res through landscapes

All photos and writing by Clara Tosetti

These are some of the photography from eldwork in California that I have captured that were the starting point for developing an arts-based affect/sensorium oriented way to conduct social science research.

come up with a for it to become expressed through arts-based practice that I am still not sure about. In essence, my question is, if fragmentation in experience and relationalities is

Erica Ferrari

a fundamental part of living in the late liberalism, how do we negotiate what Povinelli might call the separation between Life and Nonlife? How can people, plants and places be

MARILOU VAN LIEROP NOV 16, 2020 06:13PM

called into relationships with each other based on practices of love and not extraction? How would such a thing look like? These are ongoing questions I have used to both trouble and soothe forms of complacency that arise in the pandemic that look like rest but are actually not restorative as rest. Still thinking through this and hopefully will have more on this in the future.

AADITA CHAUDHURY SEP 30, 2020 07:08PM

Week 1 This week, I have been contending with the issue of fragmentation of place and time that I has been at the heart of both my poetry/visual arts collection practice and my academic practice. I am working with a variety of sources to think of sites of combustion/ re as a " eld site" itself. I have thought about the shared kinship of res that connect wild res like those in California and Australia to built environment res like those in the Notre Dame Cathedral in Paris and the Grenfell Tower res in London. As such, through the lens of situating re itself as the site of action research - I have been thinking alongside the short story by Argentine writer Jorge Luis Borges "The Circular Ruins". Some of the questions about place, space, time, fragmentation thereof and of the mind of the observer that I have been asking, meet a curious response from this short story. I would love further insights into this from fellow participants. The text of the full short story is linked below. "The Circular Ruins" by Jorge Luis Borges Moreover, in my writing and re ection, I have been tracing valuation logics embedded in colonialism and capitalism that render the lives of some humans and the more-than-

AADITA CHAUDHURY NOV 26, 2020 12:09AM

Residency trace Much of visual arts (and by extension, "research creation" and arts-based methodologies

AADITA CHAUDHURY NOV 25, 2020 11:52PM

currently used in academic and para-academic contexts) are ocular-centric. When thinking with re, we can also fall into this trap of simply "seeing re" when in lived

human more dispensable than others. Similar to how the COVID-19 pandemic is showing the cracks in the promises of liberal democracies in insuring liberty and equality, what can

Final week re ections (1/n)

disasters related to re teach us about the same?

Between November 9-16, I was part of the online "intensive" week, which gave me a lot to think about in terms of my own methodology of placemaking and place-based research

AADITA CHAUDHURY SEP 21, 2020 12:35AM

experience, it is not so much the appearance of re, rather its smell (or the inhalation of smoke), its heat (felt through the skin) etc that have a more salient effect on those living on the edge of res. As such, I suggested to Clara that she choose an object of her choosing and burn it and document it and note any sensations she derives from it. The results produced are as follows (All photos by Clara Tosetti).

AADITA CHAUDHURY NOV 26, 2020 12:04AM

File with photos of burnt landscapes 1FAC7B3E-AD04-4161-8ACE-B05C8B511C4C 2020-11-15 at 8.59.21 AM.pdf by Aadita Chaudhury GOOGLE DRIVE

AADITA CHAUDHURY NOV 25, 2020 11:56PM

that I have been thinking through in my own more academic oriented research. In the case of academic research, I felt particularly limited my circumstances related to access,

Hello!

mobility, nancial resources and other barriers of participation to really hone into spaces that were dealing with the landscapes of re at more institutional levels while being embedded across California landscapes. Another point of contention was that I was, in

I'm Aadita. I'm currently based in Toronto, Canada but I'm supposed to be moving to

multiple ways, a guest on the lands where I was conducting ethnographic and autoethnographic research. My own experiences of fragmentation and a conceptual,

I am a PhD candidate at the Department of Science and Technology Studies at York University. I study the intersection of science, technology, society and the arts from the

visceral "stretching" of the self is apparent in my own research work, which I only recently submitted the complete draft of. I feel similarly about the fragmentation caused by

methodologies and perspectives ranging from history, sociology, anthropology, philosophy and the humanities writ large. My PhD research projects traces the

COVID19 amidst everyone's artistic and research practices. The embodiment is currently facilitated by digital media, which in my case has not always been the most cooperative.

understanding of re/combustion phenomenon in ecosystems and built environments through different narrative streams - from wild res to res in cities like the Notre Dame

This creates a certain kind of alienation from the project while the "embeddedness" in place remains. That is, as we go into another 4 weeks of lockdown here in Toronto, as I

cathedral in Paris and Grenfell Tower in London. For this research, I use a combination of history, image sources and ethnography to curate and situate re as an ever-present yet

nd myself once again left at the peripheries of "in-person" practices, I feel a certain embeddedness to place that is better described as entrapment.

temporally- and spatially- elusive yet charismatic entity that can be taken to be a forensic point of entry to understand the interplay of a variety of social forces that have led to the

I was part of a research creation workshop this week facilitated by York University's

creation of what has been described by many terms - the Anthropocene, capitalocene, plantationocene, etc.. As such, I am interested in themes of fragmentation, especially with

Sensorium Centre for Digital Arts and Technology. While the talks in the workshop were not thematically related, a certain narrative arc highlighting tensions related to precarity,

regards to human-nature relationships, which I explore through image, ethnography and poetry.

fragmentation, alienation and disconnection has also emerged. Or perhaps this is my own affect colouring my own response to research projects that have wildly different outputs

Most recently, I attended the Irish Museum of Modern Art's summer school in Art and

and purposes, however, as artists, practitioners and researchers, it is dif cult to deny the material realities that currently exist in the COVID 19 pandemic context.

Politics. I am hoping to use this residency to think further about the themes of fragmentation in research and arts practice, especially as practitioners are faced with

Last week, during my residency, I talked about some of the image based ways I have been

unique challenges due to the pandemic, and how to best introduce arts-based methodologies into my home discipline of science and technology studies. More

London whenever my visa comes through :)

Hi Erica, I am interested in what you are doing! But would also like to know some more about the Brazilian historical layers in national palaces .Especially the aspect of violence. And the transformation afterwards. Have you got some more information about this subject? marilouvanlierop@hotmail.com

ERICA FERRARI SEP 30, 2020 04:13AM

I have been developing a research on the relationship between three-dimensional constructions and the formation of identity in the public space. Issues related to the construction, destruction, display, exposure and reframing of a historical site are explored, re ecting the results of research and plastic research from the collection of different historical records, including material traces, newspaper articles and virtual posts from social networks and information about a chosen location, relevant to the city. Its particularities of construction, use and symbolism elucidate the process of local development and its relationship with the building of identity and memory. The works retain the material, composition, texture and odor of the elements arranged, many found throughout the city, others made with construction materials, such as cement, plaster, plywood, plastic canvas and iron, waste materials such as rubble, and materials precious, like copper and gold letters. The elements have as a formal and functional reference the institutional exhibition displays, consisting of wood, iron and glass, their contents, such as traces and replicas. Also, devices for constructive reproduction, such as molds, and parts restoration and conservation, such as storage platforms. These elements are tensioned with each other and in relation to phrases collided in archives, whether they are travelers' reports and public tender notices, and current posts on social networks. Each record, whether material or textual, carries with it a piece of memory elected to constitute the current image of the place. PROJECT For the Residency, I want to use this method of research and work with an emphasis on the hashtags used in this period in social medias to provide a condensed experience of multiple layers of time and interpretations about this social and political situation throughout the work. The walls of the studio will be used as a repository of current reference material: daily impressions of social network posts such as the assimilation of instantaneous memory of relevant subjects (political, aesthetic, social). This accumulation of information will be the basis for re ection and creation of possible monuments of today, with the intention of rethinking the memories dissipated by social networks to the historical cut implicit in them. The idea is to re ect about sculptural practice through the body and the critical translation of reality into a work.


FRANCESCO PAVIGNANO NOV 22, 2020 12:26PM

FRANCESCO PAVIGNANO NOV 22, 2020 11:39AM

dreams (les oreilles)

"Begin with a dot."

Aïda

a reminder for the future

+ strangers

in Italy, there's a cat. It has the most beautiul eyes I've ever seen on a cat face. They shine of a dark reddish colour, as a terracotta bricks wall wet by the rain. You probably will never meet this cat and his eyes. But it lives and runs and jumps and meows. And you can imagine it.

+ dreams

Take care. Have a nice life.

+ my right hand

Francesco a stranger from Italy

ERICA FERRARI SEP 21, 2020 07:10PM FRANCESCO PAVIGNANO NOV 22, 2020 10:54AM

Oi!

sending the letters

my name is erica, I'm a visual artist and researcher from São Paulo - Brazil:) in the last years, I’m really interested in the relationship between tridimensional constructions and the formation of identity trough the physical aspect of the cities. It was originated from a study of the historical layers of Brazil's national palaces, focusing on those whose past includes violence and struggle and which now serve as museums or cultural spaces. These buildings play the role of monuments, at once combining the idea of heritage and a mark of glori cation of facts and people; incidentally, they have the potential to perish, destroyed by new agents who are dissatis ed with the meanings exalted in their existence as such. Viewed as such, the transformation of these spaces into museums seems to nullify the very function of these buildings in the glori cation of power, absolving them of the past and rendering them relevant for their aesthetics and

FRANCESCO PAVIGNANO NOV 22, 2020 11:27AM

dreams (la vague) Aïda + strangers + dreams + my right hand

age alone. The research has evolved to cover other spaces that have similar characteristics and that act as constructions of the formation of local identity from its use and the cultivated memory. Every historic place is the fruit of an in nite chain of choices of protagonists of different times and political implications. The idea is to deal with these layers in order to re ect about identity and city. I use different support and modes to produce the works and usually the pieces are presented as objects or installations, constructed with materials like wood, plaster, cement and formica. The majority of works

sending letters by Francesco Pavignano

nowadays are site speci c and related to the place and his history.

YOUTUBE

I hold a Master's Degree in Visual Arts from the School of Communications and Arts of the University of São Paulo (ECA USP) and a Bachelor of Fine Arts with Habilitation in

FRANCESCO PAVIGNANO NOV 22, 2020 10:32AM

Sculpture. I'm a Researcher associated to LabOUTROS - Laboratory of the Department of History of Architecture and Aesthetics of FAU USP and Collaborator since 2017 of MSTC -

3 letters

Movement of Low Income Workers of São Paulo City Center.

Andra's, Sarah''s and Aïda's letters. Translated

here the link to my site > and my instagram @ericaferrari :-* Erica Ferrari ERICAFERRARI

ANDRA NEDELCU NOV 15, 2020 01:09PM

Letter from a stranger.

FRANCESCO PAVIGNANO NOV 22, 2020 11:41AM

Dear Francesco, it was nice seeing you this Saturday and I hope you are having a

dreams (le couloir)

wonderful Sunday. :) Regarding the project we talked about (postcards/ letters), I tried to write a few lines. Maybe you could translate them and send them to someone? Afterwards

Aïda +

you could write a few lines yourself, that I would translate and send. We could involve other residents too. Please let me know what you think.

strangers +

Francesco Pavignano

dreams + my right hand

AADITA CHAUDHURY NOV 26, 2020 12:54AM

Hi Francesco, I really like these vignettes/sketches, whatever else you want to call it. Is there a place where you are showcasing them? I'd love to follow along. aaditac@gmail.com Instagram: @atidaac

IRENE ANGENICA NOV 24, 2020 02:50PM

FRANCESCO PAVIGNANO NOV 22, 2020 10:44AM

Ciao Francesco, come ti accennavo in chat zoom lo scorso sabato mi piacerebbe

Letter for a stranger

consultarmi con te e sapere di più del progetto di residenza che organizzi a Occhieppo. Avresti qualche minuto libero per una telefonata questa settimana? Ora provo ad

(following Andra's path)

aggiungerti sui social così la comunicazione va più veloce :)

Dear stranger,


For the next edition we will consider to eventually redesign ventunesimo format to t future changes changes while mantaining its main goals. It will be open until the 4th of October, in Biella, so if anybody is interested I would be more than happy to have you visit it and have your opinion. You can contact me to arrange a guided tour. The last information I would like to share is that we as a collective are going to open a studio/art space in Barriera di Milano, a big multicultural neighbourhood near the center of Torino. We want to create a link between that area and the town of ventunesimo, having the resident artists expose and possibly work there too. Given the fact that my hometown is near Biella and I live just one hour by car away, I am totally willing to meet everybody that would like to have a chat during your one week residency at Cittadellarte. Looking forward to the beginning of this cool experience! following links to ventunesimo and personal instagram pro les: ventunesimo isntagood

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Sarah Dixon

SARAH DIXON NOV 23, 2020 03:16PM

SARAH DIXON NOV 22, 2020 12:34PM

Letters to strangers

SUCCESS I stole this from another feed - JADE BLOOD

SARAH DIXON NOV 05, 2020 12:43PM

JADE BLOOD NOV 29, 2020 12:35PM

WIP

SUCCESS

'Do something that is: visually striking, socially radical, conceptually and contextually sensitive, sustainable, in the public domain (outside of art venues), and hurts no living

I just wanted to say I really enjoy these sketches/cartoons/what would you call them? I am curious to know more about the context and your process.

Hey Sarah- you did it :) You made a successful art work by Lucy Lippard's de nition! Congratulations! A kid in my Fluxus Club made a Bee Hotel, which is the nearest I've

thing – something that will change the world. Good luck! Please take video or photographs of your action and upload them using the buttons below.'

gotten to success!

(do it compendium, 2012)

FRANCESCO PAVIGNANO SEP 28, 2020 02:35PM

Via Feletto 36+38, Torino Action Research Project WIP please, feel free to comment

FRANCESCO PAVIGNANO SEP 20, 2020 09:44PM

Hello everybody, I am currently working as an editorial and communication illustrator. I live in Torino, but was born in Biella and spent all my teenagehood in a small rural town next to it, called Occhieppo Inferiore (a funny name, with unclear meanings and origins). In 2016 I graduated in New Technologies of Art (First Level Academic Diploma) at the Accademia Albertina di Belle Arti of Torino. My thesis – achitecture of an animation – presented a brief history of 2D traditional animation and analyzed the process behind the production of such animated movies. I have always been fascinated by images (both static and moving) and the different

The phone box I think meets these six criteria. This is SUCCESS! the only one I am not sure about is whether anything I have done so far is 'socially radical'. What does that mean, really? Is it talking to a neighbour? Reading a letter to a stranger? Cleaning the

SARAH DIXON NOV 28, 2020 06:21PM

BRAINS

phone box?

This week I have so much happening at once and the intensive was also very stimulating so my brains feel quite full. I think I will be looking back on this time for many years to come...the PANDEMIA 2020

SARAH DIXON NOV 22, 2020 12:35PM

TEA? In the phone box today I found this red kettle. I feel as though the phone box is asking us to come for a cup of tea. Is the community expressing hidden desires through the totem-

SARAH DIXON NOV 23, 2020 03:16PM

Stroud Imagines

shrine of the phone box? This is the technology that gives us hot tea. The Kettle is like a message. Beamed via humans through a telecommunications space.

During this intensive week, I took part in a group call here in my home town, about imagining what we would like for Stroud. I spoke about the phone box, for about 5 minutes, and how it could be a site for connection, and international relations.

possibilities that we dispose to create them. I am strongly insterested in the ability to convey and shape abstract ideas and thoughts through the direct creation of an image: if you can't say something with words, you can always draw it. I am part of a trio collective (among with my good friends Tommaso Valli and Carlotta So a Grassi) that curates the artistic direction of ventunesimo, an international artist residency that takes place in Occhieppo. The main goal of the residency is to give to artists freedom and time to think and experiment and, eventually, to step out of their comfort zone and challenge themselves with new concepts and researches. ventunesimo is structured as follows: selected artists (via open call) live and work in Occhieppo for three weeks and start their research. At the end of the residency they open their studios and expose the process behind the begin of their new works. After the return to their homeland, they continue working followed and guided by one (or more) curator(s). SARAH DIXON NOV 23, 2020 03:16PM

The following year, during the new edition of the residency, they expose their work in a nal exhibition so that the new resident artists can see it live and possibly meet them (creating the chance of building a network between artists and curators) through the different editions).

Letter to a stranger Stroud Imagines 18th November 2020 by Stroud Imagines YOUTUBE

Another core aspect of ventunesimo is that is organized in collaboration with a local association called Pro Loco, which the main purpose is to create and promote events that can engage the population of Occhieppo. This gives to the artists the opportunity to enter in contact with the local community and share ideas, moments of everyday life and other experiences to fuel their art practice. On the other hand, bringing artists to live and work in such a place is to give to the local people one more possibility to train their eyes and their mind to look at the world around them and be more prepared to comprehend the changes yet to come. We do believe that art is useful to explore and conceive new ways of thinking, both for artist and audience. Unfortunately, given the recent pandemic issue and the blurred situation in the near future, this year we decided not to go for a new edition of the residency. We still managed to set up and open the exhibition of the 2019 edition (curated by Carlotta Clerici and Giulia Perrucci).

SARAH DIXON NOV 23, 2020 03:16PM

Letter to a stranger from Italy

Filmed by my daughter bella.


gallery. I discovered such a wide range of people living on my street, from very wealthy to very impoverished, highly creative to creatively hostile, and I felt richer for the discovery. My project will involve an ongoing exploration of the street, turning the phone box into a portal to locally-generated and internationally-connected cultural activity. In Biella I will go to meet the people living by UNIDEE and invite them to participate in a creative collaboration with Summer Street. Through the residency I want to create a model for street-level community connection, based around identifying public space such as phone boxes: for more culture to be created where people live and to link up with ‘common people’ elsewhere. Up to 150 words about the challenges, concerns or worries you have for your practice in a post-pandemic future: The challenges for me are primarily around the rise of fascism - by this I mean that I fear the increasing hostility of humans towards one another when stressed. I believe art making and community collaboration is a way to reduce this stress and I am continually seeking opportunities to help culture move into a more collaborative mode. Deconstructing systems of capitalism, offering new models of ownership, meaning and accessing public space are some of the ways we can approach this.

SARAH DIXON NOV 21, 2020 05:51PM

EVERYONE ON EARTH AND IN SPACE Is it not impossible to create something that reaches everyone that lives, All human

SARAH DIXON NOV 17, 2020 04:15PM

beings.?

Everyday Feminism - Silk of Transformation And then I found this too. Stitching trauma into gallery work, Billie Zangewa. I am very inspired and excited by the possibility of a near-domestic public space and what it can offer.

SARAH DIXON NOV 22, 2020 12:31PM

ANDRA NEDELCU NOV 18, 2020 07:48PM

What is your preferred technology?

Letters in a phone box

I like pencils, brown paper, my brain and body, my mac.

SARAH DIXON NOV 18, 2020 10:42AM

SSETUBA IN UGANDA I am increasingly feeling something important around international connection. Andra's letter writing project really inspired me and the phone box could be a way to connect people across the world - a new way with old technology. Letters from Romania...pictures from Uganda?

DAFNE SALIS NOV 20, 2020 10:32AM

Hi Sarah, I just wanted to say hi and apologise for cutting myself out yesterday, but I had to run to the nursery, anyway, the book about humans as technology for communication is 'the instruction of immagination' by Daniel Dor. Speak you soon!

I am in touch with Ssetuba Manisulu in Uganda, he works in an orphanage and urgently they need support. I am helping to put together some fundraising processes to enable

Hey Sarah, thanks for bringing up the idea of demystifying the application process, I nd this really important as it also gets draining and soul-wrenching :) Just stumbled upon this

phone box.

ANDRA NEDELCU NOV 21, 2020 06:24PM

world. So they can act as a template, as Aida said in the group crit. Home | Promised Life Orphanage Ministry

SARAH DIXON NOV 19, 2020 03:39PM

Promised Life Orphanage Ministry is achieving more with our initiatives than ever before. We work on many exciting projects to help improve the lives of others, and are very proud of the progress we continue to make. Learn more about what we do, who we help, and how we work every day to promote positive change.

TOURISM OF THE INTERIOR

PROMISED LIFE ORPHAN

article: https://elephant.art/the-failures-no-artist-wants-to-admit-to-16112020/

Saint Peter is watching ;) SARAH DIXON NOV 18, 2020 09:50AM SARAH DIXON NOV 21, 2020 07:30PM

Collaboration We Are mixing up and cross fertlising our practices . Here is Francesco’s drawing Of Saint Peter at Heavens Gate, that I coloured in with pencils and glitter.

by Tate YOUTUBE

more income. I am think the children might able to take part in an international group show in the

The thing about the phone boxes is they are all over the UK and even some are around the KIRILA CVETKOVSKA NOV 19, 2020 06:04PM

Artist Billie Zangewa – the Ultimate Act of Resistance is Self-Love | TateShots

APPLICATION I am nding it helpful to look back at my application for the residency and what I wrote. I also like the idea of transparency - demystifying application processes. As an artist I am constantly applying to opportunities and acceptance is rare. **************** I live on Summer Street, which is on the edge of a wooded valley made famous by the English writer Laurie Lee in the early 20th century. He wrote of the isolated rural poor and how they lived. Having grown up as an immigrant in Cyprus and the United Arab Emirates, I often feel an exile in this small town. During lockdown I was awarded a grant to turn the old red phone box on my street into a temporary art

SARAH DIXON NOV 17, 2020 03:50PM

NO PLAN During our group crit today, Francesco's work and situation reminded of this music video - No Plan by The Musical Slave. I just watched it and saw so many connections with the rst moments of this intensive week. A little re at the end, like Aadita's; and talk of food growing and ancestors and horses. About what it's like to be a newcomer, an artist, in an established and marginalised place that has its own violence and wild magic.


2020 SOAL Ambassadors - Social Art Library We are delighted to announce the rst twelve Social Art Library Ambassadors, who will be working closely with Social Art Library to think through innovative ways of documenting and archiving social practice, beginning with projects created in response to the complex and tumultuous events of 2020. SOCIAL ART LIBRARY

ALICE PEDROLETTI OCT 24, 2020 02:48PM

:)

Is Culture Bad For You? This evening Im taking part in a discussion with some Stroud based arts organisers and artists, about this podcast. I will jot some notes here after the session. Part of Culture Reset: SVA/Atelier Stroud https://www.sva.org.uk/events/2020/9/28/cultureresetstroud

PODCAST EPISODE 5 - Is Culture Bad For You? (with Dr Dave O'Brien) - Upstart Theatre UPSTART-THEATRE

The Musical Slave - "NO PLAN" (a song about a horse yard in Dublin) by The Musical Slave YOUTUBE

SARAH DIXON OCT 09, 2020 08:34AM

In Situ Europe AND I'm also attending a little from this online conference. Not the same In Situ as the

SARAH DIXON NOV 11, 2020 03:58PM

Fusignano-Biddulph Phone Box Gift

one we heard from last Saturday.

In my mentoring chat with Alessandra Saviotti, we discovered a new phone box connection. In her home town of Fusignano there is a British red phone box donated by Biddulph as part of their town-twinning relationship. This twinning is a product of the EU

Jotting notes here as a recrod: HOw are artists feeling now about public space? Do we still want to be artists? There is a lot of pressure on artists to provide support for

times, as far as I understand, and perhaps like the phone box will gradually become relic of the past, of former ways of connection between geographically distanced people.

communities. Artists are already used to working in precarious and uncertain conditions so in a way we

Here is a screenshot from Alessandra, of the Fusignano phone box on Google street view. I am wondering if this phone box would like to be pen pals with the Summer Street one.

SARAH DIXON NOV 21, 2020 07:33PM

The Art Oracle Proposes Marinetti

I have written to the Biddulph-Fusignano Twinning Association to ask about the history of this gift.

I drew an Art Oracle card for the residency. This provocation connects with Sandi Hilal speaking of modernity and colonisation; of

https://www.facebook.com/Biddulph-and-Fusignano-Twinning-Association403702013521927/

Mussolini saying ‘Art is the best propaganda’ What Art can we do that decolonises? How can art lead us Away from and out of futuristic fantasy and rehumanise us? Should it try to do this?

What is up with Biddulph and phone boxes?

IN SITU ACT Days - Live Talk Session * * INSITU Artistic Acupuncture, nine European territories under the artistic microscope IN SITU TALKS IN SITU is the European platform for artistic creation in public space. Since 2003, it has supported more than 250 artists working outside conventional venues and contributing to the transformation of our territories. INSITU

I have also discovered this article from January 2020 about a woman in Biddulph who has a 'phone box fetish' and 'shrine'.

are already experts in conditions like the pandemic.

SARAH DIXON NOV 07, 2020 02:30PM

WATERFALL

SARAH DIXON OCT 09, 2020 08:40AM

Culture Reset Stroud

I asked my daughter what would she do with the phone box. She said 'This is my drawing of the Phonebox being washed by a waterfall and sope' [soap]

I am participating in a group here that is looking at how artists (we have many in this town) can contribute to more inclusive cultural experiences. I took part in a pod of 6 watching a presentation from the Creative Bureacracy Festival. We were a mix of socially engaged artists, cultural activists, a politician and an academic. We discussed how politics can support arts - an example here being a local councillor (Parish) insitigating two artowrks here, one was to commission art on the bus stops and the other a community lockdown quilt project. How can we nd the right politicians? How do we in uence them? Can we become one ourselves? We also talked of how different 'tribal groups' often have a lot of fear of each other, and how could we break that down gently. So - how artists are intimidated by the language & processes of politics ('endless meetings') and how politicians are wary of scrutiny and criticism, and how locals nd the 'blowins' - the incoming arty people - threatening and they take up a lot of space. #CultureResetStroud - SVA | Stroud Valleys Artspace The Creative Bureaucracy Online Festival Jo Leahy ( SVA), one of the participants of Culture Reset, engaged in critical discussions with artists, producers, theatre makers, operational managers, curators, artistic directors to build a body of research and network connections to help to nd a way forward in nding some answers. SVA | STROUD VALLEYS ARTSPACE

SARAH DIXON NOV 07, 2020 05:06PM

SEMINAR 7 November group discussion with sketchbook/journal.

SARAH DIXON NOV 07, 2020 02:30PM

SARAH DIXON OCT 07, 2020 01:07PM

Social Art Library

Focus

I have been awarded a small grant to archive the work I am doing in this residency, along

I have struggled to focus my ideas so a short session with Paul and Rauf was super useful

with 11 other artists we will be exploring the idea of the archive through sharing our work on the system.

in getting a bit clearer. I am going to begin with conversations, and see what emerges from those.

ALL Social artists are welcome to archive their work on the library so do go ahead and SARAH DIXON OCT 07, 2020 01:06PM

upload via the SUBMIT link on their website.

Carbon Offset DAFNE SALIS OCT 12, 2020 09:25AM

Hi Sarah, thank you for connecting with me! The project of the red box is really interesting! SARAH DIXON OCT 12, 2020 09:08AM

With faith, I just booked my ight to Turin for Nov 15th and found an offset website. https://www.atmosfair.de/en/offset/ ight/


https://www.instagram.com/redphoneboxart/ I want to grow the possibilities that began to emerge from this, in making art a part of neighbourly life and what this might mean for identities and community cohesion. We live mostly very separate lives from our neighbours and the pandemic brought us a temporary focus on the immediate social environment. I also discovered how important a publicly shared space can be to connect people. This excites and interests me very much. I live in Summer Street with my husband and 7 yo daughter. I started adult life studying physics, changed to biology, and gained a degree in this subject from UCL (London). I then worked as a botanist and led a project in Shiwiar territory, near Puyo in Amazonian Ecuador. We recorded information about ecology and society there and we offered workshops on money, tourism and healthcare. I have always worked as a website designer, and studied graphic design in London some years ago. I have built a socially engaged art practice over the past few years, and quali ed as a coach last. I am cofounder of The Women's Art Activation System (WAAS), a collective making performance, live art and participatory work. My interests are in creating and supporting healthy (=collaborative, equitable, responsible) human cultures, and this comes through my art and coaching practices. As in the WAAS, I make participatory works exploring ritual, the power of symbolism, performance and collective activity - the super-organism and how the individual becomes part of that. Projects include Painting By Numbers, Mother Christmas, The Ritual Burning of Unwanted Art, the Life Spiral, and the making of icon-like paintings of medicines.

ANDRA NEDELCU NOV 18, 2020 07:47PM

Connecting... Letters, cats, dreams, collective traces, witches, maps with Aida, Sarah and Francesco. Open doors - home - beauty with Camila.

http://sarahdixon neart.co.uk https://thewaas.org IG @arachnez @creativedigitalhuman The Women's Art Activation System The WAAS is an artist collective formed in 2016 with the aim of activating women's art. Principle artists Sharon Bennett and Sarah Dixon collaborate to make live art, performance and socially engaged works. A Visit by the O cials from the Bureau for the Validation of Art is a performance art work that playfully mimics institutional and systemic power processes. SARAH DIXON OCT 01, 2020 12:44PM

Creative Bureacracy Festival

THEWAAS

SARAH DIXON NOV 19, 2020 03:40PM

Letter to a Stranger Dear Stranger Here, today, it is raining. The trees are nearly bare now and the wind howls at night up the valley. I have to remember to put things away in the garden so nothing gets broken. How are things with you? I guess I won’t know, but I like to try to imagine you, walking along the street, noticing the clouds, perhaps stopping to say hello to a cat or thinking about a conversation you had with a friend yesterday. You and i are both alive today, and so we share something special. I wish you well in your endeavours, and your efforts to be better. A stranger from the Cotswolds, UK

This Thursday I am taking part in a Stroud-based discussion group following the live

SARAH DIXON OCT 01, 2020 12:48PM

JOURNAL I've decided to keep a journal of this process, because it is feeling more expansive in concept than I expected, and keeping notes about all kinds of things in a time order seems a better way of keeping track than trying to pre-determine what the categories and work are. I am approaching this residency with openness, taking opportunities as they come up rather than being prescriptive. I don't know what the phonebox will be for. I am starting to ask that question like a thread through my daily encounters with the people and society around me. I am intending to carry out some cleaning of the phonebox this weekend, along with some intuitive ritual practice to ask it for guidance. Previously I also paid my 6yo to help clean, and she gave me a receipt for tax purposes. I will see if this is an option again.

Creative Bureacracy Festival stream from Berlin. https://creativebureaucracy.org/program/festival-2020/learning-from-artists/

Andra Nedelcu

About the festival:

JADE BLOOD NOV 29, 2020 12:40PM

"28th September -2nd October 2020 A weeklong festival full of bureaucratic imagination. Our programme is jam-packed with

Art-Teacher-Cat-Letter-Writing

new ideas, fresh insights, and pride in what the public sector can accomplish. Our goal is to create spaces for exchange, to show examples of bureaucracy at its best, and not least

Hi Andra- could we set up a little conversation with other teachers in the group- or

to help people have fun – not in spite of being bureaucrats but because they are."

Hi Andra

should we set up a little letter exchange which may be more slow and fun- imagine, you come home from work and a letter arrives from Camila or Catalina? Maybe we write a " teaching fail story ' and a 'teaching success story' x

REPORT 01/10 We had a gathering of six, as per UK rules, at a creative space near my studio. A politician, three artists, the host, and an academic gathered to watch the Creative Buraucracy discussion. We were joined by the head of the principle local artspace for the town. We discussed how to cross polloinate creavitiy into the often secretive and impenetrable mysteries of bureacratic and local political sturctures & systems. I came awy feeling that

the letter somebody took the letter. hope it's well received :)

ANDRA NEDELCU NOV 07, 2020 10:36AM

All that is happening right now seems for me a bit overwhelming. Being a schoolteacher keeps me quite busy and I have to adapt all the time to new situations and new governmental rules and regulations. Thus, I nd myself quite stuck in my ideas related to the residency, not really being able to put everything into practice.

actual context. I found it dif cult to connect with the people that I don’t know very well via online, so I postponed this project. Later on, I tried to think about an online exhibition

desire? Who desires them? What are the desires?

with my students (school students, 5-8thgrade). To be more speci c, I would ask my students to draw/ paint something that is related to post pandemic future and organize

What can being an artist teach us about good government? For full functionality of this website it is necessary to enable JavaScript. What can being an artist teach us about good government? How can artistic thinking be fostered in the public sector? And how does an artist end up in government in the rst place?

an online exhibition with their works. I did an experiment with one class and I wasn’t really happy about the result. Also, I don’t know if speaking all the time about the coronavirus is good for the children. The third idea is to do a collaboration with one of the residents (I wrote to Francesco) or to create small individual art projects in public spaces. Somehow to create reminders for

CREATIVE BUREAUCRACY FESTIVAL

the people walking on the streets that art still exists and can bring some relive in stressful situations.

SARAH DIXON OCT 01, 2020 12:46PM

Communications from Stroud UK

Of?' invited anyone living on the street to make an artwork for display in the phone box windows, to make a small capsule gallery of this very small but highly visible public space.

camila.aguais@gmail.com whatsapp +44 7532 060 523

My rst idea when I did the application for the UNIDEE residency was to ask several groups of university students about their everyday life and how it has changed during this

barriers we put up in repsonse to them. Can we meet and collaborate with people who we fear, mistrust, or dislike? If not, how can we progress and make the cultural changes we

In our lockdown I was awarded a small grant to make an art project in my street with neighbours, using the decommissioned red phone box by my house. 'What Do You Dream

I appreciate your honesty, since I feel along the same lines. I'm also a teacher and am nding it dif cult to organise my headspace between ideas and teaching. I would love to connect and collaborate if you're interested :)

Update (2) ANDRA NEDELCU NOV 25, 2020 11:19AM

people in their tribes often have fears of other tribes and I wonder if I as an artist and coach, can create space for a softening and relaxing of the fears and the protective

I’m in Stroud, Gloucestershire, UK.

CAMILA AGUAIS NOV 09, 2020 02:58PM

ANDRA NEDELCU NOV 21, 2020 06:23PM

Watching and being watched While checking the letter I "posted" hanged to the branch of a tree, a cat was starring back at me.

Until new projects, I leave here an older project of mine about the ideal morning... Password: anvideo1988


AÏDA DIOP NOV 29, 2020 09:02PM

listening If you guys are interested in the practices of listening, there's the "Festival des gestes et de la recherche" (mostly in English) this week. hosted by Pratiques d'Hospitalité (platform for critical research and political imagination) and Radio Papesse. I attached a fantastic article to this email : Listening, thinking, being. A part of it will be presented in the Festival. Its rst edition is devoted to diasporic dynamics and to the potential of mobile entities (populations, subjectivities, sounds and natural resources) to challenge any homogeneity of cultural, geographical and political identities. It questions modern Europe, understood as an imperialist project colonizing geographical spaces and knowledge systems. The festival is an invitation to adopt sound and listening practices to deconstruct political narratives that homogenise and support the construction of a monolithic European

75555227

identity. And to deploy new geopolitical narratives of a diasporic order in the light of the notion of post-occidentality.

VIMEO

the facebook event ANDRA NEDELCU SEP 19, 2020 09:05AM ANDRA NEDELCU OCT 10, 2020 10:43AM

Hello

Update: looking for inspiration

Hello everyone,

by Mathilde PITREL

My name is Andra Nedelcu, I am a visual artist living in Bucharest, Romania, working with different media like drawing, photography, video art or performance. I just nished my

GOOGLE DRIVE

While taking a walk in my neighbourhood in order to clear my thoughts and to organize the next steps for developing my action research project, I started noticing the gardens around the blocks of ats that can be found here. Luckily, in this neighbourhood there are plenty of green areas around the living spaces (the communist blocks of ats). Thus, people started creating their own collective gardens – planting owers or vegetables, using colourful objects and ornaments for a more personal look. When I started walking, I wanted to observe how aspects of everyday life might have changed during the pandemic, to check out the people, how they dress, how they behave, how they wear the mask etc. Watching a bunch of people waiting for the tram in the tram station, wearing their masks, didn’t make me want to take a photograph; something stopped me... To summarize, even though I have started my walk looking for the differences in people’s behaviour and environment during these challenging times, I ended up capturing what is still going on, what survives in spite of the pandemic context. Maybe I was able to see a glimpse of what helps us thrive: a little bit of nice – cute – beautiful in our everyday...And this could mean arranging the green areas around the places we live.

listeningthinkingbeing.pdf

PhD thesis – an artistic research on everyday aesthetics – at the National University of Arts from Bucharest and I am currently enrolling in the second year of study at the Faculty of Psychology. I have a constant interest for interdisciplinary approaches on understanding collective and individual behaviour and for exploring the poetry of everyday life.

AÏDA DIOP NOV 29, 2020 09:02PM

Being a schoolteacher during pandemic times proves to be a challenge and requires adapting the tools and methodology to this new hybrid learning system we are now using

While sick with covid, I dreamt I was dating Donald Trump. The URSS were chasing us.

a nightmare Donald Trump was Hitler. He suicided us.

in Romania in several schools. If you want to nd out more about my works, you can nd some of them here:

DAFNE SALIS NOV 20, 2020 10:34AM

https://andranedelcu.wixsite.com/works/videoworks Looking forward to meeting you!

Hi Aida, just wanted to say hi after cutting out yesterday so abruptly. It was great to know what you are working on. Care makes connections with my research too!

Aïda Diop AÏDA DIOP NOV 29, 2020 09:02PM AADITA CHAUDHURY NOV 26, 2020 12:57AM

Dear Aïda,

digital mind map

KIRILA CVETKOVSKA NOV 19, 2020 06:15PM

Hey Aïda, just reading your notes around care and being misunderstood really struck a cord with me. I signed up for this symposium around forms of care that should happen this weekend, it's free: https://pnca.edu/academics/graduate/grad-symposium

I am very sad that I didn't realize we have lots to talk about in terms of the theory and literature you are working on for your project. The realm of sexual abuse, the body and poetic form are things that I am deeply devoted to but I feel I have been navigating them on my own for too long. I'd love to have a more in-depth conversation sometime. We are

JADE BLOOD NOV 17, 2020 01:44PM

already connected on instagram i think, but let's nd a time to chat if you are around.

Aïda, I am so sorry to hear about your COVid and the nightmares ft Trump! I really empathise with this feeling of wanting to smash everything up but also repair the

aaditac@gmail.com WhatsApp: +14165616676

feeling better!

damage... Being kind, radiates though- and is a form of self care. Have you ever met someone who just almost glows with kindness? Its such an amazing feeling. I hope you are

AÏDA DIOP NOV 29, 2020 09:02PM

AÏDA DIOP NOV 17, 2020 01:31PM

The Dream Keeper, by Andra

methodology human, relational, spiritual, intuitive vs. the healthcare space : frame

AÏDA DIOP NOV 17, 2020 12:33PM ANDRA NEDELCU SEP 26, 2020 11:38AM

A visual archive An important part of my PhD artistic research on the aesthetics of everyday was building a visual archive witch gathered aesthetic moments of everyday life captured in photographs or videos by several people that I know. Studying the visual archive I have discovered that drinking coffee is an aesthetic moment for many of us. :) The archive and the social inquiry I did for my previous artistic research will be a starting point for developing my action project during the UNIDEE Residency.

self care “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.” Audre Lorde In moments of grief, crisis, or trauma, and in the time before and after, we need each other to survive and thrive. THERE IS NO SELF-CARE WITHOUT COMMUNITY CARE https://urge.org/there-is-no-self-care-without-community-care/

AÏDA DIOP NOV 17, 2020 11:29AM

utopia Talking about care and love always made me feel misunderstood. Some people just love my rage and the art that comes out of it. Malcolm X or MLK ? A performance I did called "the cube" ended pretty badly. I almost lost my nger when


trying to destroy what I hate about our society. I learned my lesson, I'd rather wear gloves and spread love from now on, if possible. I dare the dream, for it suits my body and my heart. I worked with antémonde 2 years ago, and it made me feel more legitimate about my utopist nature. I am proud to have kept my inner child's heart. https://antemonde.org/textes/manufacture-des-utopies/ Radical Tenderness https://danidemilia.com/radical-tenderness/

AÏDA DIOP NOV 17, 2020 11:05AM

AÏDA DIOP SEP 24, 2020 12:35PM

about privilege

the nearby estate (many of whom are students at the school). I have also made links with

Descendent of slaves, I specialized in African-American studies, looking for clues about

an arts education foundation, to see if they would be interested in supporting it - so lots in the works!

I feel privileged. Gemma reassured me about it. We have a friend in common and talked about how to see the dark side but still looking towards the bright side and nurturing it. I hope that someday, I can contribute to their archive. Katia and Simone, the teachers who got me on the amazing residency (they direct a platform for critical research and political imagination, see http://pratiquesdhospitalite.com/) recommended a few tools to help me position myself. Here is one of them that might be helpful to some of you : https://www.riserefugee.org/10-things-you-need-to-consider-if-you-are-an-artist-notof-the-refugee-and-asylum-seeker-community-looking-to-work-with-our-community/

transgenerational trauma and resilience. I completed my Bachelor in Humanities in 2012. I then worked in social and cultural institutions alongside diversi ed public: adolescent, incarcerated, handicapped and aging. In 2018, I integrated the Fine Arts School of Grenoble in France, with the rm intention to become an art therapist for ostracized and

Another stark reminder of why the important of this project - Marcus Rashford's plea for the government to provide free meals during school holidays has been atly rejected. This

marginalized public. I believe that the body is a tool for healing, emancipative and creative processes. I explore bodies, mineral, vegetal and animal, as both metaphorical and haptical

is one of three policy recommendations from the national food strategy that he is demanding be implemented without delay. Despite the government response, public

laboratories and territories. I especially work with my own body, through improvisational dance, performance and rituals. Intersectional and utopist, I practice intuition in order to

levels of support for the initiative are high You can sign Rashford's petition to end child food poverty here - joining the 250,000 or so that have signed in the rst two days.

confront perception. A few keywords to my spiritual and theorical research are: contrast, silence, harmony and connection.

AÏDA DIOP NOV 17, 2020 12:31PM

how conscious are your dreams, on a scale from sun to pluto ? https://www.edrawsoft.com/templates/pdf/solar-system.pdf

AÏDA DIOP NOV 17, 2020 11:11AM

the dream - nightmare I animated the rst session on the dream last week. The participants (students and teachers in my art school) were kindly invited to share one or several dreams. I was amazed at how intimate the conversations got. Most of us shared vivid anxieties or recurrent dreams about a loved one who had passed away. I'm looking forward to the next session, where I'll try to "push" gently everyone to translate their dreams, so we can make an edition of it. here is the rst email I sent them : D'ici lundi, commençons à travailler le rêve choisi et à lui donner une forme. Nous pourrons alors partager nos écrits, audios, peintures, collages, vidéos, haïkus, etc. se souvenir au réveil, garder l'esprit apaisé se saisir du carnet au bord du lit ou du smartphone écrire de manière automatique si nécessaire, poser l'index et le majeur dans le creux de la nuque pour permettre à l'esprit de conscientiser relire, ajouter, corriger, ajuster / choisir un rêve du passé, qui s'est peut-être répété, qui a été important, qui s'est marqué sur notre esprit. essayer de s'y replonger

update : 29.09.2020

Government should support vulnerable children & #endchildfoodpoverty by implementing 3 recommendations from the National Food Strategy to expand access to Free School Meals, provide meals & activities during holidays to stop holiday hunger & increase the value of and expand the Healthy Start scheme

The Dream will be the base material of my work during those next weeks.

PETITIONS - UK GOVERNMENT AND PARLIAMENT

AÏDA DIOP NOV 22, 2020 02:07PM AÏDA DIOP NOV 17, 2020 11:19AM

sexual abuse survivors Corona isn't the rst, nor the last pandemic. Its invisible state and its lasting effects upon the body and mind make me think about capitalism, patriarchy, racism. They are pandemics that have yet to be addressed with the same intensity as corona currently is. Unfortunately, we don't all agree about this, do we ? I started networking with safe (identi ed by the French LGBTQ/racialized/psychiatrized communities) therapists in order to launch a long-term dance therapeutic mediation with sexual abuse survivors. Very versed into CPTSD, I'd like to, as Sandi beautifully corrected me, use my privilege to contribute. I, like many, am a survivor. an art work of Adelita Husni-Bey about predators : http://www.gallerialaveronica.it/artworks/adelita-husni-bey-258-wave-in-thewell/#&gid=1&pid=1

Let’s dare to unlock past unconscious knots and let’s dare to dream a common ideal future. Let’s nd and build meaning, together. My action research project will take place at my art school with a selected group, in order to build a community (net)work. In between

What will be the consequences upon the individual processes of creation, healing and

this space and think of the potential it has. I can't wait to visit this week and also check out more of the surrounding area.

deconstruction? My will is a change of perspective, a positive pandemia of care and hope that will lead to concrete tools for acceptance and resilience. __________________

AÏDA DIOP NOV 17, 2020 11:08AM

learning to care for Corona

This pandemia does not increase my concerns or worries about the future. I already had plenty of those before. I feel a strong empathy towards the less

I got it - it got me. For 2 weeks I was unable to function, yet the results were negative. My doctor told me

privileged. I feel an urge to contribute and help. It reinforces my will to mature my theoretical research and my practice.

there were a lot of false negative results. I still am recovering, yesterday I woke up exhausted and feverish. France is locked down. I wanted to buy a plant and call it corona, so I could talk to this invisible entity and take care of it. Instead, I found one while walking around my place. Its leafs are soft like a kitty's fur, and it looks like a crown. Every now and then, I go for a walk to visit corona, talk to her and clean her. She's female to me.

A program such as this one will help release the fear and extend the imagination for new tools to be spread. Will art and culture nally be acknowledged for their importance in the process of deep social change?

AÏDA DIOP SEP 24, 2020 12:33PM

www.aidadiop.com Art et Guérison | Aïda Diop

Let's get in touch!!

créer l'interprétation est un début de création

Hey Aïda! It was great to connect through the break out room in the last session and I

Art et Guérison | Aïda Diop corps minéraux, végétaux et animaux comme laboratoires et territoires du sensible, de la poésie et de l'archétype. pratiques de la danse d'improvisation, de la performance, du rituel, de l'utopie et de l'intuition a n de confronter la perception.

would love to learn more about your practice. Do you have a portfolio that I could look at? Found you on insta. Drop me a line and we get chatting ;-)

détourner, embellir, modi er ? en prendre soin l'embellir

AÏDA DIOP

tatjanaschaefer.art@gmail.com or insta: tatjana_scfr

interpréter

quels sont les éléments au coeur ? quel est/était le contexte du rêve ?

AÏDA DIOP SEP 24, 2020 12:32PM AÏDA DIOP SEP 29, 2020 09:16AM

Hello Ciao Bonjour

Uncertainty “We can never be sure with certainty which re ection of ourselves we will see in the mirror. The act of looking in the mirror affects which image we will see. Uncertainty permits the possibility of anything and everything.” Michals Duane, Heisenberg's Magic Mirror of Uncertainty, 1998.

William Rees WILLIAM REES OCT 17, 2020 08:06AM

Week 4 On Wednesday I visited the school's garden and spoke with staff about the possibilities for

lui donner vie, vitalité en changer les protagonistes ou les symboles

the project. It was great to see it in person, as there are many things I hadn't noticed in the video:

en changer la nalité ? le rêve peut-il se raconter en trois mouvements de main, en trois mots ou en trois lignes ?

- There are 8 raised beds that had previously been allocated one to a year group (Nursery,

ce ne sont que des pistes,

- There is an area for public access to the garden. The fence that surrounds it leaves the garden totally on view and many teachers spoke about wanting to make it a more private

Reception, Years 1-6). - There is a stage or platform, made to be used for lessons with the children.

je propose, vous disposez

space. This line between public/private will have to be thought about properly in its design.

un exemple personnel : 52 Hertz, storytelling et auto ction audio (rêve utilisé de 1:12 à 2:30)

- There is a compost heap and a large barrel collecting rain water. - Some of the beds are damaged and there is some clean up to take place.

cw : racisme Passez un bon weekend, Bonnes rêveries et à lundi Aïda

Week 4: Virtual Garden Tour I'll be visiting the school's garden on Wednesday, but have been sent a preview by one of the staff members (enlarge to see the video, as it's in portrait mode). Very exciting to see

TATJANA SCHAEFER & CATALIN PISLARU NOV 13, 2020 10:03PM

quels étaient les ressentis éprouvés ? sont-ils différents lorsque je suis éveillé.e ?

WILLIAM REES OCT 12, 2020 12:09PM

binaries, let’s escape categories and free our inner slaves. We will work on poetry, storytelling and performance to bring these dreams to life.

le rédiger

chercher sens, signi cation, direction, sans certitude

Petition: End child food poverty - no child should be going hungry

AÏDA DIOP SEP 24, 2020 12:35PM

looking forward to meeting you all

I started to take measurements and hope to have a plan of the space by next week when I

School Garden 1.MP4

revisit the school.

0:16 video PADLET DRIVE

Elsewhere, I have been making links with other organisations in Southall. The school put me in touch with a community organiser who works on projects with children based in


WILLIAM REES OCT 12, 2020 12:07PM

curatorial collective are in charge of the 2022 edition of documenta, and are centering the

because of the pandemic. It was working with primary school children (and their parents and schools) to think about food. With this kind of project, there are two ways to think

city-wide exhibition on the theme of lumbung (a word that directly translates to rice barn): “In Indonesia, lumbung is a village agricultural tradition in which farmers pool

about embedded practice: how can the project become embedded within the wider school curriculum, and how is it already embedded within other networks: families, cultures,

together surplus from their harvests. The word translates as ‘rice barn’, but it refers to whatever crops are gathered. One village usually produces a lumbung together and the

local communities? These are points I need to consider more with my project, the latter in particular. The school is situated in Southall, an area with a rich food culture and many

resources are for everyone. Anyone can use whatever they want from it.”

spaces in the community (Sikh temples, the foodbank, allotments) that are already tackling food insecurity. My aim is to visit these spaces and make connections that could aid the

Lumbung also denotes an economy, an architecture (each region has a different design for the store) and, as Ruangrupa state, “a way of thinking” about their curatorial practice. The

school project.

collective was initiated by a group of art school graduates in the early 2000s. Indonesia had just succumbed a decade long dictatorship that had surpassed artistic expression and

The two were also really helpful in guiding me on funding and when to bring artists in to the process. I hope we can keep in touch throughout the process.

collective gathering. Ruangrupa (translating as “space for art”) were formed during this optimistic aftermath, with a sense to gain “to get a slice of this new sense of shared, public space”, to shed light on urban and youth cultures and subcultures, and encourage conversation and collaboration between artists and students.

WILLIAM REES OCT 05, 2020 08:04PM

Week 2

Through a series of public programmes and exhibitions, the group developed their

Since my research last week, I have been keen on creating a project that focuses on self-

lumbung approach to the local art scene: one that was open to all, generative and sustainable. It is a system based in “generosity and empathy.” For them, “[lumbung] is not

suf ciency and tackling child food insecurity.

a theme or a concept but a protocol. We want to work in a certain way. We are looking for more friends in different parts of the world who are thinking similarly to us about

The primary school I have been working with over the summer have an unused patch of land, which they have intended to make a garden or growing patch but have never gotten

sustainability. We are questioning art practices and how to support them through alternative ways of subsistence, and asking what kind of experiments are out there to

round to. I have oated the idea of using this land as an “allotment” for the school; a place where food can be grown for school meals and that can be used as to educate children on

sustain ideas in challenging contexts…”

growing and making nutritious food. The school seem interested, and later this week I will be visiting to get a sense of the size of the land and what needs doing to get it up and

Covid-19 is one of those challenges that ruangrupa has tackled; they turned their spaces in Indonesia in to emergency kitchens, as well as making masks and hazmat suits. After

running.

this emergency response, they are considering the best ways they can service the ecosystems around them and to respond to patriarchy, colonialism and capitalism.

I am not green ngered, so whilst this is an exciting opportunity, it is also rather daunting. Over the next few weeks, I want to educate myself on what steps need to be taken to get

lumbung is already a response to these systems of organising. The collective function as a non-hierarchical, democratic group that makes decisions by consensus. They have

the land suitable for growing, what equipment is needed and what are the best crops to grow rst (that is, what is seasonal, easiest to grow and highest yielding). What costs

denounced measuring success based on Western market driven ideas of productivity and ef ciency, and call for greater awareness of mental health and community care systems.

would be involved also need to considered. The school has told me there is an allotment nearby, so I am hoping that there will be equipment, seeds or cuttings, and expertise there to help the project get going for as little money as possible.

Furthermore, their approach is self described as loose and informal. Yet it is an approach that still works (you could argue, it works because of these characteristics). This is so

I am conscious that this process should involve the children and staff at the school. Talking to catering staff about what meals they make and the vegetables would be most

refreshing - not only in terms of what “the art world” (a phrase I hate but will use in this instance) deems good or proper work. So much of what we consider proper and functioning seems the complete opposite; a facade or performance of it. We’ve seen that during in this government’s response to the pandemic, where no amount of press

WILLIAM REES OCT 08, 2020 10:49AM

conferences or Three Word Slogans can hide the fact that they don’t know what they’re doing. And it is citizens who suffer from this crisis of care: through hunger, joblessness,

Week 3: School catch-up

intergrated as part of the curriculum (for example, in science or food technology classes) and where the children can get involved in practical work. I have developed an arts

illness, death and bereavement.

Throughout the residency I will be uploading my research and action plan on to this Google

curriculum with this school, so it may be an opportunity to also bring in some socially embedded arts practice or food-based works in to the curriculum too.

Doc that people are free to read and comment on. Reading these articles from ruangrupa, I know I want to adopt a similar lumbung approach to my project. It’s not only because the food sharing analogy ts so well with the ethos and drive of my project; but because it describes a way of working that counters the very processes that have led to the crises at its centre. You can read the two articles I quote from: a Frieze article from August 2019 and an Artnet News article from June 2020. School Garden 2.MP4 0:22 video PADLET DRIVE

Unfortunately my visit to the school has to be delayed to next week, as they have an Ofsted inspection today. But I was able to speak to the headteacher yesterday after my

depressing gures... Depressing reports out today that nearly 1 million more children have signed up for free school meals since lockdown measures were enforced in England. That is on top of the 1.4 million already signed up. Mind boggling numbers. This is from a report by the Food Foundation think tank, released as part of the campaign begun by footballer Marcus Rashford during the summer. This really puts my project in perspective and motivates me to contribute towards ending this crisis; more urgently needs to be done to give children hot, nutritious meals. One hopeful thing from this article: in Hammersmith and Fulham, a pilot scheme for Universal Free School Meals in two schools. This follows free breakfasts and is paid for by money negotiated from property developers by the council. Surge in number of UK children applying for free school meals There has been a surge in the number of UK children registering for free school meals, with an estimated 1 million pupils recently signing up for the rst time, according to food poverty campaigners. THE GUARDIAN

come in the design of the patch, in the consultation period, or in developing recipes with the resulting crops. Over the next few weeks I will spend some time looking at other

She spoke about an edible garden at her last school, where parents could take herbs home with them to cook. As other vegetables will take a while to grow, herbs might be a good

A lot to think about and plan. I’m also gearing up for the likelihood of this being a long

place to start. She also spoke about the different uses of the garden; that it could be a place to attract other wildlife (such as birds), as an outdoor art space or sculpture garden (this is how it

outside of the school (such as the local allotment) to maintain it throughout the year. Looking forward to seeing the garden in person next week and exploring more of the local area. Until then, I will be looking at similar artist projects for inspiration.

WILLIAM REES OCT 07, 2020 02:56PM

Week 3: One-on-one session with Paul from in-situ and Rauf from Building Bridges Today I had an incredibly useful chat with Andy and Rauf. I have been compiling questions for the children and staff at the school, and looking at some gardening resources online. In doing so, I've realised this could be an area in which an artist is brought in, and that there may need to be other more research in to the local area before I rush to this stage. So talking to them about some of their past projects and about what else to focus on in mine. Paul and Rauf made good points about sustainability and embedding. Discussing a community garden and kitchen project that in-situ organised with artists Kerry Morisson, Paul said that whilst setting it up was successful, it was hard to maintain the relationships and sustain the project in the long term. Much of this was due to the land-owners (a housing association) changing hands. The same could happen in this project. Whilst the

WILLIAM REES OCT 09, 2020 10:38AM

ruangrupa, lumbung

school is enthusiastic now, staff turnaround or a change in management may jeopardize this in the future. So it is important to think about worse case scenarios and how to troubleshoot them.

In researching case studies - both artist projects, community gardens and food banks in the UK - I came across an article by ruangrupa in an edition of Frieze. The Jakarta-based

I also want to bring in artists or other creative practitioners in to the process. This could

meeting with Paul and Rauf, and she seems very keen on the ideas.

was used in her last school) and as a space for staff and parents to relax in. She also seemed keen on the idea of a garden co-op made up of staff, parents and gardeners from WILLIAM REES OCT 12, 2020 12:41AM

used in the kitchen is key. I’m interested to know from the children what vegetables (if any!) they like to eat. And from teaching staff, thinking about how the patch could be

Rauf spoke about a project Building Bridges had begun earlier this year but was cancelled

artists’ projects involving food and growing to work out the best moment to do this.

term project, one that may not necessarily yield quick results, but that will hopefully bene t the school for many years to come.

WILLIAM REES SEP 28, 2020 01:24PM

Week 1 Throughout the residency I will be uploading my research and action plan on to this Google Doc that people are free to read and comment on. This week, I've been reading more about food insecurity in the UK to gain a deeper understanding of the issue. I am aware that my understanding has been gauged primarily from reports in the news (recent and those prior to covid) and my experience of working in a food bank and with a local school on their voucher system. I wanted to understand exactly how the UK got to its current state, which communities are worst affected and how, and the effect of Covid-19 and other factors will effect. To do this, I have read a number of government papers and reports from think tanks, which I will continue to come back to throughout the residency. A few things stick out to me, that I will take forward in thinking through my approach to this residency. The rst is that the UK's declining self-suf ciency has played a role in the rising levels of insecurity; although it is true that complete suf ciency does not guarantee full security. I am keen to explore suf ciency within my project - that is, how to create something that is self sustaining for a community, rather than a service or outcome that is short lived. The second is the levels at which this issue affects the UK's most deprived children. This has been in the news recently, with the fantastic actions of footballer Marcus Rashford in forcing a government U-turn on summer holiday school meal vouchers and setting up a new task force aimed at tackling child food poverty. Reading the shocking levels of child food poverty and the effects of malnutrition on a child's health and life chances in these reports, I am not only more thankful for Rashford's work; I am adamant that my action should also be directed towards helping deprived children and their families.


otherwise - more ripe ammunition. Queues for entry become premonitions of customs Finally, it is absolutely shocking to read the facts and statistics laid out in those reports. In some ways, it's unbelievable to think that the UK government has let the situation get as

lines at ports. And opaque artworks seem to encapsulate the baf ing nature of the whole process.

bad as it is. Whilst the damaging effects of Covid-19 are already being quanti ed, there are many other imminent factors that threaten the situation in the UK: most notably, Brexit

Nature with a capital N is predicated upon strict binaries. Nature and Culture. Inside and

and climate change. With our future now locked in a perpetual state of uncertainty, so much work needs to be done by this government to solve the crisis of care this country is

Outside. Man and Beast. So what happens when Nature comes inside, and enters the pavilion? Spiders perch high above visitors, getting the best view in the house. Hornets

facing. Ensuring food security for the UK should be a primary target in all legislation relating to the pandemic, Brexit and green policies. If this week has taught me anything,

skip the line, only to leave after a quick dash around room one. And wood lice scuttle towards sculptures, considering their "spatiality" before disappearing in to their crevices.

it's that I still have much more research to do to understand possible solutions to these issues - both on a local and national level.

The only way to really see a sculpture is to burrow inside it and feast. The answer to what happens to these poor buggers is: they’re exterminated. At best, they are picked up and

Originally conceived as a series of newly commissioned performances, workshops and

thrown outside, towards France and Germany. At their worst, they are squashed on to white walls, their guts whited out, the white cube held intact. White white white. WILLIAM REES SEP 21, 2020 01:39PM

Introduction and UNIDEE Residency Aims Hello everyone - I'm a curator currently based in London. My primary interest is in queer curatorial practice. My research looks at how practices such as cruising and fermentation can be used as models for research and organising. I am particularly interested the possibilities of queerness that move beyond “good representation” and towards proposing new ways of working, living and relating to each other. I am also interested in site speci c curating, community facing projects and pedagogical practices. I live in Ealing, a borough of West London with huge disparities in food security that have been further exacerbated by Covid-19. During lockdown, I have been volunteering at the borough’s centralised food bank and assisting a local school with their food voucher system for vulnerable families. Working with these organisations, and engaging with others, I will further research the food ecology across Ealing, particularly to see how it has been affected by the pandemic. The project will work to implement a sustainable and feasible strategy that responds to one of the challenges it faces in relation to food security. This might include: the production and distribution of particular foodstuffs; a platform from which to share food, skills and knowledge; or a localised public campaign for donations amidst skyrocketing need. This will be devised in collaboration with local practitioners and bringing in an artist to help implement the outcome. The aim is to produce, in a small way, a vision for how to organise on a local level; not only during times of crisis, but looking beyond them.

contributions from Jose n Arnell, Pauline Curnier Jardin, Paul Maheke, Dipesh Pandya and Naïmé Perrette with Sara Giannini and Sam Keogh.

Pheromone laced traps are laid out for them at night by the Bugstreet Boys. The line between culture and nature, inside and outside, are kept momentarily intact.

screenings to take place across multiple sites on Margate’s seafront in May 2020, the project was reformulated in response to the Covid-19 pandemic. It now takes the form of an online and print publication that combines research material and artist commissions. In this radically shifting moment, in which collective gathering has been called into question and all we have are our speculations on the future, their contributions serve as a manual for how we can come together and take up space during these strange and uncertain times, to explore what might happen if we spill over and ooze out. Nothing gentle will remain RCA

The Garden of Eden does exist - on Giudecca. The Eden in Giudecca does not take its title from its Biblical namesake, but after Frederic Eden, an Englishman who bought the land in 1880. Eden’s wife was the sister of Gertrude Jekyll, a famed horticulturalist, and this largest of private gardens in Venice was typical of a nineteenth century English garden of the time. It once was home to a range of aura and fauna: pine trees, cypresses, oleanders, lemon trees, magnolias, pomegranates, bergamot, vines, violets, tropical plants and verbenas. But Eden’s great love were roses, and in his personal paradise Eden planted all manner of them in a labyrinth of pergolas. Eden has changed hands since its genesis; at one stage, it was even owned by the daughter of the King of Yugoslavia. And its high pro le owners have always attracted VIP visitors. Under the Edens the likes of Marcel Proust, Henry Sickert, Rainer Maria Rilke, and Henry James frequented the garden. Around 1908, a moment in which Jean Cocteau often visited, the garden became a well-known gay cruising spot. This is why the curators of the

Ayesha Mukadam AYESHA MUKADAM NOV 29, 2020 10:49PM AYESHA MUKADAM NOV 29, 2020 10:58PM

E: mukadam.ayesha@gmail.com Instagram: @ayeshamukadam

Workshop 2

AYESHA MUKADAM NOV 29, 2020 10:54PM

Workshop 3 / Garden Tour

cruising pavilion chose nearby Spazio Punch as the venue for their exhibition on queer sexual practices and architecture. Made in reposte to that years biennial theme, Freespace, which the curators saw as promoting a decidedly heteronormative approach to architecture. When I make my way to Giudecca, I nd the garden closed, which it has been since it was bought in the 1980s. I email the foundation that now owns it to ask if I can go in, and get a very kind reply telling me: no. My cruising Eden is thus left locked away, to overgrow and perhaps one day over ow in to the canals of Giudecca.

WILLIAM REES SEP 21, 2020 01:39PM

dragged through the garden Last Summer, I was lucky enough to take part in a research fellowship with the British Council in Venice. I spent a month working at the Biennale and undertaking research in to queer ecologies, fermentation and the Venetian Lagoon. Fermentation is an inherently queer act, one that questions notions of nature and order and, as Sandor Ellis Katz describes it, is a means of accessing history and resisting conformity. Creating the ferments also brought the ecology of the lagoon in to sharp

AYESHA MUKADAM NOV 29, 2020 10:47PM

Workshop 2

contrast; I met with activists ghting to save the plant and sea-life of Venice’s waters from the effects of excessive tourism and a weak political system. The research thus proposed fermentation as an analogy for a new kind of queer, political ecology, one that could incorporate desire and nourishment in a ght to save the lagoon. AYESHA MUKADAM NOV 29, 2020 10:52PM

Part of the outcoming essay is below; I am currently working on an installation of two

Workshop 3 / Market Exchange

ferments and pickles as part of a group show of fellows' work curated by the British Council, opening in London in October. ___________________________________ Antipasto: Rainbow giardiniera Giardinera (the female form of gardener in Italian) is a vegetable pickle. Carrots, green beans, cauli ower, peppers, onion, olives and celery all work well, as does a clove or two of garlic. Cut these in to small pieces and brine them for 3 days in a salt water solution in a warm spot. Do this in a glass jar that can be burped as the vegetables ferment; if not, the jar might just explode. After three days, taste and feel for texture; it should have that characteristic funk and still a slight bite. Then put in to a pickling solution, made from one part water to one part white wine vinegar and sugar, and avoured with black peppercorns, bay, pepperoncini, mustard, fennel and coriander seeds. Then put in the fridge and start eating after a day or two.

AYESHA MUKADAM NOV 29, 2020 07:00PM

Venice is not only a city of canals, but a city of gardens.

Experiment 2: Fermenting pelargonium owers in honey

The Giardini is horticulture at its most ordered. Nature is not only preened, prim and made proper; it is ordered by sovereignty. The Biennale garden’s horticultural world map is a hangover of its 19th century inception. Constantly questioned, occasionally challenged but never overturned, for now this remains the Natural order of things. The Giardini’s pavilions have come to symbolise much about their hosts. Grana Bretagna’s folly - at the end of a long promenade and risen high above its surrounding neighbors - signi es for its many visitors our isolated geographical position and overblown estimation of where we thinks we stand in the world. Visitors with such preconceived notions (perhaps not wrongly held) roll their eyes when they hear the building was originally the tea rooms. Of course they were the tea rooms. And Brexit gives the Biennale crowd - both British and

WILLIAM REES SEP 21, 2020 01:39PM

AYESHA MUKADAM NOV 29, 2020 10:51PM

Nothing gentle will remain

Workshop 3 / Market Exchange

Over the past year, I have co-curated a project with Open School East in Margate and the Royal College of Art. Nothing gentle will remain emerged from the different paces, rhythms and timescales of the seaside town of Margate, inviting artists and audiences to speculate on how we gather together, both now and in the future. The project featured


AYESHA MUKADAM NOV 29, 2020 06:54PM

AYESHA MUKADAM NOV 29, 2020 12:12PM

AYESHA MUKADAM NOV 29, 2020 12:07PM

Workshop 1

Salt River, Cape Town

AYESHA MUKADAM NOV 29, 2020 12:10PM

AYESHA MUKADAM NOV 27, 2020 11:17PM

Zoom Meeting with owners of Nature Park

Aerial View of Location 2

AYESHA MUKADAM NOV 29, 2020 06:59PM

Experiment 1: Fermenting garlic cloves in honey

AYESHA MUKADAM NOV 29, 2020 12:21PM

Attended a Honey Ferment Workshop AYESHA MUKADAM NOV 27, 2020 11:16PM AYESHA MUKADAM NOV 29, 2020 12:21PM

Aerial View of Location

The Future of Food AYESHA MUKADAM NOV 29, 2020 12:08PM AYESHA MUKADAM NOV 29, 2020 12:12PM

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YULIYA SAY NOV 29, 2020 09:20AM

AYESHA MUKADAM OCT 01, 2020 10:03AM

YULIYA SAY NOV 25, 2020 04:32PM

Site Visit to Salt River

Some re ections I have noticed that during the pandemic many people start to learn something new, try to follow different online training courses, they want to use their free time to grow and

AYESHA MUKADAM OCT 01, 2020 10:04AM

Update Week 1:

improve. Probably, they are trying to structure their day by introducing new rituals instead of the

I have chosen to work with the community of Salt River for my Action Research Project.

old ones, so as not to leave space for panic and fear. Intellectual, intuitive, applied: no matter what kind of rituals, the important thing is that they perform their function of

The area is located close to Table Bay Harbour, East to the Central Business District of Cape Town.

rituality and create stability, tranquillity.

Salt River is one of the oldest suburbs in Cape Town, a diverse community made up of different racial groups and nationalities, one of the few areas that managed to survive the

musical instrument, something that also comes close to language learning. The barista who makes coffee in front of my house said he couldn't imagine his current mornings

During lock down, some of my friends have started to cook more, including the ritual of long breakfasts or evening tea on the balcony. Another one has started learning a new

without running, and running appeared on his programme during the quarantine. Someone wrote on Instagram that his new habit was getting up early and eating healthier.

detrimental Group Areas Act, in the 1960's, under Apartheid South Africa. Salt River is made up of a close-knit community of different races, nationalities, religions and ages. YULIYA SAY NOV 29, 2020 09:19AM

Someone has transformed his house into a more welcoming place full of plants. This does not mean that after the pandemic these rituals will be reproduced in the same way. They can be replaced by the old ones. But what all these rituals have in common is the formation of new values: health and safety, a sense of closeness and greater

AYESHA MUKADAM OCT 01, 2020 09:57AM

Hi All!

importance of the people around; new sensibility and new tactility.

I'm Ayesha Mukadam, a Visual Artist, Designer and Storyteller based in Cape Town, South Africa.

YULIYA SAY NOV 25, 2020 04:32PM

I started my career working as an Art Director and Designer. Over the years I started

I would like to consider Associazione Barriera, a non-pro t space in the northern district of Turin I collaborate with. It was founded in 2007 by a group of collectors. Basically it is

exploring and pursuing my innate passion of using creativity and design for social change. My love for food, its strong connection to people and storytelling narrative have been the

YULIYA SAY NOV 25, 2020 04:31PM

an exhibition space promoting dialogue between collectors, artists and curators, whose collaboration can be read in a common key: sharing the experience.

core and driving force behind some of my latest installations and design work.

Associazione Barriera until now has always remained a closed and somehow privileged

Yuliya Say

environment with initiatives mainly for people from the art system. Certainly it is an exhibition space open to the city, but it could become not only an exhibition space but also something more active and dynamic, a space for wide-ranging experimentation. In the past, a number of initiatives related to the idea of entering into a more concrete

YULIYA SAY NOV 29, 2020 09:28AM YULIYA SAY NOV 29, 2020 09:19AM

relationship with the surrounding area have been carried out, but they have not become a constant and consolidated activity. I would like to develop a project of residencies in Associazione Barriera trying to combine the potential of the institution with that of young artists interested in a direct interaction with people and the multi-ethnic neighbourhood where the space is located. For now we don't know much about the people who live there. So as a rst step, I would like to start with a project that investigates the character and the really "inner" aspect of the territory in order to understand the uses, the life, the needs but also the emotions and feelings of the people from many different places of the world who now nd themselves living in the same place. Project which aims to investigate the territory through the creation of a path exploring the local environment, something that could then become a sort of introspective mirror of this place.

YULIYA SAY NOV 29, 2020 09:20AM

Brainstorming WEEK 10

YULIYA SAY NOV 29, 2020 09:19AM

YULIYA SAY NOV 25, 2020 04:31PM


YULIYA SAY NOV 25, 2020 04:31PM

Barriera di Milano is the northern multicultural neighborhood of Turin. It always feels like a place full of life.

YULIYA SAY NOV 25, 2020 04:31PM

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Sixth edition of the Opera Viva Barriera di Milano project. Work by Noura Tafeche.

YULIYA SAY NOV 25, 2020 04:31PM

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This is via Crescentino, exactly where Associazione Barriera is located.

YULIYA SAY NOV 25, 2020 04:29PM

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represent space by providing not only geometric and functional information, but also temporal information. So if we think of sound as an active resource of space, it can become a component that provides a lot of information about a given location. So in search of its sound identity, it might be interesting to try to get a sound from the locals. And by a sound Andrea means anything. One can invent a sound that characterises the space he lives in, or the sound of his coffee mocha, or the recording of such a record he heard when he was young or a lady singing. "Make a huge database of sounds, with the identity of the place at the centre, as broadly as possible. Then I could think of a sound installation in which I build a long symphony using these sounds, reassembling and mixing them. " Obviously, factors such as gentri cation in spaces, consumerism or the pandemic period are affecting the sound identity in places.

YULIYA SAY NOV 25, 2020 04:29PM

Hi everybody! I'm from Ukraine currently based between Turin and Milan. YULIYA SAY OCT 23, 2020 10:56AM

I’m attending a MA academic course in Visual Cultures and Curatorial Practices at the Academy of Fine Arts in Brera (Milan). I’m collaborating as an assistant curator with the non-pro t space Barriera in the northern neighborhood of Turin (https://www.associazionebarriera.com), where I would like to develop a long-term project trying to combine the potential of the institution with that of the young artists interested in a direct interaction with the people and / or children of the multi-ethnic neighborhood in which the space is located. The idea is to open Barriera to the people to invite them to participate in creative activities in a more adventurous and experimental way, thus developing the main aims of the space:

YULIYA SAY NOV 12, 2020 04:57PM

interaction with the territory and collaboration with young artists. But in this period, for reasons that we all know, the use of space and the direct participation of people are very limited, and many things cannot be done in presence. So I would like to nd out some alternative solutions.

YULIYA SAY NOV 17, 2020 01:12PM

The best way to explore a neighbourhood Nanni Moretti in his best known lm, Caro Diario (lit. 'Dear diary’) 1993, dedicates himself to his favorite hobby, riding his Vespa through the streets of the half-deserted city. He wanders around his favourite Garbatella district on the notes of Leonard Cohen's I'm Your Man.

YULIYA SAY OCT 23, 2020 10:56AM

Mahtola Wittmer is a visual artist from Switzerland, 1993. She works primarily in the elds of performance and photography. In 2018 she realised in Lucerne her exhibition project called ‘Portable'. In collaboration with other people, she took artworks by Sina Oberhänsli (a Swiss artist b. 1994) for a walk

Moretti roaming around the streets of Rome and tells us he adores the emptiness of the Roman summer, and the city's obscure housing estates. On the pages of his diary he notes that the thing he likes most of all is looking at the houses, the neighbourhoods. Fascinated by the popular buildings of the 1920s, he cannot

throughout Lucerne, realising an intervention in public space.

resist the temptation to wander around the courtyards and enter the houses.

This type of action seems to me very direct and inclusive. It would be ideal to carry out in the neighbourhood of Barriera di Milano. The idea of taking the exhibition on the street

"I don't like to see the houses only from the outside, but I also like to see what they look like inside, so I ring the intercom and pretend I'm doing an inspection and say I'm

would help the Association open itself up to the life of the neighborhood after which it takes its name. This could be a rst step to get in touch with its inhabitants. Establish a

preparing a lm”.

kind of dialogue.

https://www.youtube.com/watch?v=a7ajbaIvgJQ&ab_channel=RomaSlowTour https://www.youtube.com/watch?v=K2Gqbnml8aw&feature=emb_logo

YULIYA SAY NOV 12, 2020 05:03PM

Sound as a research instrument I had an interesting conversation with Andrea Marazzi, a musician attending the Electronic music school of the Turin conservatory. We talked about how one could nd out more about the character of a certain area, neighbourhood like Barriera di Milano. How nd out something about the interests or the character of the people living there. He said that the sound is one of the many dimensions of space and stands out as a parameter of identity for its physical and symbolic characteristics. It can be analyzed with an aesthetic and qualitative approach, which puts together acoustic (physical properties), perceptual (psychoacoustic properties) and semantic (aesthetic properties) data. There are many projects that demonstrate how sound/noise can be rethought in qualitative terms to generate new forms of built space. In projects that use sound as a compositional element, the analytical phase of interpretation of the sound characteristics plays an essential role, so much so that it even coincides with the form. For example maps, which are de ned as infographic because they

YULIYA SAY NOV 12, 2020 04:57PM

YULIYA SAY OCT 23, 2020 10:56AM


between people and places, this way, I try to spread a more respectful attitude towards our habitat. A careful attitude, attentive to developing conservation criteria and coevolutive possibilities.

marcoranieri MARCORANIERI

Henry Palacio TIZO ALL NOV 28, 2020 04:05PM

Hello Henry

0:14 video

irony .

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HENRY PALACIO NOV 30, 2020 08:05AM

https://drive.google.com/ le/d/1kOFOt9yqgCVQ_xLvQfy8wzvPBbND4Pi/view?usp=sharing this is another fragment :) YULIYA SAY OCT 23, 2020 10:55AM

HENRY PALACIO NOV 20, 2020 11:04PM

Marco Ranieri

https://drive.google.com/ le/d/1kOFOt9yqgCVQ_xLvQfy8wzvP-BbND4Pi/view? usp=sharing

MARCO RANIERI SEP 18, 2020 09:22PM

botaniques de l'avia

fragmento 1 video 1

I've been following your project. Very rooted, very committed and also with a good dose of

HENRY PALACIO NOV 08, 2020 04:09PM

JADE BLOOD NOV 04, 2020 12:16PM

Henry- the trailer for Taco Bell is fantastic!

FEDERICO POZUELO NOV 02, 2020 11:16AM

Dynamite. HENRY PALACIO OCT 03, 2020 04:07PM

https://drive.google.com/ le/d/1s8R3kjSUTJs_TDGvm1Yam7gp usp=sharing I don´t know if someone really read this, but any way here is the link from a kind of trailer that I was editing these days it is mostly an upcoming of Taco Bell In Mexico. this short thing shows a little of the process that we were doing past month and last week, with some members from the Mexican deportee community from US.

The project pretends to create a participatory compendium of traditional/subaltern botanical knowledge collecting video self-interviews and microstories of old women that want to share her experience. It will also generate a network to share this traditional and subaltern knowledge/skills, via face-to-face and on-line workgroups, workshops and meetings.

HENRY PALACIO SEP 17, 2020 03:46PM

Hello everyone! I am a colombian artist based in Mexico City, My work seek the possibility of showing the absurd relationship among reality and representation. By referencing the political iconography of Latinamerican culture, my process creates structural narratives that point out the space within the meaning and life of these symbols, and the way they constantly acquire new meanings. Thus, my work brings these political references in the conceptual construction of notions such as love, failure and race.

HENRY PALACIO NOV 06, 2020 06:26PM

MARCO RANIERI NOV 30, 2020 08:06AM YULIYA SAY OCT 23, 2020 10:55AM

Hi everybody! I'm an italian artist based in Valencia, Spain, since 2008. I think that in order to face the planetary ecological crisis, we need to generate a new paradigm that puts life in the centre of the economic-political-social model. To obtain this, we need to work from decentralization and coevolution, in a collective and collaborative way, establishing connections between the different habitants and agents living in our territories, thus creating new community models with care ethics at their core . As social artist, an important part of my projects is to create collaborative and participatory situations made to weave links and emphatic boundaries through the creation of ephemeral socializing-sharing spaces, contexts and opportunities. The aim is to generate a new contaminated baggage/curriculum of knowledge and skills that recovers traditional knowledge and recontextualizes it; including some subaltern knowledge,skills and abilities from less represented social groups and collectives. As sculptor my work focuses on the transformation of the experience of Nature in Art. A dialogue with environment, his habitants, agents, materials and climatic and creative energy. I especially deepen the concepts of biomimicry, empathy and interdependence; and I study, reinterpret and include in my projects the ecosystemic dynamics, the processes of the transformation of the territory and the vital energies involved in plant growth. Through my artwork I suggest generating, restorating or renovating an emphatic bond

These days I have been selecting some scenes and working on the edition process. Last week I was dealing with many issues about the space that we were using to record the project, so now It seems that we have to wait few months, to record the material we are missing, bc of it I will keep editing the material that I already have, as a way to start to move tacobellmx.com as soon as possible. :) this video is just a short view of that material in which I am working

The way I understand the relationship between reality and symbols have evolved during recent years since I have started researching the relationship between Mexico and the US. In this context, I have explored brands and companies' use of multimedia and propaganda as cultural products to problematize the representation of race, nationality and identity within geopolitical constraints. I have speci cally been working in Mexico City with a community of Mexicans deportees from the US that live in Little LA, the nickname that they use to the neighborhood in which most of this community works and lives. With their support, I have studied the case of the fast food chain restaurant Taco Bell and its relation with the community of deportees. After several failed attempts to enter the Mexican food market, this company has become a symbolic paradigm; a place where neoliberalism symbolically fails. Complexly, Taco Bell also represents for the community of Mexicans migrants, a cross point between the US and Mexico. For Mexican migrants Taco Bell represents a part of Mexico, and for Mexicans that get deported the absence of Taco Bell in Mexico becomes a part of the US. Under this context, I am currently interested in different forms of appropriation of the corporate identity of this company, through the use of propaganda, taglines and slogans. A Taco Bell in Mexico becomes a space in which these communities can nd ways of autorepresenting themselves. Create alternative storytellers to enable agency that deviates from the hegemonic geopolitical relations between Mexico and US. During the process of the residency I will posted part of this research and performances and etc through this website in which I am still working. https://www.tacobellmex.com/ I also attach an old website with some of my previous works. https://cosasyproyectos.webnode.com.co/


Catalina Gómez Rueda TIZO ALL NOV 27, 2020 03:48PM

Very beautiful project. I wish to come along and to collaborate with it one day. CATALINA GÓMEZ RUEDA NOV 20, 2020 12:41AM

Betulia Baja. Pereira, Colombia. This small school is the farthest of all in the city. We got there with a fomer teacher of the institution who we met on a barter group on facebook. She volunteered to take us to the school in exchange of a note book and a poster, we ofered to pay the gas but she refused. Instead, we shared some materials for her to make calm jars with her students. It was a beautiful journey, we got to know the history of the school and talked about the speci cities of that territory and Angela's experiences working as a teacher in that comunity. Her students in Betulia Baja are the children of coffee pickers and farmers of the area, some live in remote states and some in the main settlement.

CATALINA GÓMEZ RUEDA NOV 17, 2020 02:49PM

CATALINA GÓMEZ RUEDA NOV 20, 2020 12:33AM

The road to Betulia Baja

CATALINA GÓMEZ RUEDA NOV 20, 2020 12:12AM

CATALINA GÓMEZ RUEDA NOV 19, 2020 09:14PM

Trip to La Bella, a rural area in Pereira, Colombia This week we delivered the backpacks, we had awesome journeys.

JADE BLOOD NOV 17, 2020 01:53PM

Backpack Hi Catalina, your back pack idea is so great! If you have any fundraising initiatives, I would love to pass this on to the charities/fundraising team at my school! (I know you got a grant but just thinking about the future if you were setting up a go fund me or something :)) My little after school Zine making club are going to hold some stalls selling their zines, and i'm trying to teach them about Not For Pro t, and sharing resources! My email is jadeblood@me.com if you want to get in touch!!!

CATALINA GÓMEZ RUEDA NOV 09, 2020 08:51PM

Traveller's notebook design Illustration: Laura Villana CATALINA GÓMEZ RUEDA NOV 20, 2020 12:38AM

La Bella. Pereira, Colombia. Getting to the schools was the last bit of this rst phase, we're hoping to recieve news from the families soon.

CATALINA GÓMEZ RUEDA NOV 17, 2020 02:49PM


CATALINA GÓMEZ RUEDA NOV 09, 2020 09:03PM

The Voice of Birrí - Audioguide Irene Rodríguez - Recording Sessions.

08. El espiral mp3 2:26 audio PADLET DRIVE

CATALINA GÓMEZ RUEDA NOV 09, 2020 07:10PM

Audio Guide Opening Track The voice of Birrí, totemic creature of Quimbayan Culture guides children through ancient stories and activities regarding the objects in the backpack. (Voice and sound design) Irene Rodriguez and Victor Gamboa)

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A Journey Inside The Garden of Quimbayan Gods. The project was submitted to a grant in Pereira, Colombia, called Cultura en Casa 2020. Laura Villana and I won in the category of action research in visual arts with "Viaje al Interior de la Perla", a pedagogical backpack concieved to guarantee children's access to quality cultural contents and activities for their wellbeing and development. This rst moment started in september and is almost over. Joined by some good friends, we articulated several perception elds and imagined a complex aesthetical experience that aims to impact the daily life of children in remote places during the pandemic. We're about to deliver seventy backpacks in three different public schools and a community centre spreaded around rural areas of the city.

01. Centro de poder mp3 5:09 audio PADLET DRIVE

CATALINA GÓMEZ RUEDA NOV 09, 2020 07:11PM CATALINA GÓMEZ RUEDA NOV 09, 2020 07:11PM

Spiral Song. Closing track of the audioguide. Voice and sound design by Irene Rodríguez and Victor Gamboa.

Viaje al Interior de la Perla Backpack


CATALINA GÓMEZ RUEDA NOV 17, 2020 02:44PM

CATALINA GÓMEZ RUEDA NOV 09, 2020 03:56PM

Birrí, The Great Serpent: Pattern design This creature is the guardian of thought in Quimbayan culture. In the beggining of the universe, when everything was dark. Commanded by Tupinambá, the great father, and Kirmaná, the great mother, she transformed her self in the four elements and gave birth to the garden of the gods: Kimbayakaksamau. We chose her skin as the container of the whole project, its meandering gives rise to the magical journey through the objects, stories and activities of Viaje al Interior de la Perla.

CATALINA GÓMEZ RUEDA NOV 09, 2020 08:21PM

Roller stamp

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CATALINA GÓMEZ RUEDA NOV 09, 2020 04:05PM


CATALINA GÓMEZ RUEDA NOV 09, 2020 09:02PM

Kirmaná and Tupinambá - Great mother and great father Organizing (fragment)

CATALINA GÓMEZ RUEDA NOV 09, 2020 04:00PM

naub 5

naub 4

0:29 video

0:27 video

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Visual Guide to interact with the backpack CATALINA GÓMEZ RUEDA NOV 09, 2020 09:01PM

CATALINA GÓMEZ RUEDA NOV 09, 2020 08:59PM

Taijaraca - The Priest - Meditating

Nankuer - The Godess of Salt - Eating

(fragment)

(fragment)


CATALINA GÓMEZ RUEDA OCT 15, 2020 05:04AM

A Journey Inside The Pearl Viaje al Interior de la Perla Process // Roller Stamp // Diary // Inventory // Quimbaya // Pereira // Colombia

naub 3

naub 2

carta serpiente

0:27 video

0:17 video

0:15 video

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CATALINA GÓMEZ RUEDA NOV 09, 2020 08:58PM

CATALINA GÓMEZ RUEDA NOV 09, 2020 08:47PM

Táakshi - The Flower - Sel ove

Introduction to

(fragment)

Daily planner card set: Naúb = Day This planner has 12 activities to renew and balance cotidianity at home. Each card has a Quimbayan archetype joined by an action. ///

CATALINA GÓMEZ RUEDA OCT 26, 2020 01:11PM

Phsychological dimensions aimed to be estimulated by this activity: Attention / memory / modulation of executive functions joined_video_24870ccaf3d34c41a4ea4b8f32923f93.MP4 0:26 video PADLET DRIVE

CATALINA GÓMEZ RUEDA OCT 15, 2020 05:04AM

A Journey Inside The Pearl Viaje al Interior de la Perla Process // Lava Jar // Calm Jar // Kumanday // Inventory // Quimbaya // Pereira // Colombia


My artistic practice has focused on developing emergent pedagogical methodologies to

Thanks Marilou! Would love to chat further :) kirila6@gmail.com

work with different kinds of groups in the city I live in which is Pereira, located on Colombia ́s coffee region. TIZO ALL NOV 12, 2020 04:39PM

I'm interested in interactions between art and science, I collaborate with Suratomica, a global network of artists and scientists based in Viena and Bogotá, and I'm part of a study grup on Aesthetics and Complexity.

great images TIZO ALL NOV 12, 2020 04:37PM

I'm currently working on a pedagogical backpack for children in the rural areas of the city who are isolated due to the virus and do not have internet access. I have a very special concern with education and the way the pandemic demonstrated that the educational systems are failing to support people in their actual needs. I’m worried about the future negative cognitive effects isolation will have on children in my country, not only because they are losing space to relate to others but because the economic and social crisis and the raise of violence is killing every hope we all have to live a better future or even a present in which all lives are respected and defended with solidarity and empathy. @glomlab

I would love to put re in most of them, to burn out he temples of stupidity.. it can sound quite radical, I know but can't look at the industry of football as anything else. MARILOU VAN LIEROP NOV 09, 2020 03:01PM

Some stills from the video.

MARILOU VAN LIEROP NOV 09, 2020 03:00PM

MARILOU VAN LIEROP NOV 09, 2020 02:49PM

@c_a_t_a_t_a_u

CATALINA GÓMEZ RUEDA NOV 09, 2020 08:16PM

#NOSESTANMATANDO #THEYAREKILLINGUS COLOMBIA: PANDEMIC + 71 (nov3) MASSACRES on 2020 volcano 0:14 video PADLET DRIVE

CATALINA GÓMEZ RUEDA NOV 30, 2020 03:03AM

Project description // Pedagogical Backpack "Viaje al interior de la perla" is an educational proposal for children in rural areas in CATALINA GÓMEZ RUEDA OCT 15, 2020 05:04AM

A Journey Inside The Pearl Viaje al Interior de la Perla Process // Ocarina // Ceramic Traditional Wind Instrument // Inventory // Quimbaya // Pereira // Colombia

Pereira, Colombia.

MARILOU VAN LIEROP NOV 09, 2020 03:00PM

For this research we have used the recent ndings of professors Anielka Gelemur-Rendón and Guillermo Rendón, compiled in "El Misterio del Kirma-Quimbayas de Hoy" in 2016. In

MARILOU VAN LIEROP NOV 09, 2020 02:48PM

this project we combine elements of the Quimbaya-Kumba legacy with methodologies of neuropsychology and artistic pedagogy to achieve a non-linear and multisensory narrative that aims to affect the daily lives of children who do not have internet access in rural areas in a postitive way by guaranteeing their right to access to cultural content and recreational activities designed for their well-being and development. Stories and activities were articulated through questions that involve different psychological dimensions. We designed and carried out a telephone interview to get in touch with the parents and thus learn about some of the current conditions of children. With the data obtained by this questionnaire, it will be possible to verify the scope of the speci c effects that the didactic backpack may have, in addition to enhancing successes and working on opportunities for improvement in each of the aspects of the proposal. Research, coordination, contents: Catalina Gómez Rueda Illustration: Laura Villana Sound recordings: Irene Rodríguez Víctor Gamboa

MARILOU VAN LIEROP NOV 09, 2020 02:59PM MARILOU VAN LIEROP NOV 09, 2020 02:45PM

Ocarinas: Ana María Coy Neuropsychologist: Juliana Torres

Marilou Van Lierop AADITA CHAUDHURY NOV 26, 2020 01:01AM

Hey Marilou, 0:15 video

Wow, love the pictures! I'd love to chat to you sometime because my PhD dissertation is literally on cultural aspects of re and "chasing res" as methodology in

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place(less)basedness. I'd love to chat sometime!

ocarina neat

CATALINA GÓMEZ RUEDA SEP 21, 2020 04:21PM

aaditac@gmail.com Instagram: @atidaac

Hi everyone, greetings from turbulent Colombia.

MARILOU VAN LIEROP NOV 09, 2020 02:44PM

HOME | Glom Lab

ALICE PEDROLETTI NOV 17, 2020 10:57PM

GLOM LAB

You did it! :) Beautiful...

CATALINA GÓMEZ RUEDA NOV 20, 2020 12:35AM

MARILOU VAN LIEROP NOV 09, 2020 02:53PM

KIRILA CVETKOVSKA NOV 16, 2020 12:47PM


MARILOU VAN LIEROP NOV 09, 2020 02:43PM

MARILOU VAN LIEROP OCT 11, 2020 01:25PM

Update third week MARILOU VAN LIEROP NOV 01, 2020 01:48PM

Update After breaking the ice, the interviews followed. With the focus on the changed situation and positions caused by the lockdown. This on the supporters and their relatives. What about their friendship and camaraderie? Was it more friendship than camaraderie, or the other way around, and is this changed in the meantime? Did they keep in touch during the lockdown? After the lockdown, it was still not possible to attend the football matches.Did they meet each other regularly in this period? Or were there other ways of (remote) contact? Or were they detached from the group? And how did they feel about it?

Part 1 First meeting with a few members of the small group of football supporters.Just getting to know each other in an relaxing environment. Making a walk in the woods with the families. Part 2 Reading about the Sanctuary complex in the mountains near Biella. A trail of chapels form the path of faith, which developed into a real sacred landscape. Its composition was based on popular theatre of the time and followed the model of medieval sacred theatre. The Sacro Monte is a large natural theatre where a grand spiritual experience is played out by architecture, sculpture and painting. Every timeframe creates his own narratives about these mountains.

So, how did this affected their social life? What about the free time that is more available? How was this lled? Do they still feel a football supporter, or is this changed?

MARILOU VAN LIEROP NOV 09, 2020 02:43PM

MARILOU VAN LIEROP NOV 09, 2020 02:41PM

Is the football as appealing and important as it was before, or did it loose some of its attraction? Now being more remote from the group, did it change the perception of this

MARILOU VAN LIEROP OCT 11, 2020 01:23PM

group behaviour during and after the matches? What about the family structure? Did it affect these relations? Positive or negative? Is it changed in a profound way? Etc, etc. During the conversations, there came the suggestion of doing something together. The proposition was to make together a maquette of a football stadium. And afterwards to burn it!

ALICE PEDROLETTI OCT 27, 2020 11:19AM

I've tried too but it was an empty party :) We have to be better in scheduling it next time! MARILOU VAN LIEROP NOV 09, 2020 02:42PM ALICE PEDROLETTI OCT 24, 2020 02:49PM

You're de nitely in a Rave Party :)

MARILOU VAN LIEROP NOV 09, 2020 02:40PM

Update As a ritual the football stadium is put on re...... . Because of the lockdown restrictions only by a part of the group.

MARILOU VAN LIEROP NOV 01, 2020 01:50PM

MARILOU VAN LIEROP OCT 11, 2020 01:26PM

MARILOU VAN LIEROP OCT 11, 2020 01:23PM


the mountains that surround us 2 PSD document PADLET DRIVE

MARILOU VAN LIEROP NOV 23, 2020 08:50AM

During this rst week, I did quite some preparing work for the projects I have in mind. My art practice consists of painting, drawing and video, and I intend to explore the content of MARILOU VAN LIEROP OCT 05, 2020 02:05PM

the research in this different mediums. The rst part of my research, I focus on contemporary rituals. Through interviews I am going to search for the in uence the lockdown had on football supporters, being cut off from their habitat, the football stadium, the group. The football stadium as an construction of the collective. At the same time, I paint and make drawings in my studio. Here I focus more on how we “organize” our surroundings. By ancient and contemporary “stories”. The process of a painting follows his own rules. Here I start from the idea of the wild that surrounds us.

MARILOU VAN LIEROP OCT 05, 2020 02:17PM MARILOU VAN LIEROP OCT 05, 2020 02:19PM

Update second week. This week I explore the geographical situation of Biella. “The mountains that surround us”.

The mountains, always dominant, sometimes becoming a threat. This was once more shown last week, when heavy rainfall (storm Alex) made the rivers swell out of proportion.

MARILOU VAN LIEROP OCT 05, 2020 02:20PM

Every 5 year there was a procession that ascended through a winding path that separate two valleys. The landscape becomes a sacred landscape. During one event over 150.000 thousand pilgrims attended the ritual around the Virgin.

MARILOU VAN LIEROP OCT 05, 2020 02:20PM MARILOU VAN LIEROP OCT 05, 2020 02:18PM

Old and new stories are evoked by these mountains. Very old stories like the Black Virgin found in the surroundings of Biella. Brought there in

MARILOU VAN LIEROP NOV 29, 2020 10:52AM

Hello everyone,

de third century AD. Brought from the middle east, is told to be made by Lukas, the evangelist. But

My name is Marilou van Lierop and I live and work in Antwerp, Belgium. My art practice consists of the research of aspects of complexity, chaos and order. I

the tradition of the Black Virgin goes beyond Christianity.

explore the laws of nature and how they relate to natural, social and existential phenomena. On the one hand, I make o/a paintings on large, semi-spherical convex surfaces. These volumes are to be found in indoor rock climbing gyms. They refer to abandoned places with reminiscences of a range of human activities. The indoor rock climbing wall as an arti cial reconstruction of the mountain. The landscape around Biella is varied and ranges MARILOU VAN LIEROP SEP 27, 2020 07:24PM

from wild, mountainous areas, sometimes inaccessilble , sometimes open, to the plains. On the other hand, I create large-scale paintings and video’s. They depict what crowds of people do and/or how they behave during contemporary rituals and circumstances (carnival, politics, Covid 19). My main interest is situated in the natural and social worlds and the laws of nature that apply on both. What are the methods we use to “organize” our habitat? What about the illusion of control of “the wild” that surrounds us? During my residency, I would like to explore this subject more.


Also, I intend to focus on the arbitrariness of our behavior and the underlaying fabric of group dynamics. Speci cially with a focus on large crowds, looking at them as one organism. Being cut off the group, being cut off my lm-project due to the Covid 19 pandemic, will be an inspiration I also want to explore in Biella: the (physical) absence of the group and what it does to a single person. www.marilouvanlierop.be

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