- Weekly residential modules at Cittadellarte: a programme of seminars and laboratories open to students, professionals, social entrepreneur, activists and members of society, developed following a participatory teaching format, based on collective debates and knowledge exchange between mentor and participants. The modules draw some of their core case studies from Geographies of Change, a participatory online archive collecting and interlinking organisations active in the fields of governance and policy-making, alternative economic models, urban systems, environment, education and communication.
Mentors are often former UNIDEE residents, participants to visible project and to ARTInRETI platforms, ambassadors for Third Paradise, Cittadellarte’s current and past associates. Amongst the new collaborators, scholars and researchers, curators, cultural operators, agents of change within specific territorial realms.
Aimed at delving into three broad thematic areas, which represent the first lemmas for the construction of a Triennal (2015-2017) Shared Collective Vocabulary of Ideas on Cittadellarte’s Art and Social Responsible Transformation, developed across UNIDEE - University of Ideas’ educational programme. This Vocabulary intends to make available the theoretical and project materials used by the mentors and the speakers, and produced by the participants throughout the weekly modules.
- Seminar modules outside Cittadellarte in collaboration with universities, Fine Arts academies, artistic research centres in Europe and beyond addressed to graduate and postgraduate students, PhD students and researchers.
During the year 2016 the relationships with Italian University and Fine Arts Academy will be reinforced and new collaborations will be open to partners such as Università degli Studi di Torino; Università IUAV, Venezia; Accademia di Belle Arti di Brera, Milano; Accademia di Belle Arti di Roma; Accademia di Belle Arti di Firenze; ISIA-Istituto Superiore per le Industrie Artistiche di Faenza; SACI Studio Art Centers International, Firenze; Fondazione Bevilacqua La Masa, Venezia; Ecole supérieure d'art et design – ESAD, Grenoble (FR); École cantonale d'art du Valais – ECAV, Sierre (CH); Fundación Universitaria Bellas Artes, Medellín (Co); Instituto Superior de Arte-ISA, La Habana (Cuba); Queens Museum, New York.
- Residency programmes at Cittadellarte for international artists, organised in collaboration with institutional partners, e.g. RESO’ network, A. M. QattanFoundation (Palestine), Inlaks Shivdasani Foundation (India), aiming at educating and producing. During their stay at Cittadellarte the artists are accompanied along an educational path based on an in-depth analysis of specific issues in relation to a responsible social transformation. A flexible programme encompassing debate series, meetings with curators, artists and social entrepreneurs, experts’ studio visits, conferences with guests, visits to exhibitions and places relevant to the themes discussed, etc., will be the companion to this residential journey. In terms of production, the residency aims at facilitating the creation of new projects for exhibitions, events, public debates, publications etc.
- Connective Residency at Cittadellarte: launched in 2015, this residency programme of six months is open to Italian and international artists and collectives interested in exploring and expanding the themes of social responsible transformation, selected by direct invitation as well as via open call. The aim is to establish active “connections” between the resident artists’ own practices and the content and dynamics brought forth by the weekly residential modules and all relevant project activities developed within Cittadellarte.
The invited artist for the 2015's edition were Andrea Caretto and Raffaella Spagna.
In 2016 the artist in residency is Leone Contini.
Photocopy tales: Publications and visual essays
The bulk of contemporary content production, in its quantitative rush and value production, tends to stand on the principle that information must be understandable and verifiable in itself, that it must be already pregnant with its own explanation, in order to be consumed and used in the production of other content. Graphic media, editorial processes and means of production are conceived as second order tools which privilege and facilitate content of informative nature. This narrows the narrative potential as well as the scope of graphic media and editorial processes.
This theoretical and practical module aims to approach the editorial and graphic production processes as generators of signification and meaning, while placing an emphasis on visual narratives. It addresses three lines of work: development of experimental visual narratives, editorial processes and means of production and circulation of publications. To narrow down the vast universe of the work lines proposed by the module, the workshop focuses on the possibilities of image production and reproduction offered by photocopying. As an cheap and easy manipulation medium, photocopying allows the development of exercises proposed throughout the module, while avoiding the digital, chemical and mechanical image production methods.
The module is designed for visual professionals interested in further exploring visual narrative practices and editorial processes.
Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan).
Exercise 1 “Self presentation”, part 1:
Using only photocopies, participants have 60 min to build a presentation of themselves through means of a visual narrative (min. 15 pages).
The result will be discussed in a round table.
After the discussion, each participant will edit the exercise of another participant.
Reading: Andre Malraux, “The museum without walls”, in The voices of silence, Princeton, Princeton University Press, 1978.
Discussion of the text by André Malraux, The museum without walls. Screening: Marker, Chris, La jetée (1962).
Introduction to concepts for an editorial project.
“Self presentation”, part 2:
Participants have the possibility to complement and edit the first version of their own exercise. The second version will then be disscused with the group.
Reading: Aby Warburg, Mnemosyne, Madrid: Akal, 2010.
a day with Manuel Ángel Macia
Exercise 2 “Chapter 2·3/4”:
Using only photocopies, each participant should elaborate a narrative related to art history.
Discussion of Exercise 2 “Chapter 2·3/4”
Reading: Walter Benjamin, The storyteller, in Walter Benjamin: Selected Writings, Volume 3: 1935-1938, Harvard University press, 2004.
morning and afternoon
Introduction to print production processes
Exercise 3 “Book”:
Using only photocopies, participants should produce a visual narrative book
morning and afternoon
Introduction to distribution channels for publications.
Final discussion and presentation of the final version of “Book”, “Chapter 2·3/4” and “self presentation” exercises.
The mentor will prepare a reader for participants with key texts, some of which will be discussed during the week.
Andre Malraux, The museum without walls (translation of Le Musée Imaginaire, 1947), in The voices of silence, Princeton University Press, 1978.
Vilém Flusser, Writings (Andreas Strohl, Editor), Minneapolis: University of Minneaplos Press, 2002.
Keith A. Smith,The book as a physical object, in A Book of the Book, New York: Granarybooks, 2000.
Aby Warburg, Mnemosyne, Madrid: Akal, 2010.
Walter Benjamin, The storyteller, in Walter Benjamin: Selected Writings, Volume 3: 1935-1938, Harvard University Press, 2004.
Marker, Chris, La Jetée (1962), https://vimeo.com/42460300
BIOGRAPHY AND STATEMENT
Santiago Reyes Villaveces (Colombia, 1986), visual artist, lives and works in Bogotà, Colombia. His work respond to an inquiry, obsession, fascination, and pleasure for the structures, assemblages and dynamics that evidence the state of transitivity and precariousness that appeal to a state of temporal indetermination. The works – installations, sculptures, drawings and photographs – are characterized by notions of scale, volume, weight, gravity, surface, pressure, contention, resistance, verticality, horizontality, limit and depth, creating an intimate relation with the space, architecture, the spectator’s body and the temporality of the exhibition and the pieces. The works transform, determine, modify, and interfere in the physical space in which they operate as well as the social, political, economic and historical space they inhabit and its possible modes of production, exhibition and circulation.
2009 Bachelor of Fine Arts, with emphasis in Visual Arts, art theory and history Universidad de los Andes, Bogotá, Colombia
2007-2008 Academic exchange program;Universidad de São Paulo, Escuela de Comunicações e Arte. São Paulo, Brasil.
2013-2015 Lecturer professor: Infographics, Writings and Mediations and “Transmedia workshop”, Universidad Javeriana, Department of Communications Bogotá, Colombia.
2013-2011 Lecturer professor: Graphics 3 - Visual narratives, Universidad Jorge Tadeo Lozano, Art Department, Bogotá, Colombia.
2010-2013 Lecturer professor: Visual Culture and “Portafolio Workshop”, La Salle College, Bogotá, Colombia.
2009 Lecturer professor: Contemporary Art, Modern Art, Taller 5, Bogotá, Colombia.
Manuel Ángel Macia is an artist. He works and lives in London, where he is a currently finishing a practice based PhD (Goldsmiths). His project charts the capitalisation of language as it intersects mechanisms of knowledge production. He recently collaborated with Rampa (Madrid) and LaAgencia (Bogotá). As of late, his interests have inclined towards aesthetics/politics from the vantage perspective(s) of subsumed perceptual warfare.