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qui è visibile il catalogo dei lavori realizzati dagli studenti che hanno preso parte al progetto.

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Il progetto After That è nato con l'obiettivo di far realizzare elaborati d'arte ad un gruppo di 10 studenti del Biennio specialistico di Grafica d'arte dell'Accademia di Brera partendo da una serie di riflessioni sulla tematica scelta quest'anno da Bookcity 2021: il "dopo".

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in anteprima la locandina realizzata da Luigi Cennamo

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Locandina BookCity 1 Cennamo Luigi STAMPA

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"Nel carattere saturo e pieno delle situazioni, nelle pratiche e nei discorsi che le regolano, nei valori, negli obiettivi, nei progetti che le segnano, può accadere qualcosa di contingente, aleatorio, infondato, che le eccede e le oltrepassa: un incontro che apre una necessità che chiede fedeltà e implica coraggio: cioè un evento. [...] L’evento, in quanto “incontro necessario”, è ciò che nella sua imprevedibilità e casualità genera effetti sottratti ad ogni calcolo".
-Roberto De Gaetano -Tra due; l’immaginazione cinematografica dell’evento d’amore

L'idea di base è creare un deposito di scorie sentimentali, una fusione osmotica tra due corpi che giocano un'adiacenza senza scarto.

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The People's Cloud è una docuserie artistica creata da Matt Parker che vuole andare alla radice di Internet, indagando l'ecologia e l'impatto del cloud computing sulla vita di coloro che lo usano, i luoghi in cui si trova fisicamente e le persone che lavorano per mantenerlo.
Viaggiando attraverso l'Europa il progetto cerca i siti e i suoni che compongono l'infrastruttura di internet. Da segrete fabbriche di data center e hub di scambio di rete a cavi sottomarini e siti di atterraggio di fibre ottiche. The People's Cloud indaga l'impatto ambientale e geopolitico dell'archiviazione mobile dei dati, chiedendo a ingegneri, tecnici, produttori, fisici e artisti cosa significa per loro 'il Cloud' e cosa ha significato questo boom dei dati per le loro vite.

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Episode 1 of The People's Cloud presents the origins of the so-called accidental megastructure of the Internet through the voice and memory of two veteran engineers of the industry who think back to the moment the first transatlantic Internet connection was made, and the early days of personal computing where floppy disks were shared between friends in a garage.

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Episode 1: What is the Cloud vs what existed before?

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Episode 1 of The People's Cloud presents the origins of the so-called accidental megastructure of the Internet through the voice and memory of two veteran engineers of the industry who think back to the moment the first transatlantic Internet connection was made, and the early days of personal computing where floppy disks were shared between friends in a garage.

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Lo Stato delle cose, 1982 Wim Wenders (purtroppo questo è solo il trailer)

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pensando a ciò che rimane DOPO, mi è venuta in mente questa frase di Marcel Proust. 

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«Quando di un lontano passato non rimane più nulla, dopo la morte delle creature, dopo la distruzione delle cose, […] l’odore e il sapore permangono a lungo […] a sorreggere […] l’immenso edificio del ricordo» (Marcel Proust, Alla ricerca del tempo perduto)

Sull' odore e in particolare sul profumo, voglio sviluppare il mio lavoro sulla tematica del dopo.
DOPO aver cucinato rimane l' odore del cibo nella casa, DOPO aver pulito l' odore del sapone, DOPO aver abbracciato qualcuno l' odore dell' altro per qualche minuto ci resta addosso fino al momento in cui l' aria non porta via le molecole odorose del profumo.

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Quando di un lontano passato non rimane più nulla

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Mappa, collografia e tetrapak, 35x50, 2021

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Buongiorno a tutti. Ringraziando la Prof.ssa Giorgetti e il Prof. Arduini, inserisco un primo piccolo contributo sulla mia idea di prima/dopo. Questo è solo un piccolo incipit in attesa di pubblicare qualcosa di più completo.

Il mio lavoro si sviluppa sull'idea del cammino come pratica esplorativa del mondo. La cartografia e il paesaggio sono i punti di partenza. Il cammino comprende in sé sempre un prima e un dopo;un dopo che riguarda il luogo esplorato, destinato a cambiare, ma che riguarda anche la nostra percezione del mondo stesso, destinata a non essere più uguale a prima. I mezzi privilegiati di questa esplorazione sono per me la pittura e la grafica nei cui processi produttivi cerco di percorrere dei veri e propri cammini esplorativi. Allego una foto di un mio lavoro dalla serie "Geografie inesistenti" .

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Nino Migliori, Il tempo dilatato (1974-1976)

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Mi è venuto in mente Nino Migliori, in particolare l'opera "il tempo dilatato", ma in generale tutto il suo percorso artistico. L'artista parte dal suo volto presente in una fototessera, lo sovrappone a una radiografia del suo cranio, e per passaggi successivi giunge alla materializzazione di un "momento morì": in questa progressione contempla contemporaneamente il fluire del tempo fino alla sua inesorabile conclusione.
Interessanti e inerenti al concetto del "dopo" sono anche "ieri/oggi", "antimemoria" e "il tempo rallentato".
https://fondazioneninomigliori.org/it/nino-migliori/opere/

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vi propongo questo lavoro di Burri da cui io vorrei partire per fare un mio lavoro. lo trovo molto attinente al tema "after that".

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Cretto di Burri - L'opera d'arte più estesa d'europa (Gibellina - Trapani - Sicily - Italy)

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La tematica del Dopo, inteso come concetto temporale, mi ha fatto pensare ad Arrival di Denis Villeneuve, che indaga il legame tra tempo e linguaggio e il contatto tra diverse concezioni degli stessi. Consiglio di vederlo.

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Arrival - Trailer Ufficiale Italiano | HD

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È l'ultimo film di Derek Jarman, sieropositivo e ormai cieco. Una riflessione sull'ultimo passaggio che lo aspetta: la morte e l'aldilà, e quindi il dopo. https://it.wikipedia.org/wiki/Blue_(film_1993)

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Assieme a Dibbets, credo anche Haacke possa aiutare nella riflessione per via della sua capacità di rendere idee e temi utilizzando diversi medium, dalla stampa all'installazione partecipativa.

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The godfather of art-as-exposé has his first major survey in America in 30 years. He has some questions to put to you, too.

From the retrospective "Hans Haacke: All Connected" at the New Museum, "Gift Horse," a bronze sculpture with stainless steel armature commissioned for London's Fourth Plinth Program. On the gallery wall, photographs and maps from "Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971." Credit... Hans Haacke/Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times

I still remember, back when I was an art history student, the class in which I had to stare at a painting for an hour, just looking and describing what I saw within the frame. No interpretation, no contextualization to sully the true experience of art, the professor told us. All that analysis comes later, after the pure encounter between you and the painting.

It is never just you and the painting. So proved Hans Haacke, one of the most consistent and uncompromising figures of American art, who has spent half a century mining the terrain around and behind works of art, and revealing the hidden operations of powerful associations, art museums very much among them. When critics were still sticking up for "art for art's sake," when artists were still indulging romantic fantasies of self-expression, Mr. Haacke was one of the first to insist that "art" is actually a complex system of institutions, governed by managers and administrators with their own aims and ideologies.

His preoccupation with art's complicity in economic or political injustice has made him a frequent target for politicians, vandals and censors - most notoriously in 1971, when the Solomon R. Guggenheim Museum canceled his show rather than exhibit his forensic documentation of the run-down real estate holdings of a Manhattan landlord. His critical stance has also left museums, somewhat understandably, reluctant to invite him in to trash the place.

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Part of the flexible LED display on Hans Haacke's "Gift Horse," 2014. Video by Hans Haacke/Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times Credit Credit... Hans Haacke/Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times

For that, at least, we ought to praise the New Museum, which staged the German-born artist's last major American exhibition in 1986, and which has now opened "Hans Haacke: All Connected," an important but dispiriting reintroduction to this resolute antagonist. The retrospective will surely provide a valuable history lesson to young artists; it sprawls across four whole floors of the New Museum's Bowery home, and includes most of Mr. Haacke's important works, from early environmental pieces to his recent monument, for London's Trafalgar Square, of a skeletal horse with a stock ticker tied to one leg. (A surprising, regrettable absence is " Der Pralinenmeister," Mr. Haacke's pitiless documentation of alleged tax dodges of the German art collector Peter Ludwig, who founded the Museum Ludwig in Cologne.)

The show cannot disguise that Mr. Haacke has often been a better activist than artist. Much of his later work is flat-footed and polemical, when compared to his initial accomplishments in institutional critique. Yet there is still a value to Mr. Haacke's early art of disclosure, especially in the wake of this year's increasing scrutiny of where cultural institutions get their money. The Sackler family's involvement in the national opioid crisis brought protesters to the Guggenheim and the Musée du Louvre; Yana Peel stepped down as chief executive of the Serpentine Galleries amid outrage over her ties to an Israeli cybersecurity firm (Update, March 6, 2020: The Guardian newspaper report that prompted the protests has since been removed from its website and replaced with an editorial statement after Ms. Peel challenged the paper's report); and Warren B. Kanders resigned from the board of the Whitney Museum of American Art after protests over the tear gas his firm manufactures.

Mr. Haacke's own engagement with the ethics of art goes back to his youth. He was born in Cologne in 1936 and saw his father lose a job after refusing to join the Nazi party. While attending art school, Mr. Haacke took a summer job as a security guard at the second edition of Documenta, Kassel's large-scale exhibition of international art - where he photographed befuddled visitors, obsequious dignitaries and hardy cleaners amid the abstract painting and sculpture. These photographs reveal how Mr. Haacke was beginning to perceive the economic underpinnings and the ulterior motives of art. Documenta, wrote Mr. Haacke, began "the loss of my innocence."

In 1961 he moved to the United States, where he began to make ephemeral or environmental works, some of which invited audience participation. A fan makes a bright blue tarp undulate like a jellyfish; a totem made of ice melts or grows as the ambient humidity rises and falls. Some look pretty hippy-dippy today, but these works foreshadow how Mr. Haacke would conceive of art works as systems, shaped first by the artist's invention, and then by external factors.

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A fan makes a bright blue tarp undulate like a jellyfish in "Blue Sail," 1964-65. Video by Hans Haacke/Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times Credit Credit... Hans Haacke/Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times

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Hans Haacke's "White Waving Line," 1967/2011. Video by Hans Haacke/Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times Credit Credit... Hans Haacke/Artists Rights Society (ARS), New York; Vincent Tullo for The New York Times

That approach undergirds the conceptual and critical projects that won him both fame and grief starting in 1970 - when, as his contribution to the Museum of Modern Art's exhibition "Information," he placed in a gallery two ballot boxes made of clear acrylic. Above them was a question: "Would the fact that Governor Rockefeller has not denounced President Nixon's Indochina policy be a reason for you not to vote for him in November?" (Not at all incidentally, New York's governor at the time, Nelson Rockefeller, was a MoMA board member, and his younger brother David was its chairman.) Twice as many museumgoers voted Yes as No.

This and subsequent polls were at once artworks and data drops,and, like the censored landlord project the following year, he presented his findings in a cool, flat style the art historian Hal Foster would later term an "anti-aesthetic." (Here at the New Museum you can participate in his latest poll, administered via iPad, where Mr. Haacke will ask you how old you are, how much you make, and whether you think the rich are sufficiently taxed. As of this past weekend, 79 percent of visitors said "no" to that last question.)

His sleuthing - you couldn't just Google this stuff back then! - exposed the supposed neutrality of the art museum as, at best, a pretense. "Solomon R. Guggenheim Museum board of trustees," a series of lists from 1974, each typeset and framed like an official document, spells out how one of that museum's supporters enriched himself through the previous year's coup d'état in Chile. "On Social Grease" (1975) comprises six magnesium plates, etched with damning quotations on how art philanthropy serves business ends.

The show's curators, Gary Carrion-Murayari and Massimiliano Gioni, have installed Mr. Haacke's sometimes dry work with contrapuntal elegance, mixing pieces from across decades. I do wish they had enforced a bit more critical distance. Mr. Haacke, as each gallery proudly proclaims, has written every single wall label himself - which offers helpful context, but turns the show into an uncomfortable act of self-justification. The words put too much emphasis on what Mr. Haacke meant, and not what he actually made.

For by the 1980s, his documentation or his corporate mimicry had given way to some ghastly installations. The precise designs of his Guggenheim exposés or "Der Pralinenmeister" was left behind in favor of pallid oil paintings of Margaret Thatcher and Ronald Reagan.

Mr. Haacke's most successful later works have been monuments and other public interventions, such as " Der Bevölkerung " (2000), a garden planted within the German national parliament. In a rebuke to the famous 1916 inscription on the Reichstag facade - which reads "Dem Deutschen Volke," or "To the German People" - Mr. Haacke's garden included neon letters spelling out an alternate motto: "To the Population," implying the laws should serve every person in the country, German or not. "Gift Horse" (2014), his equestrian skeleton from London, also made the most of its site, publicly equating past military might and present financial power.

But in the lobby of the New Museum, a new work sees Mr. Haacke join the growing ranks of artists whose rage at the current administration has led them to embarrassing error. It bears the title "Make Mar-a-Lago Great Again" (really, must we?); a giant flat-screen television displays the president's most recent Twitter exudations, stationed amid a gold-plated golf driver, a banner printed with red baseball caps, and, no kidding, Statue of Liberty figurines with their bobbleheads ripped off. It's really sad when the newest work in a nearly 60-year retrospective is the worst thing on view. Mr. Haacke should know better than anyone how insufficient such "political" art can be, especially when it expresses nothing beyond one's own disgust.

The fact that no person and no artwork stands alone, that all of us are enmeshed in systems of economic and social power, is for anyone under 40 a statement of the obvious. We can barely remember a time before we were "all connected," and young artists as different as Neïl Beloufa, Cameron Rowland, Park McArthur and Darren Bader have metabolized Mr. Haacke's lessons for an age when our phones ping with tweets from the White House before we even get to the gallery. These artists and so many others testify to Mr. Haacke's achievement, and also, perhaps, to its belatedness.
Hans Haacke: All Connected
Through Jan. 26 at the New Museum, 235 Bowery, Manhattan; 212-219-1222, newmuseum.org.

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Hans Haacke, at the New Museum, Takes No Prisoners (Published 2019)

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The godfather of art-as-exposé has his first major survey in America in 30 years. He has some questions to put to you, too. I still remember, back when I was an art history student, the class in which I had to stare at a painting for an hour, just looking and describing what I saw within the frame.

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Vi propongo questo lavoro di Dibbets, è una riflessione sull'azione umana, meccanizzata, sul voler imporre una forma al naturale e su come l'onda si riprende ciò che è suo. Lo trovo interessante in relazione al progetto in quanto la sua prima versione è del 1969 ed il video fu trasmesso su una Tv tedesca rendendo l'opera globalmente fruibile per un lasso di tempo.

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Francis alys, don't cross the bridge before you get to the river

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Francis alys, don't cross the bridge before you get to the river

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Francis Alÿs Don’t Cross the Bridge Before You Get to the River

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🎥 RUN LOLA RUN (1998) | Full Movie Trailer | Full HD | 1080p

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un progetto di lettura di URLO (Ginsberg) che si basa sulla fine della contemporaneità, e quindi sulla condanna a vivere sempre in un dopo.

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https://www.cinefiliaritrovata.it/mulholland-drive-come-summa-delluniverso-di-david-lynch/

Proprio oggi 20 anni fa usciva negli Stati Uniti questo film di David Linch, bellissimo esempio di una narrazione che, nel tempo lineare della visione, innesta una sconnessione temporale di accadimenti reali e irreali. La copia restaurata tornerà nelle sale per pochi giorni a metà novembre: occasione da non mancare.

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“Mulholland Drive” come summa dell’universo di David Lynch | Cinefilia Ritrovata | Il giornale della passione per il Cinema

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Per utilizzare un celebre aforisma, Mulholland Drive (2001) è un indovinello avvolto in un mistero all’interno di un enigma. Il che, va detto, si può applicare a ogni opera di David Lynch – e poco importa che si tratti di un lungometraggio, di una serie TV o di un corto – ma è una definizione che ca…

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“Mulholland Drive” come summa dell’universo di David Lynch

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luoghi che potrebbero ospitare la mostra diffusa

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luoghi che potrebbero ospitare la mostra diffusa

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https://www.moma.org/collection/works/72948?

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Peter Halley first devised his "cell and conduit" imagery in the early 1980s, when he emerged as a practitioner of the Neo-Geo style of geometric abstraction in New York. Since then he has continued to create large-scale geometric paintings in which a central rectangle is the "cell" to which are connected one or more incoming or outgoing circuits, or "conduits." Influenced by French Structuralist and Poststructuralist theory, the images are meant to evoke the hidden systems and ideologies that govern activity in postindustrial society.

In many of the approximately thirty editions Halley has produced since 1989, he has used printmaking to illustrate what is happening in the hermetic, coded world of his paintings. In 1994 he made a series of nine brightly colored screenprints, Exploding Cell, in which a cell mutates from a unified whole into states of contamination, explosion, meltdown, and finally emptiness or static. Presented in a comic-strip-style grid, the explicit narrative demonstrates that Halley's cells and conduits are not simply abstract compositions but symbolic, diagrammatic representations of architectural or social bodies.

Exploding Cell Wallpaper, first created in 1995, is a simplified, black-and-white version of the color screenprints. Conceived as a digital project, it expands the boundaries of traditional printmaking; each time it is to be installed, a silkscreen printer must generate the wallpaper sheets using files on a computer disk that The Museum of Modern Art owns. The files have also been used as the basis for an interactive project that the Museum produced in collaboration with Halley on its Web site ( http://www.moma.org/onlineprojects/Halley/index.html). Halley appreciates that digital files can be easily stored and revised to generate new imagery. For example, he has also made various color versions of the wallpaper for use in installations of his paintings and prints.

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remains unauthorized pending resolution of url to online project. (http://www.moma.org/onlineprojects/Halley/index.html)

Publication excerpt from an essay by Starr Figura, in Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 246.

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Peter Halley. Exploding Cell. 1994 | MoMA

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Peter Halley. Exploding Cell. 1994. Series of nine screenprints. composition and sheet (each): 36 1/2 x 47 1/8" (92 x 119.7 cm). Edition Schellmann, New York. Heinrici Silkscreen, New York. Gift of the artist. 670.1996.1-9. © 2021 Peter Halley. Drawings and Prints

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fotocopia a colori di uno dei lavori interattivi di Halley del progetto web Exploiding Cell - riflessione su originale/multiplo/firma autografa ecc 

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https://it.wikipedia.org/wiki/Shin_Godzilla#Temi