- 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.
- 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), Fundación Museos de la Ciudad (Ecuador), Yarat Contemporary Art Space (Azerbaijan), 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 artists who took part in the Connective residency are: Andrea Caretto and Raffaella Spagna (2015); Leone Contini (2016); Mattia Paco Rizzi (2017).
Personal Imaginary Museum
The book Le Musée Imaginaire (1947) by André Malraux is the starting point to investigate the nature of traditional museums in relation with the idea of a personal imaginary museum. According to the ICOM* statutes a museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment. On the contrary, a personal imaginary museum doesn’t necessarily follow the same rules. It may have exclusive values, can be secret, intimate or even unreal.
The workshop explores the notion of ‘Personal Imaginary Museum’ in art, architecture, history, literature and cinema. It investigates the distinctions between collection, archive and museum. It raises questions such as: could a flea market be perceived as a museum?
During the module participants will investigate different modes of thinking of Museums in relation to their personal interests through lectures, screenings, class discussions and brainstorming.
Meanwhile, participants will be introduced to the ‘Project Methodology’, a method conceived by Muntadas as a temporal structure of development of his projects. The Project Methodology has an appropriable nature, of which anyone can make use. The methodology can vary in relation to the individual and the context; it is not absolute, singular or rigid. It is part of a process that answers to the questions: who? what? why? how? where? when? and for whom?
(*) The International Council of Museums.
Guided tour to Cittadellarte (Curated by Elena Rosina), including the Pistoletto, Arte Povera collections and temporary exhibitions.
Introduction to the Theorem of Trinamics, the symbol of the Third Paradise and the concept of Demopraxy.
Participants and mentor’s presentation.
Introduction to the workshop and the ‘Personal Imaginary Museum’.
Participants share their interests about the topics of the module.
‘Personal Imaginary Museum’: analysis of case studies.
Introduction to the ‘Project Methodology’.
Video screenings and discussion.
Architecture, permanent VS temporary: the concept of effimera.
The mobile museum.
The artist Alessandra Messali will introduce her artistic project-based practice in relation with artists and works of reference in the area of art, film, literature and live arts. She will speaks about When the wind is still no one leaf moves, a project realized in 2011 which finds its roots on the idea of the ‘Personal Imaginary Museum’.
‘Personal Imaginary Museum’: analysis of case studies.
Investigation, research and brainstorming.
Video screenings and discussion.
Closing remarks and possible proposals for a ‘Personal Imaginary Museum’.
The mentor will prepare a reader for participants with key texts, some of which will be discussed during the week.
Museums and artworks
• Herbert Distel, Museum of Drawers; www.schubladenmuseum.com/
• The Museum of Innocence, Istanbul; http://en.masumiyetmuzesi.org/
• Tragedy in US History Museum, Florida
• The Museum of Jurassic Technology, Los Angeles; www.mjt.org/
• Museu do Crime, São Paulo
• Museum of sex, New York
• Claes Oldenburg, Mouse Museum, 2013
• Marcel Broodthaers, Museum of Modern Art, Department of Eagles, 1968
• Joseph Cornell, Romantic Museum, 1949-50
Film and video
• Malraux's Shoes, Dennis Adams, 2012
• Le Louvre sous l’Occupation, Aleksandr Sokurov, 2015
• Russki Kovcheg - Russian Ark, Aleksandr Sokurov, 2002
• AA.VV, The end(s) of the Museum, Fundacio ́Antoni Tàpies, Barcelona, 1996
• T. Bennett, The Birth of the Museum: History, Theory, Politics, Routledge, London, 1995
• D. Crimp, On The Museum's Ruins, The MIT Press, Cambridge MA, 1995
• I. Kabakov, Incident at the museum, Museum of Contemporary Art, 1993
• A. Malraux, “The museum without walls” (translation of Le Musée Imaginaire, 1947), in The voices of silence, Princeton University Press, 1978
• O. Pamuk, The Innocence of Objects, Harry N. Abrams; First Edition, 2012
• J. Putnam, Art and Artifact: The Museum as Medium, Thames and Hudson, London, 2009
Antoni Muntadas was born in Barcelona in 1942 and has lived in New York since 1971. His work addresses social, political and communications issues, the relationship between public and private space within social frameworks, as well as channels of information and the ways they may be used to censor central information or promulgate ideas. He works on projects in different media such as photography, video, publications, Internet and multi-media installations.
Since 1995, Muntadas has grouped together a set of works and projects titled On Translation. Their content, dimensions and materials are highly diverse, and they all focus on the author’s personal experience and artistic activity in numerous countries over a period of thirty years. By grouping such works together under this epigraph, Muntadas places them within a body of experience and concrete concerns regarding communication, the culture of our times and the role of the artist and art in contemporary society.
Alessandra Messali (1985). After graduating at the Fine Arts Academy in Venice, she received her MA in Visual Arts from IUAV University in Venice where since 2012 has been teaching assistant to artist Antoni Muntadas. At the moment, after two experiences in Assam (India), she is working on the relationship between one of the most translated Italian authors in the history of Italian literature, Emilio Salgari, and the city of Guwahati, which he wrote about in his series of novels The Sandokan Series. The project is an ironic experiment that reflects on our ideas of representing, and being represented as ‘the other’.
Her works have been shown at museums and festivals such as Museo d’Arte Contemporanea di Lissone, Galleria Comunale d’Arte Contemporanea Monfalcone, Fondazione Bevilacqua la Masa (Venezia) and FILMAKER DOC 14 (Spazio Oberdan, Milano).
The residency fee includes accomodation and half-board.