Practices as an Intersection in a Fragile Environment #1_Milan


Practices as an Intersection in a Fragile Environment è una piattaforma di ricerca e dibattito in una prospettiva che pone le pratiche artistiche, curatoriali e istituzionali al centro di un percorso che ha in un territorio fragile e precario come quello del rapporto tra arte e sfera pubblica le coordinate di riferimento.
Concepita come narrazione discorsiva a lungo termine, questa ricerca si cala in territori specifici traducendosi attraverso outcome sempre diversi. Nei diversi capitoli ha fin ora indagato il concetto di attivismo (Fabbrica del Vapore, Milano); il ruolo che artisti, curatori, istituzioni e pubblico (nella sua funzione più attiva) occupano nella società contemporanea (Residency Unlimited, NYC); e il tema del linguaggio (New Art Exchange, Nottingham).
Il progetto mira ad indagare la relazione reciproca tra arte, territorio e comunità locali e il lascito generato da certi tipi di progetti.
Diverse le domande che si pone: in una dimensione di pratiche e comportamenti di questo tipo, che ruolo svolge l’arte nella società in senso lato? Che ruolo hanno artisti, curatori e istituzioni? Che relazione si genera con il pubblico e che ruolo svolge quest’ultimo? 
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Practices as an Intersection in a Fragile Environment is a debate and research platform. The artistic, curatorial and Institutional practices which are at the core of the investigation constantly nurture the fragile and precarious space such as that of the relationship between the arts and the public sphere. Conceived as a long-terms discursive narration, this research surveys specific territories. The outcome ist's been always different. So far, the chapters have investigated the concept of activism (Fabbrica del Vapore, Milan); the role that artists, curators institutions and the public (in its active function) perform in the contemporary society at large (Residency Unlimited, New York); and the topic of the language (New Art Exchange, Nottingham).
The project aims thus at investigating the mutual relationship between the art, the territory and the local community, and the legacy that this kind of projects generates.
Few crucial questions animate this research: in such dimension, what is the role of the arts within the society? What role do artists, curators, and institutions have? Finally, what is their relation with the public, and what is its role?


Ai links di sotto due interviste e un articolo su alcuni dei temi cruciali relativi alla mia ricerca e metodologia come curatore

On the links below two interviews and a text on some crucial topics regarding my research and methodology as a curator

JULIET:
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PRACTICES AS AN INTERSECTION IN A FRAGILE ENVIRONMENT - Appunti di viaggio 




La forza dell’arte sta nello sviluppare «rappresentazioni innovative che sfuggono all’interpretazione politica» (C.Basualdo)

Il tema del fecondo rapporto tra arte e attivismo / arte e politica, s’insinua in un terreno scivoloso in cui risulta spesso complicato rintracciare gli elementi propri dell’uno o dell’altro campo d’azione. Lì, dove le pratiche si interfacciano e spesso sovrappongono, l’interdisciplinarietà – elemento proprio dell’arte contemporanea, capace di dissolvere i confini delle pratiche stesse ponendole in un territorio instabile, fragile e senza confini – cancella i connotati tipici di un medium per abbracciare discipline diverse come la  filosofia, la sociologia, l’architettura, l’urbanistica, la conoscenza/formazione oltre che la politica stessa.

http://issuu.com/claudiozecchi/docs/practices_as_an_intersection_testo__ 

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PRACTICES AS AN INTERSECTION IN A FRAGILE ENVIRONMENT #1_Milan

SOLIDARITY NETWORK 


Petar Grimani, Art Activist, drawing, 2014, Courtesy the artist


SOLIDARITY NETWORK
an interview with Petar Grimani

How does Solidarity Network born and why? From which need?
We have borned in 2012. Part of us already had experience  with  demonstration at University and part was already activist, but the core of the group came from the anarchist movement. Network of solidarity became a new kind of hybrid mental space; a place where sharing ideas without any ideological program. A network connected with real acts and experience on the field of real space with real people. 


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SOLIDARITY NETWORK

SOCIETY-CAPITAL-ART-NETWORKING-SOLIDARITY–STATE-UNION- GLOBALIZATION

EXHAUSTION OF SOCIAL PARADIGM AND SUBORDINATION TO DICTATORSHIP OF PROFIT MADE A MODEL WITHIN WHICH THE POSSIBILITY OF SUSTAINABILITY IS EQUALLY PROPORTIONAL TO PERSONALITY OF PSYCHOPATIC PATHOLOGICAL PROFILE

PSYCHOPATH in its essential definition is a man that lacks empathy and feeling for others and within his narcisoidal and sadistic inhibitions builds a world made only for him as the realisation of the king of sun, dictator, banker or any other type of ballet dancer within set parameters of music, choreography, architecture or any other previously set model of behaviour. 

[read more on http://issuu.com/claudiozecchi/docs/petar.docx]
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Comparison of Collaboration between Artists and Workers: Examples of Two Realities in Two Different Times and Cities in Croatia
by Pinija Poljaković

This paper is an attempt to understand and present diverse practices of collaboration of artists and workers in different social contexts. In two different time contexts characterized by different ideologies, as well as political and economic systems, I will show the similarities and diversities in collective actions of artists and workers. In the first part of paper there will be given brief overview of two examples which will be analyzed afterwards. First example is The Colony of Artists of Ironwork Sisak which was performing in the period from 1971 until 1990. Second example is Solidarity Network which began to work in March 2012. I will also try to examine the reasons and motives for emergence of collaborations between artists and workers, structure of their collective work, and finally aims of their actions. Afterwards I will try to explain changing of configurations of artists’ work in collaboration with workers – from humanization of work during socialism, to the activist art, broaden artist form, and connection with politics in contemporary neoliberal capitalist system. 

[read more on http://issuu.com/claudiozecchi/docs/solidarity]


Courtesy, Solidarity Network

Courtesy, Solidarity Network

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SOLIDARITY NETWORK / Rises and fall of art politic


Fokus Grupa: Rises and fals of art politics, lecture performance documented in chalk drawing on blackboard / dimensions variable, 2013, Curtesy the artists

Fokus Grupa, Rises and falls of art politic, performance/lecture, Practices as an intersection in a fragile environment, 2014, Fabbrica del Vapore

Fokus Grupa, Rises and falls of art politic, performance/lecture, Practices as an intersection in a fragile environment, 2014, Fabbrica del Vapore

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KHALED JARRAR / The Infiltrator

Engaged art and social responsibility in Khaled Jarrar's work
An interview with Khaled Jarrar

With the performance State of Palestine you use to print the passport of people with the stamp of State of Palestine that you invented. When people agree to let you print it, they implicitly recognize the presence of the Palestine State. It is an act of force to push beyond the limit of your role in proclaiming a State that is not politically recognized as such. It is a way to challenge the limit of political geography property through the creation of a symbol. It became a sort of information campaign. Do you think art can help to turn a light on such a delicate and fragile political situation?
When people took their side and allowed me to stamp their passport it is a clear statement from them to support my way to push beyond the limits the understanding of the states. The process starts since I ask them via emails to see how the Israeli border police system will react with them when they will cross Ben Gurion Airport. It is very important to show how they will used to act with all stamps and passports and nationalities: in the precise case of my stamps they didn’t know how to react and when they saw the first stamp they were surprised and thought that the Palestinian Authority started marking passports of the foreigners who enter their territories. Anyway it didn’t took them so long to find out that this was an art work made by a Palestinian Artist: indeed their revenge is usually make long delay to this people and deny them to enter. When they cancelled Alison’s passport, a girl who had the stamp on her Israeli passport, they make a big dilemma around this stamp: it was provocative to them and they were afraid of it, they couldn’t just ignore it! This is how my art it is used to turn the light on our delicate and fragile political situation. 

[read more on http://issuu.com/claudiozecchi/docs/khaled_answers.docx]


Passport stamp of the non-existing state of Palestine next to an Israelian exit stamp which is marked with cancelled, photo courtesy of the artist
Khaled Jarrar, The Infiltrators, 2012,Palestine, United Arab Emirates / 2012 / Arabic dialogue with English subtitles / Colour / Digital File / 70 min., photo still from video, courtesy the artist
Khaled Jarrar, The Infiltrators, 2012,Palestine, United Arab Emirates / 2012 / Arabic dialogue with English subtitles / Colour / Digital File / 70 min., photo still from video, courtesy the artist
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GRUPPO A12 / Per una riflessione sulla qualità dello spazio urbano (appunti)

Tra architettura, urbanistica e arte /sconfinamenti
Lavorare “tra le pieghe” dell’esistente / occasioni e possibilità di intervento nell’immediato
Trasformazione  fisica - pratiche e usi -  percezioni / piani di lavoro interagenti
Spazio pubblico / ambito di lavoro in cui sperimentare

Interventi, installazioni e progetti per…


a.   Coinvolgere le persone e innescare forme di comprensione e appropriazione dello spazio

Gruppo A12, Measurements, performance, Zadar, 2003, Courtesy the artist

b.  Spostare il punto di vista e suggerire differenti usi e possibilità

Gruppo A12, Swing, Installazione, Fuoriuso, Pescara, 2000, Courtesy the artist

c.   Promuovere progettualità diffusa

Gruppo A12, Piccoli Spazi da trattare con gentilezza, progetto, Courtesy the artist

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FRANCESCA GUERISOLI / La città attraente

Arte e città. Arte e spazio pubblico. Alcune considerazioni.
Intervista a Francesca Guerisoli.

L’arte ha avuto spesso un ruolo fondamentale nella rigenerazione di aree degradate all’interno dello spazio urbano avviando quel fenomeno che prende il nome di gentrificazione. Pensi che questo sia un ruolo benefico e positivo oppure no? Perché?
Una premessa. Parliamo spesso di gentrification quando affrontiamo i temi legati all'arte nella città, ma non so se siamo davvero in grado, come storici dell'arte, di rispondere con cognizione di causa a questa domanda. Credo che sarebbe utile sottoporre la domanda ai sociologi urbani, a ricercatori che utilizzino strumenti e metodologie di analisi di cui non ci avvaliamo. Dello stesso concetto di gentrificazione e delle dinamiche del fenomeno spesso ne parliamo in modo parzialmente distorto. 



Jochen Gerz and Esther Shalev-Gerz, Mahnmal gegen Faschismus (Monument against Fascism12m x 1m x 1m, Column of galvanized steel with a lead coating, 1986, Harburg - Hamburg,  Image Courtesy: Gerz studio, Copyright: © Jochen Gerz, VG Bild-Kunst, Bonn 2015, Photographer credit:  Kulturbehörde, Hamburg

Jochen Gerz and Esther Shalev-Gerz, Mahnmal gegen Faschismus (Monument against Fascism12m x 1m x 1m, Column of galvanized steel with a lead coating, 1986, Harburg - Hamburg,  Image Courtesy: Gerz studio, Copyright: © Jochen Gerz, VG Bild-Kunst, Bonn 2015, Photographer credit:  Kulturbehörde, Hamburg

Jochen Gerz and Esther Shalev-Gerz,  Monument against Fascism, Hamburg-Harburg, Germany 1986, Courtesy Jochen Gerz and Esther Shalev-Gerz

Jochen Gerz and Esther Shalev-Gerz, Monument against Fascism, Hamburg-Harburg, Germany 1986, Courtesy Jochen Gerz and Esther Shalev-Gerz

INFO:

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ISOLA ART CENTER / Isola Utopia, RiMaflow e Isola Pepe Verde, Utopie concrete

Salon Orizzonti Occupati/Occupied Horizons
di Bert Theis

"Utopia is now. (...) U-topia as now-time prompts us to think non-subservience in a new and machinic way. Machinic nonsubservience, non-compliance, a wild monstrosity against subservience does not emerge as a heroic break with a full space, with limited shapes and beautiful form, but rather as a lasting, repeated and recurrent breach in the overabundance of measured and immeasurable time. Questa e la questione della disobbedienza in capitalismo macchinico." (cit. Gerald Raunig, estratto da Salon Orizzonti Occupati/Occupied Horizons di Bert Theis). 



Bert Theis, Isola Utopia, lesson with NABA Students Accademy for Practices as an Intersection in a Fragile Evironment, 2014, Fabbrica del Vapore, Milan, 
Isola Art Center, Gadget to economically support Rimaflow factory, photo Courtesy, Isola Art Center

Angelo Castucci, L'alfabeto dell'Utopia
Isola Utopia for Practices as an intersection in a fragile environment, 2014, Fabbrica del Vapore, Milan
Isola Utopia lecture for Practices as an intersection in a fragile environment, 2014, Fabbrica del Vapore, Milan
Isola Utopia lecture for Practices as an intersection in a fragile environment, 2014, Fabbrica del Vapore, Milan
Isola Utopia lecture for Practices as an intersection in a fragile environment, 2014, Fabbrica del Vapore, Milan, photo courtesy Isola Art Center
Utopie concrete: RiMaflow e Isola Pepe Verde due esperienze di recupero e di autogestione a confronto, debate for Practices as an Intersection in a Fragile Environment, 2014, Fabbrica del Vapore, Milan, photo Courtesy, Isola Art Center
http://www.bjcem.org/practices-as-an-intersection-in-a-fragile-environment-fabbrica-del-vapore-milan-2/



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