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neue-nationalgalerie

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utilizzando la nuova galleria nazionale di Berlino, per proiettare immagini satellitari del cambiamento continuo della coste (aree  ancora da scegliere)

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Taiyo Onorato e Nico Kreebs

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A FILM BY TAIYO ONORATO & NICO KREBS 
EDIT BY MARTIN PIGA
SOUND DESIGN BY IGOR JEDINAK
MUSIC & LYRICS BY ELISA ABELA
FISH MONGER’S VOICE: NICOLO STABILE
LYRICAL TRANSLATION: KATARINA HRUSKOVA
CONSTRUCTION BY FILIPPO PIRELLO & CREW
CURATED BY CHIARA CAPODICI

PRODUCED FOR PHOTOROAD 2019, WITH SUPPORT OF PROHELVETIA AND IMAGES VEVEY

THANKS TO CHIARA CAPODICI, LUCIA TKACOVA, 
ARIANNA CATANIA, STEFANO STOLL, NICOLO STABILE, FILLIPO PIRELLO, SALVATORE BONGIORNO, MARTIN KOLLAR, DIRK PEUKER.


Located in the centre of Sicily, the town of Gibellina is a real open-air museum, probably one of the most amazing in the world. On 14 January 1968, the Belice Valley was hit by a violent earthquake. Gibellina as well as several other villages were totally destroyed. In the aftermath of the earthquake, Ludovico Corrao, mayor of the town and deputy in Rome, called upon famous artists and architects to imagine the construction of Gibellina Nuova about ten kilometres from the stricken village. Joseph Beuys, Alberto Burri, Mimmo Paladino and Pietro Consagra contributed to the birth of this utopian city. Built for 20,000 people, it now has around 2,500 inhabitants, numerous open-air sculptures and architectural constructions as unfinished as they are improbable. On the spot, Taiyo Onorato and Nico Krebs imagined performance staging Gibellina Nuova's theatre, which has never received visitors. Reproduced as a hyperrealistic model and installed on a vehicle, this strange character slowly circulates through the empty streets of the city, playing melancholic Italian songs. The performance returns a year later for the Festival Images as a video installation. Entitled È tempo ormai di dirti addio, it is presented in the Salle Clara Haskil in the Castillo, which offers a bird's eye view of the Market Square in the city of Vevey.
(Text Images Vevey 2020)

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Synopsis of Larissa Sansour's comissioned work "Heirloom" for Danish Pavillion at the 54th Venice Biennale.

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Alvise Cornaro (1550 ) ha progettato due isole artificiali create con il reindirizzamento dei sedimenti. Una isola doveva diventare un parco pubblico, la seconda doveva ospitare un teatro. una visione utopica di modernizzazione della città di venezia

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trasformazione di un territorio in un habitat favorevole all'uomo

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Institut du Monde Arabe, 1987

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https://matjaztancic.com/swiper_portfolio/3dprk/

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https://jiazazhistore.com/collections/publishing/products/timekeepers?variant=19373604831286

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James Turrell

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FlashMob realizzato per la conclusione della mostra Vetrinetta. Un progetto pubblico di Paolo Riolzi a Cinisello Balsamo
a cura di Matteo Balduzzi.

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JR Omelia contadina, 2020

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Doris Salcedo - Acción de Duelo, 2007 Colombia

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centro dell'immaginario scientifico di Trieste

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centro dell'immaginario scientifico di trieste

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The Floating Piers Christo e Jeanne-Claude, lago d'Iseo 2016 

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Franco Vaccari esposizione in tempo reale n4, 1972

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l'esperienza della mostra viene replicata anche nella pubblicazione in formato libro del lavoro

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The Iceberg - Giorgio Di Noto - Edition Patrick Frey

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The Iceberg
Giorgio Di Noto
Edition Patrick Frey - 2017

Book design: Nicolas Polli
Copyediting: Christian Schweizer

Pages: 128
Size: 16,5 x 24cm
Paper: Munken Pure, 150gr/m2
Poster: Conqueror Wove Oyster 120gr/m2
UV lamp attached
Print Run: 800 copies

ISBN: 978-3-906803-39-5
Printed in: Hong Kong

The Internet can be likened to an iceberg: its tip represents the 
Surface Web, i.e. the digital realm we all know and navigate by 
means of search engines, social networks, blogs, news sites and so 
forth. The submerged part, on the other hand, which makes up more 
than 90% of the iceberg, corresponds to the vast hidden and not 
indexed sphere known as the Deep Web.

Within this non-place, an encrypted network of total anonymity has 
been developed and is still developing day after day. Eluding the 
search engines, the so-called Dark Web is an apparently lawless no-
man’s land accessible only by means of special softwares. 
Due to its anonymity, a complexly structured online market in 
mostly illicit goods stands out from the myriad and manifold 
manifestations of the Dark Web.

Many of the original photographs posted, often shot by the vendors 
themselves using small cameras or smartphones, look surreal and 
abstract owing to the colorful, exotic aesthetic of the merchandise, 
on the one hand, and the poor quality of the photographs.
Anonymously uploaded and designed to disappear automatically 
once they’ve served their purpose, these pictures are not traceable 
or visible on the Surface Web; they lead a transient existence 
exclusively on the Dark Web.

The Iceberg presents a selection of these photographs printed in 
invisible ink. Otherwise invisible and inaccessible, they can only 
be viewed under ultraviolet light – the same light real-life drug 
enforcers use to look for traces of drugs.

www.editionpatrickfrey.com
www.giorgiodinoto.com

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progetto fotografico di Tadao Cern "Comfort Zone" 2013 

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Sun & Sea (Marina) è un'opera composta da Lina Lapelytė con un libretto di Vaiva Grainytė e diretta da Rugilė Barzdžiukaitė, e presentata come parte della Biennale 2019

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AYA BEN RON  Field Hospital X, Biennale 2019 padiglione Israele 

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Nell'installazione The Iceberg queste fotografie sono così presentate come oggetti invisibili: stampate con degli inchiostri speciali, appaiono e si rivelano sulla superficie solo attraverso una luce ultravioletta. La stessa luce che nella realtà è impiegata per rivelare tracce di droga, in questo caso è necessaria per rivelare una rappresentazione della droga stessa, altrimenti non accessibile.

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The Iceberg - Exhibition at Festival Fotografia Europea 2017 - Reggio Emilia (Italy)

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THE ICEBERG - Giorgio Di Noto
curated by Paola Paleari
 
Internet can be represented as an iceberg: its tip represents the “Surface Web“, i.e. that digital territory that we all know and where we sail on a daily basis. Then there is the underwater part, amounting to more than 90% of the iceberg, representing the “Deep Web“: a large encrypted network that escapes search engines and in which there is total anonymity. 

Accessible only through specific software, here virtually no action can be traced. Out of the mazes of this non-place, what emerges is a complex, structured online business of mostly illegal materials following the traditional rules of marketing: almost all the thousands of published ads come with photographs, in an attempt to capture the visitor’s attention and make their own styles recognizable. 

Likely shot by the vendors themselves, the selected images are unedited, anonymous, often exotic and surreal. Intended to self-erase once their function is exhausted, these pictures are impossible to trace in the traditional web: they only exist temporarily in the Deep Web.

In the Installation The Iceberg, these photographs are represented as invisible objects: printed with special inks, they can be revealed and shown only under ultraviolet lights. This is the same light used to search for traces of drugs; in this case it is necessary to reveal a representation of drugs themselves. 

The visitor will in fact be asked to navigate through a dark room and explore the depths of this submerged and temporary anti-archive by using a UV torch provided at the entrance. At regular intervals a white flash illuminates the space that will apparently be empty, with the exception of some print-outs: also representing drug offers, these are however of public domain. In the Deep Web these images acquire a different meaning and represent a junction point between the two worlds.

www.giorgiodinoto.com