2014-2018 Tre mostre – Guggenheim Museum Per riflettere sulla globalizzazione

But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa, https://www.guggenheim.org/map

2015 STORYLINES: CONTEMPORARY ART AT THE GUGGENHEIM 5 giugno–9 september http://exhibitions.guggenheim.org/storylines/storylines https://www.guggenheim.org/video/storylines-contemporary-art- at-the-guggenheim

2017-2018 Art and China after 1989: Theater of the World perché gli ultimi trenta anni. Cosa cambia, cosa è cambiato, come costruire la storia

Mappa surrealista del mondo, 1929 1957 su Art International, summer 1964 Irwin, East Art Map, 2006 Storie del mondo, storie di noi stessi

Camnitzer Luis, Art History Lesson no. 6, Harun Farocky, Videograms for a revolution, 1993 https://www.youtube.com/watch?v=59kEMM VeCjc Bruna Esposito Precipitazioni sparse, 2005 (Partly cloudy) (Marmo cipollino leggermente rosa, bucce di cipolle rosse, dorate e bianche / Marble lightly pink cipollino, red, golden and white onion's peels) 4 x 4 m. Spessore marmo: cm 3; vuoto sotto il marmo: cm 3 Bruna Esposito Oltremare, 2006 (Ultramarine) ((C-Print su base di alluminio / C-print on aluminum plate)) cm 125 x 187 / 49.2 x 73.6 Bruna Esposito, E così sia, 2000 Alis Filliol, Occupare il minor spazio possibile, 2010 Alis/Filliol è il duo formato da Davide Gennarino (Pinerolo, 1979) e Andrea Respino(Mondovì, 1976), attivo dal 2007. Il loro primo intervento personale e inedito, a Milano, è rimasto aperto al pubblico soltanto per cinque settimane, nella project room di Fondazione Arnaldo Pomodoro. Durante l’inaugurazione, una fitta nebbia artificiale, trattenuta da lunghe tende viniliche trasparenti, ha avvolto senza distinzione i contorni di visitatori e lavori esposti, tra la continua ricerca di finitezza dell’occhio umano e il mai finito delle forme scultoree. Due fiammate solidificate da schiume a espansione, due lingue mitologiche plasmate come due mostri dannati, posti l’uno di fronte all’altro, due figure che si scambiano i loro volti umani dagli sguardi irosi, in un continuo dialogo muto sulla tragicità. Come sottolinea il curatore del progetto scientifico, Simone Menegoi, questo progetto “non è solo un lavoro di scultura, ma anche un lavoro sulla scultura: sulla sua storia, sui suoi generi, sulle sue tecniche tradizionali”. Alis Filliol,Buco di una tonnellata e mezza (3500 euro di tannino prodotto da Ledoga S.r.l.), 2011 Piero Manzoni, Base del mondo 1961, Ferro, bronzo (82 x 100x 100 cm.) Alis Filliol,Fortda, 2010 Christian-Boltanski-Reserve-des-suisses-morts-1991 salvatore arancio, Mass Of Cooled Lava Formed Over A Spiracle, 2011 J.Fautrier, Tête d'Otage N.1, 1943 Salvatore Arancio, A taxonomy of senses and shapes at Centre D'Art Contemporain La Halle des Bouchers, Vienne, France, 2015 https://www.youtube.com/watch?v=oWNnxoZ 8g6c Salvatore Arancio , And these crystals are just like globes of light_2017_room1_installation view Salvatore Arancio PV0721 Series, 2014 glazed ceramic photos by Giorgio Benni Carlo Gabriele Tribbioli, Reperti per il prossimo milione di anni (archive), 2007/2009/2012 n° 12 archive boxes of wood, lead, linen, glass; collection of paper documents, photographs and various objects dimensions variable Carlo Gabriele Tribbioli Reperti per il prossimo milione di anni (archive), 2007/2009/2012 n° 12 archive boxes of wood, lead, linen, glass; collection of paper documents, photographs and various objects dimensions variable Christian Boltanski: Les habits de François C. – 1972 Gianfranco Baruchello, Prove di montaggio, 1964-1966 Gianfranco Baruchello, Il montaggio (indice), 1975 Gianfranco Baruchello, 1969 (collage e smalti industriali su alluminio) Walid Raad, Installation view, Index XXXVI: Red, Institute of Contemporary Art,

WR: Possiamo dire con certezza che quello che sta accadendo nel Golfo è il risultato di fattori politici ed economici, come per esempio la forte infl uenza esercitata dal Medio Oriente sul petrolio, il che intensifi ca un tipo di richiesta a vantaggio di un’economia che si basa sul settore petrolchimico e su quello turistico. O, ancora, possiamo collegare l’apertura del Louvre in Medio Oriente al rapporto tra Francia ed Emirati Arabi. Questi sono tutti fattori sociali e politici a cui non è difficile risalire, ma quello che trovo più interessante, è proprio ciò che non è sotto i nostri occhi. Nel campo della robotica e della nanotecnologia avvengono tutti i giorni cambiamenti così radicali che tra trenta, o forse quarant’anni, la stessa idea di essere umano sarà modifi cata. In poco tempo la guerra in Afghanistan potrebbe non signifi care più nulla se paragonata alle trasformazioni che la genetica subirà nei prossimi cinquant’anni. Per questo, auspico piuttosto il lavoro di filosofi , artisti e pensatori capaci di individuare questi cambiamenti e di informarci su questo tipo di eventi. Walid Raad, fondatore del progetto, sviluppato nel corso di quindici anni, è nato a Chbanieh, in Libano, nel 1967, ha vissuto a Beirut fino al 1983 quando a seguito della drammatica situazione del suo paese si è trasferito negli Stati Uniti, insegna arti visive alla The Cooper Union di New York ed è membro della Arab Image Foundation. I suoi lavori sono istallazioni, performance, opere video, fotografie e testi letterari il cui impianto è sia documentaristico che artistico. Egli racconta la storia del suo paese d’origine e le conseguenze delle guerre che l’hanno martoriato con una modalità che non potrebbe mai essere propria di uno storico, attraverso una narrazione che utilizza sia testimonianze e approcci più simili alla cronaca, sia resoconti fittizi il cui contenuto e la cui costruzione sono ugualmente significativi all’interno di uno spazio dove si trasmettono dei pensieri che vanno al di là del tempo e lo spazio rappresentati. Raad va alla ricerca del tempo perduto della sua nazione e grazie alla sua fantasia ha creato mondi là dove non esistevano più, la messa in scena è diventata l’ossigeno per riaccendere le braci che sembravano ormai spente

Hans-Peter Feldmann’s work featuring front pages from September 12, 2001. Donatella Landi, Check out, 2010 Christian Boltanski, Containers (2010) Meris Angioletti, James Joyce, Finnegans Wake, faber and faber, London 1975 | 2008 Meris Angioletti, Wake, 2008 cm 50 x 100 x 115, Courtesy: Le Pavillon - Palais de Tokyo, Parigi Xu Bing Cesare Viel Meris Angioletti, Fyodor Dostoyevsky, Notes from the Underground and The Double, London 1972, 2010 cm 13 x 20 Vincenzo-Agnetti-Libro-dimenticato-a- memoria-1970 Nico Angiuli, Cos'è una città, 2015 (found objects collage) variable dimensions Courtesy: BOCs Art Residency Nico Angiuli, Study For The 1st Typical Party Of The Chinese Rice Pickers in Italy, 2010 (Envoiroment) Rebecca Agnes, LUOGHI SCOMPARSI, EDIFICI ABBANDONATI, COSTRUZIONI INCOMPIUTE SICILIANE., 2013 (DISAPPEARED PLACES, ABANDONED, UNFINISHED BUILDINGS IN SICILY.) (Hand-painted wooden boards, various techniques, 30 x 30 cm.) Rebecca Agnes, LA CITTÀ SOSTITUITA, 2012 Francesco Arena, La perdita, 2013 (Porcelain, clothes) cm 110x30x170 Foto: Roberto Marossi Courtesy: Galleria Raffaella Cortese, Milano Francesco Arena, Extreme Occident, 2013, (Book) Ambientali Foto: Martin Argyroglo Courtesy: Galleria Monitor, Roma Micol Assael, Sub, 2014 Installation. Glass, iron, Kelvin generator (water, plastic, conductors, sink)) 360 x 465 x 520 cm Courtesy: Galleria Zero Louise Bourgeois. Cell (The Last Climb), 2008 Monica Bonvicini, Powder Belts, 2015 (Axe, black polyurethane, matt finish, leather belts, steel chains) 100 x 38 x 28 cm Courtesy: The artist

Pino Pascali_Armi-1965- Rebecca-Horn-El-beso-de-la-muerte-1991- 1992 Gianfranco Baruchello, Profilassi della rabbia, 1962 Monica Bonvicini, No head man, 2006 (Wood, white paint, fluorescent lights) 00:25:00 ca. Grado zero. Nuove strategie del monocromo

Francesco Arena, Thoreau horizon, 2016 (White marble) cm 60x60x2 Foto: Matthew Hollow Courtesy: Sprovie ri, London Francesco Arena, Thoreau horizon, 2016 (White marble) cm 60x60x2 Foto: Matthew Hollow Courtesy: Sprovie ri, London Sergio Brevario, Paesaggio acromo, 2006 (Achrome landscape) (Pencil on paper) cm 31 x 55 - diciannove novantasei: mi edifico e ti guardo , Yves Klein, Monochrome bleu (Ikb 190), 1959 Piero Manzoni, Achrome, 1958 Piero Manzoni, Achrome, Baruchello, Partout le silence, 1962 Fabio Mauri, The end (schermi) https://www.youtube.com/watch?v=umfvC7llP _k https://www.youtube.com/watch?v=pOn1- KOdHPM https://www.youtube.com/watch?v=ETuDoYw _HSo Botto & Bruno, Zona temporaneamente autonoma, 1996 (Temporarily autonomous area) (Xerox copy on artificial leather) cm 220 x 160 Elisabetta Benassi, Road Rage, 2016 (Found truck tyre, gilded bronze) 105 x 105 x 30 cm Elisabetta Benassi, Passato e presente, 2013 (Book, wrought iron nail) 18,5 x 11,5 x 9 cm Courtesy: Magazzino d'Arte Moderna Elisabetta Benassi, The Dry Salvages, 2013 (10.000 hand-made bricks, sand and 1 book) Courtesy: Magazzino d'Arte Moderna Luisa Spagnoli, una solerte aguzzina arricchita con lo sfruttamento bestiale del lavoro delle detenute proletarie. Una donna sensibile che “veste” con molto buon gusto le signore dell’alta borghesia con abiti da L. 150.000 e golf da L. 20.000 che paga alle detenute rispettivamente L. 3.000 e L. 1.500 sfruttandole per dodici ore e piu' al giorno con lavorazioni a cottimo. Oggi due boutiques della signora Spagnoli hanno chiuso in perdita : due gruppi di compagne le hanno bruciate...; La signora Spagnoli, tutti gli sfruttatori, tutti gli sbirri, i porci, le suore e i collaborazionisti dovranno d’ora in poi fare i conti con la coscienza rivoluzionaria del movimento delle donne...

Chiara Fumai, Te lo faremo sputare, 2013 EV (collage and ink on paper) 30 x 42 cm Courtesy: private collection Chiara Fumai, We spit on Hegel (preliminary sketch), 2012 EV (collage and ink on Hegel's Theological Writings) 25 x 25 cm Chiara Fumai, Shut Up, Actually Talk - the world will not explode (performance, Museum Fridericianum), 2012 EV 30‘ – parole da Rivolta Femminile (Female Revolt), 1974 Foto: Ryszard Kasiewicz Courtesy:dOCUMENTA(13) Chiara Fumai, Moustache Woman, 2007 EV looped 1' Foto: M. Gorni Liliana Moro, Underdog

In “Flash Art”, n. 148, febbraio-marzo 1989 https://www.youtube.com/watch?v=GXrRC3pf LnE https://zkm.de/media/video/meschac-gaba- musee-de-lart-de-la-vie-active https://www.artribune.com/arti-visive/arte- contemporanea/2017/08/le-metamorfosi-di- chiara-fumai-ritratti-sovversivi-sulla-soglia/

http://www.rai.it/dl/RaiTV/programmi/media/ ContentItem-f88827e9-b83e-48fa-a9dd- c10d19e30a4f.html https://www.youtube.com/watch?v=yhXyAbO YXQU On Kawara

Hanne Darboven, Eine Überschrift, 1968, Joseph Kosuth, Una e tre sedie, 1965 Magritte, 1928-29

Map to Not Indicate 1967 © Art & Language The fog bank is a macroscopic aggregate. There is no theoretical primacy here for this macroscopic aspect. That is, its importance or unimportance is shown up by raising and answering internal questions to the framework. There is no rhapsody here. The macroscopic aggregate can be subjected to a micro-reductive examination. The horizontal dimensions of a ‘column’ of air, atmosphere, ‘void’, etc, can be indicated and established (for all ‘external’ and practical purposes) by a visible demarcation in terms of horizontal dimensions, axis, etc. This could be done in a number of ways: e.g. through the indication of some points of contiguity with other ‘things’, or through the computation of a particular physical magnitude – e.g. temperature or pressure differences, etc. (this is not necessarily to advocate an instrumental situation). None of this is to say that a complete, if only ‘factual’ or constructual, specification is to be expected. Obviously, when one talks of a column, there is some reference to a visual situation (from whence the vocabulary may or may not find support). There is a comparison to be made here between the ‘air-conditioning situation 1 and the fog bank, in which the obvious physical differences between the ‘matter’ which constitutes the indicators of this or that ‘boundary’ can be made out. This is not to describe the difference between boundaries per se, nor is it to exclude the possibility of regarding ‘boundaries’ as ‘entifications’ of geometrical gaps. Mostly, anyway, the questions of ‘demarcation’ are external ones of a practical nature. Still, they remain securely rooted in the perusal tradition, so long as one considers them in the context of particularizing characteristics at an observational level. Global Conceptualism; Points of Origin, 1950s-1980s was organized by the Queens Museum of Art, Flushing Meadows/Corona Park, New York, by a curatorial team consisting of former QMA director of exhibitions Jane Farver, now director of the MIT List Visual Arts Center; artist, critic, and curator Luis Camnitzer; and Rachel Weiss, an independent curator and professor at the School of the Art Institute of Chicago. The three primary organizers were joined by a corps of eleven international curators who provided intelligence on each of the regions examined. They include: László Beke (Eastern Europe), Chiba Shigeo and Reiko Tomii (Japan), Okwui Enwezor (Africa), Gao Minglu (China, Hong Kong, and Taiwan), Claude Gintz (Western Europe), Mari Carmen Ramírez (Latin America), Terry Smith (Australia and New Zealand), Sung Wan-Kyung (South Korea), Margarita Tupitsyn (Russia), and Peter Wollen (North America).

2007 2010

Catalogue of the exhibition Perder la forma humana : una imagen sísmica de los años ochenta en América Latina, (Madrid: Museo Nacional Centro de Arte Reina Sofía) 2012 THESE PEOPLE ARE NOT FAMOUS – BRACO DIMITRIJEVIC

Mladen-Stilinovic vlado martek USA Balkans 1996 Adrian Paci Cattelan, La ballata di Trotzky, 1996 Maurizio Cattela, mostra ALL, Guggenheim Museum

Hirschhorn, Raymond carver Altar, 1998-99 holzer, messages, 1988-89 huyghe pierre, rue longcin, inst. Formento e Sossella, Blob, 1992 Tiravanija, Senza titolo (Free), 1992 Whiteread, Casa, 1993 Maurizio Cattelan, Hollywood, 2001 Luca Vitone, Carta Atopica, 1993 Stazione Utopia, 50 Biennale di Venezia Trinh T. Minh-ha https://www.youtube.com/watch?v=zYpXm4E 63S0

https://www.tieff.org/en/films/surname-viet- given-name-nam/

https://www.youtube.com/watch?v=O8j4Jymx GgM https://www.gucci.com/us/en/st/stories/video s/article/frieze-documentary-london https://www.youtube.com/watch?v=TS92IN67 r4k

https://www.youtube.com/watch?v=46NwwY VREkE

http://www.campo.space/is-new-babylon- here/

http://www.fondazionezegna.org/liliana-moro- video/

https://www.youtube.com/watch?v=n1wIKVS M-ho That's IT! Sull'ultima generazione di artisti in Italia e a un metro e ottanta dal confine

MAMbo - Sala delle Ciminiere 22 giugno – prorogata al 6 gennaio 2019

Matilde Cassani (1980), Giuseppe De Mattia (1980), Margherita Moscardini (1981), Michele Sibiloni (1981), Riccardo Benassi (1982), Ludovica Carbotta (1982), Danilo Correale (1982), Andrea De Stefani (1982), Giulio Squillacciotti (1982), Marco Strappato (1982), Carlo Gabriele Tribbioli (1982), Ian Tweedy (1982), Invernomuto (Simone Trabucchi, 1982 e Simone Bertuzzi, 1983), Francesco Bertocco (1983), Giovanni Giaretta (1983), Lorenzo Senni (1983), Alberto Tadiello (1983), IOCOSE (Filippo Cuttica, 1983, Davide Prati, 1983, Matteo Cremonesi, 1984 e Paolo Ruffino, 1984), Elia Cantori (1984), Giulio Delvè (1984), Elena Mazzi (1984), Diego Tonus (1984), Calori&Maillard (Violette Maillard, 1984 e Letizia Calori, 1986), Federico Antonini (1985), Alessio D’Ellena (1985), Nicolò Degiorgis (1985), Riccardo Giacconi (1985), Adelita Husni-Bey (1985), Diego Marcon (1985), Ruth Beraha (1986), Elisa Caldana (1986), Roberto Fassone (1986), Francesco Fonassi (1986), Petrit Halilaj (1986), Andrea Kvas (1986), Beatrice Marchi (1986), The Cool Couple (Niccolò Benetton, 1986 e Simone Santilli, 1987), Filippo Bisagni (1987), Benni Bosetto (1987), Lia Cecchin (1987), Alessandro Di Pietro (1987), Stefano Serretta (1987), Giulia Cenci (1988), Tomaso De Luca (1988), Julia Frank (1988), Marco Giordano (1988), Orestis Mavroudis (1988), Valentina Furian (1989), Parasite 2.0 (Stefano Colombo, 1989, Eugenio Cosentino, 1989 e Luca Marullo, 1989), Alice Ronchi (1989), Emilio Vavarella (1989), Irene Fenara (1990), Angelo Licciardello (1990) & Francesco Tagliavia (1992), Caterina Morigi (1991), Margherita Raso (1991), Guendalina Cerruti (1992). Giuseppe De Mattia (Bari, 1980), vive e lavora a Bologna. Da diverso tempo la sua ricerca è incentrata soprattutto sull’osservazione, lo studio e il recupero di oggetti destinati ad essere buttati; li recupera, li trasforma, li fotografa o li filma donando una nuova vita e un nuovo senso. Il suo lavoro tende a salvare ciò che è generato dal passaggio del tempo, come scarto, e di prendersene cura.

Gabriele de Mattia, dispositivo per non vedere bene 2014-2016 https://gdm.format.com/work Margherita Moscardini

L’artista, nata a Donoratico (Livorno) nel 1981, da alcuni mesi sta operando nel Camp Za’atari, il secondo campo per rifugiati più grande al mondo. Aperto nel 2012 come luogo di accoglienza per i siriani in fuga dalla guerra civile, con il passare del tempo e il perdurare della crisi ha superato le dimensioni preventivamente fissate: nel 2015 ha raggiunto una popolazione di 150mila persone, diventando la quarta città più grande della Giordania; attualmente ospita 80mila siriani. Margherita Moscardini, City Hills – On the Natural History of Dispersion and States of Aggregation Danilo Correale, Boosted, 2014-2015, Digital print on silk and aluminium frames, 100 × 100 × 250 in. (254 × 254 × 635 cm). Danilo Correale (born Naples, 1982) currently lives in New York City. He is the founder of the Decelerationist Reader and a regular contributor to publications in the field of critical theory. His most recent publications include The Game – A three sided football match, FeC, Fabriano, 2014 and No More Sleep No More, Archive Books, , 2015. Correale’s work has been presented in numerous group exhibitions including the 16th Art Quadriennal, Palazzo delle Esposizioni, , 2016; Danilo Correale, Tales OF Exhaustion, 2016, Mixed media. Image courtesy of La Loge and the artist. Danilo Correale, The 13th Step, 2012, Postcards display, iridescent paint and 150 publications, Dimensions variable. Invernomuto, Ruatoria, 2014, veduta dell'installazione. Courtesy gli artisti e Marsèlleria, Milano. Foto Giulio Boem. Invernomuto, Calendoola, set photo, 2016, courtesy of the artists and Gluck50, ph Matt Anna Adamo (4) Carlo Gabriele Tribbioli “Towards the altar of a god unknown” at Federica Schiavo Gallery, , 2018 Carlo Gabriele Tribbioli “Towards the altar of a god unknown” at Federica Schiavo Gallery, Milan, 2018 Riccardo Giacconi, Veduta della mostra "The Variational Status" (2017), http://www.talkingart.it/studio- artista/riccardo-giacconi/ "Mirror Project #6: Elena Mazzi. Mass age, message, mess age", Barriera, Torino https://www.artribune.com/tribnews/2014/02 /tutti-pronti-per-la-mostra-finale-degli-atelier- di-bevilacqua-la-masa-in-attesa- dellinaugurazione-in-san-marco-artribune-vi- regala-le-prime-immagini-dal-backstage-e- lelenco-dei-nuo/ Tomaso De Luca, ein reiner Morgen in Amerika – installation view at Monitor, Roma 2016

MATTEO FATO Pescara 1979 Santo Tolone Ritratto di donna, 2011, Mahogany, 38 × 14 × 12 cm; Ippopotamo, 2011, Mahogany, 12 × 23 × 11 cm; Delfini, 2011, Jimpinis Wood, 98 × 24 × 13 cm, Contorsionista, 2011, 48 × 21 × 6 cm, African Oak Gabriele De Santis Truth be told, 2017

Conjunctive Tissue, 2018, Installation View, Marco Giordano KaOZ (Manifesta12 Collateral), Holly Hendry (Rome), GUM SOULS https://www.youtube.com/watch?v=GHHQzjg oKMg Artists: Darren Bader, Anne Collier, Paolo Gioli, Thomas Glendenning Hamilton, Enrico Antigrazioso / Nouvelles Vagues, Palais De Imoda, Cameron Jamie, Medardo Rosso, Albert Tokyo, Paris, Photo: Aurélien Mole von Schrenck-Notzing, Tupac Shakur Hologram A cura di Luca Lo Pinto Antigrazioso is an exhibition conceived as an assemblage of elements from different discursive fields. Artworks, non-art objects and contemporary cultural artefacts are juxtaposed with the conscious objective of creating a coherent narrative out of dissonance. The exhibition forms a single image, whose parts should be grasped in their singularity, but also as modules to be constantly reconfigured in relation to each other. The ideal setting for the installation is a single vast space to be looked at frontally and from a distance, so that the objects loose their three- dimensionality. The contrast between the elements on display suggests that the exhibition is founded upon an extremely subjective narrative – however, this is no more valid than all the different interpretations that the audience may eventually bring to the exhibition. The spectators are invited to script their own ‘story’, mentally reshuffling the materials on view to create new semantic links and new narratives out of the available visual suggestions. At the centre of this discursive network, we find the photographs of Medardo Rosso. The whole project of Antigraziosodevelops out of this group of images and ends up as one expanded image, which is none other than the exhibition itself. Today Medardo Rosso’s influence on the development of modern sculpture is well known. On the contrary, his exploration of photography since the end of the nineteenth century has received little attention. Yet, this side of his practice is of seminal importance not only for the history of the relation between sculpture and photography, but also for the history of the photographic medium itself. Rosso sculpted photography like clay. He would cut, blur, smudge, enlarge, assemble and re- photograph his prints, as well as reprinting the same negatives on different supports. In light of this technique, it is only fitting that the exclusive subject of his photographs were his sculptures. Ultimately, Rosso’s photographs are tautological documents, whereby meta-reflections on the practice of representation – from sculpture to photography – are embedded within the image. In this self-reflexive nexus, the process of art making becomes indiscernible from the final work.

1997

David wanted to enable people to “recognize the state of the world” in varying ways, a desire which prompted her to define dX as a “manifestation culturelle.” Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers, along which art's political, social, cultural and aesthetic exploratory functions were traced.

Extremely influential 800-page volume (which goes far beyond any traditional catalog and fundamentally changes the way that contemporary art exhibitions make use of publications in years to come) documenting the intellectual and artistic research that went into documenta X, curated by Catherine David, Kunsthalle Fridericianum (and other venues), Kassel (21.06.–28.09.1997). In a highly interdisciplinary mode, the book (and the exhibition itself) charted an alternative history of post-1968 critical intellectual and artistic practices, and is in essence an anthology of texts and images of the development of western culture and critical theory since 1945. But the project also went well beyond the European sphere to include a consideration of Central and Eastern European artists as well as developments in Africa, the Middle East, and South America. This documenta also included the groundbreaking 100 Days, 100 Guestsprogram, at which many of the most influential theorists and philosophers (i.e. Edward Said, Etienne Balibar, Gayatri Chakravorty Spivak) were invited to speak. Given the inextricable link between theory, discourse, and contemporary art seen today, it is important to remember that this type of series was almost unprecedented at the time. Exhibited artists included: Pawel Althamer, Oladélé Ajiboyé Bamgboyé, Marcel Broodthaers, Peter Friedl, Johan Grimonprez, Wang Jianwei, William Kentridge, Martin Kippenberger, Chris Marker, Matthew Ngui, Gabriel Orozco, Marko Peljhan, Thomas Schütte, Nancy Spero, Jeff Wall, etc. Documenta X embraces a bunch of emerging European artists, including Heath Bunting, Peter Friedl, Liam Gillick, Joachim Koester, Steve McQueen, Christian-Philipp Müller, Olav Nicolai and Liisa Roberts. Only 16 Americans are included -- about 12 percent of the total -- and only three of those are under 40 years of age -- Christine Hill, Andrea Zittel and Jordan Crandall. Among the familiar Documenta faces are Lothar Baumgarten, Dan Graham, Hans Haacke, Reinhard Mucha, Michelangelo Pistoletto, Richter and Franz West. The installation takes the form of a "parcours," or path, leading from the train station through a pedestrian walkway and then through three museums, the Orangerie and a park. It also includes a program of 100 speakers on 100 days, a series of local TV and radio programs, endless Web sites, an 800-page book, performances, a film series and guided tours.

Each of the exhibition spaces addresses a theme. In the historical section, we begin in the 1930s in America (Europe begins, diplomatically, in the post-war '50s) with documentary photographers Helen Levitt and Walker Evans and next the photos of Garry Winogrand and Robert Adams. After segueing through Parisian decollagist Raymond Hains we come to the various socially engaged "art-and- architecture" practices from the 1960s -- Archigram/Ron Herron, Alison and Peter Smithson, Archizoom. Then comes work from the '60s and '70s relating to the urban space by Hans Haacke and Gordon Matta-Clark. From here we are led to a Dan Graham mirror installation housing Godard videos. This floor ends with a group of political photographers. The short guide refers to this type of Social Realist photography as "without ever shrinking to the visual rhetoric of the shocking image." This is the same crew from 1991 -- Jeff Wall, Craigie Horsfield (now working under the name Collectiv), Patrick Faigenbaum. And so there we have it, according to David, art and urbanism to the present. On the other hand certain underexposed artists from earlier eras are brought forward, such as the Brazilian performance artists and "social" sculptors Lygia Clark and Helio Oiticica. Current work from distant shores is also featured, such as the Trinidadian Johan Grimonprez, whose very popular video is about hijacking, terrorism and Palestine. And true to David's quixotic, controversial style, no less than six artists were making work around the issue of Israel and Palestine -- is it a surprise to say that pro-peace, pro-Palestinian positions were implied?

Moving into the Documenta Halle itself, the exhibition returns to David's second favorite theme -- public art. Peter Kogler, Franz West, Vito Acconci and Heimo Zobernig produced the walls, chairs, shelving and building plan, respectively. But where was original bad boy of this genre, Felix Gonzalez-Torres? (Disregarded by David as too "esthetic" in Artforum, May '97?) Somehow this installation was the most unresolved of all. Documenta X is a Eurocentric show. And although it is true that many younger US artists are currently making very market-oriented work, one reason might be that their younger European counterparts are more state- stipendium supported. Again curiously, Liam Gillick, Siobhan Hapaska and Steve McQueen are the only representatives of the young energy currently unleashed in Britain. It appears to be tokenism. Similarly, UCLA professors Lari Pittman, Mike Kelley and associate Tony Oursler are included, but seemingly without much reference to David's central dialogue. The catalogue unconvincingly has Kelley wax nostalgic about "punk" hitting L.A. in the later '70s. But so what? Latin America is not the remotest Third World, but rather the edge of the West. ... Upon informing oneself, one will see that, like anywhere, there are interesting and important artists in Latin America. That is a question of attentiveness, intelligence, and curiosity.

I think that one must deal with the problems of our periphery, with the things that no one wants to see. ... There does exist what we call modernity. Everything that has to do with de- colonization can be found in this »modernity«. It´s time to understand that there is nothing outside of modernity, no simple contrasts between Center and Periphery, Modern and Pre-Modern. ... we should imagine that there are many rooms in the house of modernity, and that modernity is a collection of many different processes of cultural construction. What does interest her is the modernity of peripheral regions, for instance the cultural fusions - in particular those from the suburbs of the big metropolis.

the conventional oppositions between modernity and its supposed »outsides« (local/global, centre/periphery etc.) no longer hold good What can be the meaning and purpose of a documenta today, at the close of this century, when biennials and other large-scale exhibitions have been called into question and often for very good reasons? It may seem paradoxical or deliberately outrageous to envision a critical confrontation with the present in the framework of an institution that over the past twenty years has become a Mecca for tourism and cultural consumption. Yet the pressing issues of today make it equally presumptuous to abandon all ethical and political demands.

In the age of globalization and of the sometimes violent social, economic, and cultural transformations it entails, contemporary artistic practices, condemned for their supposed meaninglessness or »nullity« by the likes of jean Baudrillard, are in fact a vital source of imaginary and symbolic representations whose diversity is irreducible to the near total economic domination of the real. The stakes here are no less political than aesthetic - at least if one can avoid reinforcing the mounting spectacularization and instrumentalization of »contemporary art« by the culture industry, where art is used for social regulation or indeed control, through the aestheticization of information or through forms of debate that paralyze any act of judgement in the immediacy of raw seduction or emotion (what might be called »the Benetton effect«).

FORMER WEST

http://www.formerwest.org/Front

Vito Acconci Studio Liam Gillick, Prototipo Ibuka, tavolo da caffè, 1995 A House for Pigs and People A project by Cartsen Höller and Rosemarie Trockel http://www.ktpress.co.uk/pdf/nparadoxaissue 4_katy-deepwell_9-13.pdf Black Kites Gabriel Orozco 1997 Transportable Subway Entrance Martin Kippenberger 1997 Instant City Ron Herron/Archigram 1969 Cristine Hill and her second Hand Shop https://www.youtube.com/watch?v=X1IgKzj- 938 Antonin Artaud (1896 - 1948)

La potence du gouffre Mine graphite et craie de couleur grasse sur papier 62,6 x 47,8 cm Inscriptions : H.M.B.M. : La potence du gouffre/est l'etre et non/son âme//et c'est son corps

Roberto Rossellini, Germania anno zero, 1947

Gruppo Amos (Congo), Campagna per l’educazione alla democrazia, 1997-2002 Huit Facettes (Senegal), workshop a Samba M’Baye, Senegal, 1999 Igloolik Isuma Productions, Nunavut, Our Land, Unser Land, 1995 Alfredo Jaar, Luci della città, 1999 Olumuyiwa Olamide Osifuye (Nigeria), Foto selezionate di Lagos, 2002 Park Fiction, (Germania) Park Fiction Planning Container, 1998 Yinka Shonibare, Gallantry and Criminal Conversation 2002 Yinka Shonibare (Londra), Trinh T. Minh-ha, Naked Spaces, 1985 Utopia Station 2003 (progetto di conferenze, riunioni, sosta), Biennale di Venezia 2003 Stalker attraverso i territori attuali, 2005 Stalker, Workshop, Ararat, 1999, campo Boario, Roma Stalker-Osservatorio nomade, Il giardino dell’intraducibile, 2005 (progetto per la Fondazione Baruchello) Stalker-Osservatorio nomade, Il giardino dell’intraducibile, 2005 (progetto per la Fondazione Baruchello) Stalker-Osservatorio nomade, Il giardino dell’intraducibile, 2005 (progetto per la Fondazione Baruchello) Stalker-Osservatorio nomade, Il giardino dell’intraducibile, 2005 (progetto per la Fondazione Baruchello) Santiago Sierra, 3000 huecos de 180 x 50 x 50 (frontiera sud, Spagna) 2002

Santiago Sierra, 430 persone pagate 8 dollari l'ora, 2001 Francis Alys, Quando la fede muove le montagne, 2002

Valerie Mréjen (Tel Aviv) , Dieu, 2004

Sophie Calle, Ou/Quand, 2004 fantin, installazione villa delle rose, bologna, 1995 Formento e Sossella, Blob, 1992 8_Ottonella Mocellin e Nicola Pellegrini, I am too sad to tell you, 2002 _Vanessa Beecroft, performance, VB 25, 2001 Oreste 0, 1997 Eva Marisaldi, Legenda, still da video, 2002 Stefania Galegati, Untitled, 2000 Mauro Folci, L’ameno appena in tempo, 2003 Maurizio Cattelan, Bidibibobidiboo Elisabetta Benassi, You'll never walk alone, still da video, 2000 Sherrie Levine Richard Billingham, senza titolo, 1995 demand thomas, studio, cromotipia diasec, 1997 dijkstra rineke, beaches, (2)1992-96 fantin, by air 1992 Michel Verjux, Eleven Columns, Clamerey France wearing, gillian,1992-93 signs, Kara Walker

gonzales torre felix (3)senza titolo 1991 (caramelle) huyghe pierre, rue longcin, inst. Pietroiusti, Cento capi di vestiario, 1992_bis Tiravanija, Senza titolo (Free), 1992 Whiteread, Casa, 1993 Performance as social intervention: interview with Adrian Piper and Martha Rosler; Cindy Sherman's 1981 self-portrait Untitled Cindy Sherman. Untitled #216. 1989. Anselm Kiefer ‘Margarette’ 1981 Oil and straw on canvas 280 cm x 380 cm . Teching Hsieh, Time Clock Piece, 1980-1981.

the artist punched a time clock once at every hour for the full year.

Tehching Hsieh: One Year Performance 1980- 1981 Jean-Michel Basquiat, "Untitled (1981)" Under the Big Black Sun: California Art 1974- Working from a model provided by her mentor, Allan1981 Kaprow, Lacy conceptualized this piece as an “extended” performance, one made up of many different life-like activities: speeches by politicians, radio interviews with hotline activists, news releases, self defense demonstrations, speak outs, and art performances. It was framed by time and the geography and strategically used the mass media to further reach an expanded audience.

Suzanne Lacy and Sharon Stone Whisper, the Waves, the Wind, 1981-1984

On a beach in La Jolla, California, 154 participants sat at white-cloth covered tables discussing their lives, their relationships, their hopes and their fears. Audiences watched first from afar, as a sound score created by Susan Stone reiterated their conversations. Later, the audience was invited to stand around the tables for a closer listen and to experience a space of active contemplation that Lacy and the women had created. The structure of this tableau vivant was based on the populist theatre movement, which Lacy began incorporating into her practice as inspiration for a contemporary public performance.

APPROPRIAZIONE Left: Sherrie Levine, After Walker Evans, 1981; Right: Walker Evans, Alabama Tenant Farmer's Wife, 193613 Untitled (We Don’t Need Another Hero), Barbara Kruger Barbara Kruger, 198718 Keith Haring’s 1982 “Untitled” piece is now open to the public as part of the reinstallation of the contemporary collection. The 56 foot long piece is juxtaposed against Jeff Koons’s “Three Ball 50/50 Tank” , 1985 1980s: Agnes Denes creates a landmark environmental art project with Wheatfield—A Confrontation, Battery Landfill Park, Downtown Manhattan (1982), a two-acre wheat field in a vacant lot in downtown Manhattan. The artwork yields one thousand pounds of wheat. Louise Bourgeois. The Museum of Modern Art. 1982-1983 http://www.moma.org/explore/collection/lb/about/ chronology

Jenny Holzer - Protect Me From What I Want Nan Goldin, Nan and Brian in bed, NYC, 1983 http://www.rainews.it/it/video.php?id=37197

Ballad of Sexual Dependency Slide Show, by Nan Goldin. New York, 1981. Truisms, by Jenny Holzer. New York: Franklin Furnace, 1978. David Hammons, “Bliz-aard Ball Sale” (1983) Bruna Esposito, Aquarell, 1988 http://sma.sciarc.edu/video/mike-kelley/

Mike Kelley http://www.youtube.com/watch?v=qTFi2l651r U Mike Kelley as the Banana Man, 1981. Tania Carson Ottonella Mocellin, Nicola Pellegrini Cesare Viel, Operazione bufera Rogelio Lopez Cuenca, Mappadiroma.it Sukran Moral, Zina Bruna Esposito, 2003

Stefano Pasquini

Cesare Pietroiusti, Finestre, 1989

Cesare Pietroiusti, La casa di cui tutti hanno la chiave, progetto all’interno di I solisti e la banda, Fondazione Baruchello, 2003

Emilio Fantin, I solisti e la banda. La casa di Nora, Fondazione Baruchello, 2003-2004

Mauro Folci, Concerto transumante, 2005 (progetto per la Fondazione Baruchello. Un trasloco dell’intero studio di Folci dalla sua ubicazione in Roma, via Tiburtina, alla Fondazione a Roma nord)

Gianfranco Baruchello, Esercizi facili per usi difficili, 2006 (Workshop, Fondazione Baruchello,)

Emilio Fantin, 2005 Alberto Zanazzo, Laboratorio di Arte potenziale, 2000 (Fondazione Baruchello)