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Produced by Eventi Arte Venezia

Curator: Matteo Efrem RossiProject Coordinator: Tommaso ZaniniP

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The project was developed thanks to the funds for student’s activities of Ca’ Foscari University.

Harald Szeemann un giorno descrisse il suo approccio curatoriale con que-sto slogan: “Dalla Visione al Chiodo”. Qualche tempo dopo Daniel Buren polemizzò con lui, sostenendo che i curatori stavano diventando dei “super-artisti” che utilizzavano le opere d’arte come singoli colpi di pen-nello all’interno di una gigantesca tela. Decise quindi di “autoinvitarsi” ad una mostra curata dallo stesso Szeemann, disseminando i suoi lavo-ri nelle strade tutt’intorno alla Kun-sthalle in cui si teneva l’esposizione.

Nello spirito dell’aneddoto, Processing Projects 2011 vuole essere la presentazione di un qualcosa che necessita di completamento. Gli schiz-zi, i progetti, le parole e le intenzioni che trovate di seguito non sono tan-to la documentazione di un lavoro artistico, quanto gli strumenti che al-cuni artisti utilizzano per anticipare e descrivere ciò che sta dopo la “Visione“ e prima del Chiodo”. Le pagine bianche sono pensate per essere processate.

Tommaso Zanini

Harald Szeemann once described his curatorial approach with the motto “From Vision to Nail”. Sometime later, Daniel Buren opposed him, arguing that curators were becoming “super-artists” who used the work of artists as individual brushstrokes on a giant canvas. Inviting himself to one of Szeemann’s exhibitions, Buren nstalled his artwork in the streets surrounding the Kunsthalle, where the exhibition was being held.

In the spirit of the anecdote, Processing Projects 2011 aims to present something in need of comple-tion. The following sketches, designs, words and intentions are not as much the documentation of the artwork as they are the tools artists use to foresee and describe what comes after the “Vi-sion” and before the “Nail”. The blank pages are designed to be processed.

Tommaso Zanini

Processing Projects 2011 è un conteni-tore che raccoglie una serie di progetti artistici che si relazionano con la città di Venezia ed il suo territorio.

L’Associazione Culturale Eventi Arte Venezia ha invitato a partecipare nove artisti di varie nazionalità che, per la prima volta o a seguito di ricerche per-sonali, si sono concentrati sul contesto veneziano nella loro ricerca artistica.

Scopo del progetto è portare l’attenzione sulla fase di sviluppo di un’idea artistica e su quegli strumenti di studio e organizzazione progettuale che precedono la creazione effettiva di un’opera.

La fase di progettazione è uno stru-mento essenziale all’artista; attraverso lo studio e la pianificazione progettuale esso entra in confidenza con il lavoro che avrà luogo in un determinato tem-po e spazio. In questa fase di sviluppo del lavoro artistico si condensano il pensiero e le riflessioni che porteranno alla nascita di un’opera.

Un progetto, soprattutto se chiaro e ben strutturato, può però essere uno strumento interessante anche per il pubblico più o meno specializza-to. Osservando gli studi eseguiti da un artista si ha la possibilità di

Processing Projects 2011 is a series of art projects centered on the city of Venice and its territory.

Eventi Arte Venezia Cultural Asso-ciation has invited participation from nine artists of various nations who are focusing their artistic exploration on Venice either for the first time or following prior research.

The objective of the project is to trace the process that an idea invokes, narrowing in on the creative develop-ment that precedes the creation of the work.

The projection phase is essential for the artist. Through examination and brainstorming the artist becomes acquainted with what will become the work of art placed in a given time and space. In this developmental phase the paring down of reflections and ideas lead to the creation of the artwork.

A project, especially when clear and well structured, can be a point of interest for an audience more or less familiar with art. An account of the studies performed by an artist offers the possibility to graphically witness the thought process, capturing facets of work that normally become displaced. The projection phase is the

leggere graficamente il pensiero e il processo adottato da quest’ulti-mo, riuscendo a cogliere aspetti che mediante l’osservazione di un’opera terminata andrebbero persi o passe-rebbero in secondo piano.

La fase di progettazione è il primo gradino che segue il puro pensiero o invenzione e anticipa la realizzazione fisica dell’opera, fungendo dunque da ponte tra questi due momenti della creazione.

first step that follows pure thought or invention and anticipates the physical realization of a work, thus serving as a bridge between these two moments of creation.

Due to technological limitations of the early nineteenth century, images do not exist of the fall of St. Mark’s bell tower on July 14, 1902. Only a photomontage exists of a crack split-ting through the bell tower a little before the fall and various photographs taken soon after. The fall, other than disrupting the equilibrium of the population, sparked a debate on the national and international level.

The Daily News and the Corriere della Sera spearheaded fundrais-ing efforts for reconstruction; Venice had to recuperate the architectural physiognomy that the world admired. The only newspaper missing from the reconstruction efforts was the London-based Daily Express, who thought St. Mark’s Square to be more beautiful without its tower.

On April 25, 1903 reconstruction was begun and lasted until March 1912. The new tower was inaugurated April 25, 1912 in occasion of the Feast of St. Mark. “El paron de casa” (the lord of the house) was rebuilt how it was and where it was.

The project is to calculate, through archival footage, the area occupied by rubble after the fall, quantify the weight and after amassing an equal amount of rubble in the Square, to form a mound equal to the volume of material that makes up the bell tower.

ComeradoveraMarcello Spada

Alexiou will exhibit an installation consisting of a series of large-scale prints, representing the square and the Basilica of San Marco in Venice.

This work is the continuation of the installation The End inspired by the mosaic floor of the Iveron Monas-tery on Mount Athos, which represent-ed Greece in the 52nd Venice Biennale in 2007.

The artist sees Piazza San Marco as a vessel where “cultural and mate-rial goods” and ideas from the world are deposited, seen that way as an “open-air” museum.

This flow of materials, technique and artisans arriving from the East to Venice during the centuries is repre-sented in the floor of the Basilica di San Marco and the surrounding areas. This “marble carpet” operates as a field that bridges and merges different civilizations and eras.

Iveron Monastery and San Marco Basilica can be characterized as land-marks in the artist’s journey for the comprehension and interpretation of design units that are involved and constructed into large totalities. Nikos Alexiou has been representing in an elaborate and thorough manner all

the paving and mosaic patterns inside and outside the Basilica (square, doge’s palazzo, galleries and alleys around the square). Nevertheless, in order to comprehend and attribute the semantic structure of the floor, and furthermore “conquer” the in-ner logic of the design technique and construction of such a work, the artist was based in former prints, books and photographs, apart from the imprinting and the observation on location. Com-bining all this knowledge and images, he creates his own ideal landscape that balances in the natural space on one hand and in his imaginary geometry on the other.

By placing the installation on the floor, he intends to create the impres-sion of a city beneath the viewers’ feet, creating thus a sort of game.

Emmanouil Zacharioudakis

San Marco di Venezia 2010Nikos Alexiou

The work on this proposal started on June 2007 and ended on February 2009, without ever being realized.

The idea for the project was initi-ated by the artist and was proposed to ScalaMata Gallery, who further helped with logistic and bureaucratic issues with the Jewish community and the commune of Venice.

The ideas for the project stems from the site itself and its location: a water cistern (pozzo) situated in the heart of the ghetto, sharing the space of the campo together with two old syna-gogues.

This cistern, which is today not in function, is governing the center of the campo. This point was the water source of the Ghetto during the early days of the Jewish community of Venice. In those days the piazza func-tioned as a rain water collector, where water was absorbed and accumulated in the underground water basin under-neath the piazza.

The project is suggesting a revival of this activity, through the phenom-ena of dew (rozzata), where the campo is transformed into a space for collect-ing dew by the Hebrews contemporar-ies, the Nabataeas, who have used

A site specific public sculpture proposal for the Campo in the Ghetto Vecchio, VeniceDavid Behar Perahia

dew collecting systems extensively in the desert of the Negev, Israel.

In the Jewish tradition, a place where the cistern is present is the environment for many biblical stories where the narratives intertwine rich meanings:this was the place to en-counter the other, a site where inter-cultural discourse took place (Moses and Tzipora, Jakob and the Haran shepherds).

The well was a place where intmate meetings took place, where personal modesty facilitates intimacy that leads to harmony and love (Jakob and Rachel).

The well was where moral resolu-tion took place in between man and his environment (Moses and Yitro’s daughters). The place where each tribe drew living water for its commu-nity (Miriam’s well).

The dew was the sign for the arrival of the Manna falling from the sky, which then fed the people of Israel during the passage of the desert.

Dew is formed during the night on surfaces facing the sky (for example leaves) and can be collected during the morning.

phenomena for an enlightened sustainability.

The actual dew water was to be collected daily into water bags in purpose of documentation, and was to be displayed in the ScalaMata Gal-lery space. Visitors will be able to taste the dew water, thus inviting them to a sensual full experience of all levels of the dew collecting process.

The well fountain will be daily main-tained during the morning, by adding the exact quantity of water (simple water) that was collected during the previous night.

This proposal makes parallel links and connections between past and present, urban public space, natural phenomena and the tradition of sur-vival. The challenge of this intervention is to raise questions toward the issue of contemporary sustainability.

Sept. 2010David Behar Perahia

The proposal consists of a dew collection structure and its form is suggested in a way to dialogue with the site of the campo, in content and in context, as well as to echo the degenerated underground water basin space. The suggested form resembles a wide funnel, which is centered around the well and is split into two in order to make a way to the well for public access. This bisecting path suggests a visual and conceptual connection between the two synagogues and the water source (living water,םייח םימ).

The pozzo in the centre of the campo will be transformed into a fountain that will work and splash water according to the water quantity that will be collected untill that day. Thus, in the beginning of the exhibi-tion time, the well will scarcely splash water, but as the time passes, more water will be collected and the avail-able quantity of water for the fountain will increase. As a result, the fountain will splash more water, thus becom-ing an exciting event in the campo for both the community of the place and the visitors to the site. The dynamics of the well-fountain is suggested to reflect the simplicity of using natural

Nocturne #1 Graziano Meneghin

“They are all parts of time, and the past and future are created species of time, which we unconsciously but wrongly transfer to the eternal essence; for we say that he “was,” he “is,” he “will be,” but the truth is that “is” alone is properly attributed to him, and that “was” and “will be” only to be spoken of becoming in time... Time, then, and the heaven came into being at the same instant in order that, having been created together, if ever there was to be a dissolution of them, they might be dissolved together.”

Plato – Timaeus, 38a.

On the night of January 23, 2011, eleven amplifiers installed in the windows of buildings spanning from east to west along the Fondamenta dello Squero and the Fondamenta Gerardini will each play eleven nocturnes, all composed by Fryderyk Chopin between 1829 and 1838. Their actual length of 66’06’’ will be slowed down so as to coincide with the duration of the night in Venice, amounting to 857 minutes, from 5:12 pm of 1/23/2011 to 7:31 am of 1/24/2011.

The sounds begin to spread from the terrace located furthest east until reach-ing the westernmost terrace, with a sound delay between speakers of one second every 1.5 meters, corresponding to the average walking speed of a person along the Fondamenta. In this way, each amplifier is postponing its nocturne into a sort of repartee reminiscent of the dialogue between church bells along the valleys of Italy prior to twentieth century synchronization.

This long sound wave moving from east to west mimics the segmentation of global time zones, and together they generate a constant ambient sound, creating a long, uncertain and unstable vibration of bass. The dilated temporality of sound generated through fragmentation is the attempt to restore and imitate the “moving image of eternity” in which every single sound in the sky is rhythmic.

The project drawings were designed in collaboration with Olga Trevisan.

Hi, My concept is – modification how the used object can lead you on the process of good karma. Materials after using, thrown in garbage will take you in the path of god, enlighten your soul, keeps a calm meditative mind…..

Reason I want to do on this particular subject:1. the atelier looks like more historical, old, meditative place than concrete new

modernize gallery, 2. it seems like the atelier is on the top floor of the house.3. the coordination of the work and the area takes the vital role for the creative

result4. the material I am using on this creation is easily available there, and it costs

nothing as I guess5. the most important thing is flexibility of the material and can be installed on

your and your atelier’s circumstances

For my work, I need:# many cylindrical cans (used one) with different sizes (more brief write

you later)# pipes, thread - depends on the size and area# 5 color cloths (may be I have to send from here)# 2 parts- 1is with light and 1 is dark it can be made with the curtain

well,i wish to give more detail on this after your selection.

20,66 mt s.l.m.Bidhata K.C.

08 septemberhello,i have attached some of the sketches with this. please see. you will be clear on the image 1(1), 1(2) - spelling of knot has written not. please read it as knot.

Expalnation how to install:1. As i see the atelier’s beam on the ceiling on that we can install the cans ver-

ticall way from the beam. [pic.1(4)]2. i am thinking to put cans on the 2 side of the beams also, so it looks more

rhytmic and adds contunation [pic.1(5)] (for certain distance contunation is necessery). if we hang only on the beam (straight) it doesn’t look nice and also breaks the process. for this we can put iron rod or some pipe in between two beam to hang the cans.

3. To hang the cans we need fishing huck (nail - a bit curve) on the ceiling’s beam and there must be a thin iron pipe (bit heavier) on the bottom (floor) to tighten the rope of the can. so the cans stands straight.

4. People who visits the exhibition has to wheel these cans so they can feel it. for this the can should be install very strongly.

5. we have to make small hole on the both side of the can’s cover so the thread or thin rope can go 1 hole and comes out on the orther end of the can. Hole should be in the middle of the both side of can’s cover.

6. the can’s down part where we insert the thread has to be knot so the can won’t fall down. not necessery for the upper part of the can.

7. and all the cans has to be on the same line. cans have to be more than 1 feet to 1 and half feet(12 to 15 inches) but should be the same size of the cans for the beams line [pic-1(4)]

8. empty cans, should not be all open (partially open is ok) because we have to wheel the cans and have to make the hole on the both side of the can’s cover, it should be on a good condition. while installing - can should be just on the shoulder’s hight. people has to move through right side and end on the another space of my work.(plese read the down part)

9. in the atlier, there looks like the small partition of the wall - or there is a door on the side of the window. i want to use this space as a seperate than these can’s installation area. Has to be the dark light.

10. for this room i need 1 Big can-it should be 2 or 3 feets big- for this i have to send you some materials from here. or we can discuss it later. the installating process is same but in that space we have to install only one big can.. there will be a bit dif-ferent presentation on this particular can. will send you the sketch and the layout of this can later. and also will write you a brief discription of this installation work. the concept...

20,66 mt S.L.M. was developed during the project Rodeo, organized by Blauer Hase and hosted at the Bevilacqua la Masa’s atelier 7 of palazzo Carminati, Venice.

Basic Proposal

My proposal is to transform de music of Vivaldi into colour, and to transform the colours of Canaletto’s paintings into music. The reason why I have chosen these two artists is because they were both living and composing/painting in Venice dur-ing the same period of time.

Method

The way I would transform the colours of Canaletto’s paintings into music would be the following:

1- Pixelate one of Canaletto’s paintings until only its colour (and not its form) is visible.

2- Once the painting has been pixelated, detect the colour of each pixel by using the photoshop drop tool

3- Use my eyeborg to listen to the listed colours (the eyeborg is an electronic eye attached to my head that slows down the frequency of light until colours can be heard)

4- Write down the notes of the colours on a manuscript paper5- Give the manuscript to a violinist6- Record the sound of the colours of Canaletto’s paintings played by a violinist.

The way I would transform Vivaldi’s music into colour would be the following:

1- Select a manuscript of one of Vivaldi’s compositions2- Use the eyeborg in a reverse way and transform each note into its corre-

spondent colour3- Colour in a canvas with the resulting colours (one square per note).

The colours & sounds of VeniceMusic by Canaletto - painting by VivaldiNeil Harbisson

Personal Territories is made up of images which are segments of a “never ending” imaginary map.

This project is about the process of becoming familiar with things, in this case the islands and bridges of Venice, and also about seeing; looking at the familiar, in different ways.

Inspired by the British artist Ralph Rumney who in 1956 published The Leaning Tower of Venice,(an illustrated essay), an unplanned wander through the streets of Venice.

Ralph Rumney was associated with the post-war European avant-garde who used a Situationist approach to mapping, “psychogeography”, the theory and practice of drifting through an urban environment.

The Islands and Bridges, are also a reflection on the magical visual worlds of Medieval Mappa Mundi, eg: Fra’ Mauro’s mappa mundi 1459, (Biblioteca Marciana), emphasising the power of the visual, over that of the written word.

Personal territoriesDèirdre Kelly

“I can see the contents of the world ranged to the right and to the left at varying distances... a theatre whose stage opens up on the void, on the high strip of sea against the sky crossed by winds and clouds.”

From The Opaque, Italo Calvino, 1990.

Evocare Campo San Giacomo dall’OrioMarta Maldini

A palm, the sky and the turquoise sea, a tropical beach. An image: reproduced in a thousand and more objects, selected from just as many cameras, painted, drawn, composed, reworked, reused and stored so effectively as to be mentally perceived by any person in less than a second. It would be trivial to reduce the discourse to the myth of an origin that cannot be removed, that is repeated and sensationalized until finally becoming the “king of the desktop”.

If we tried to discover why people, in their transoceanic travels, continue to mechanically appropriate the same images already present on their office desks, we inevitably fall into the discussion of our perceptive conditioning contrasted by the impossibility of an understanding unconditioned by nature. The answers are never certain: we are indeed in front of a symbol and precisely for this reason its matrix is hidden. Where will its genealogical tree end? Is it really a question of genealogy or of chronology? Or, rather, growths, mutations and hybrids that develop through the web?

The solution is to enter and get lost. To act like a detective through the dates, the possible references, the coincidences, and show my devotion towards the icon of apparent substance. And through emails to administrators of unlikely sites that I have never visited and the details of coinciding RGBs, I have attempted to near myself to the answer through a simple action: I have sewn the structure. Hence were born a series of mutating nervous systems, that, once brought to light, reveal the emptiness left by the needle revealing a sort of constellation. Just like the con-stellations look to the sky, our tropics look at something from far away. Fundamen-tally, the legends, icons and symbols don’t serve to be reached, if anything chased.

TropiciRachele Maistrello

The project was inspired and developed during the artist’s residence program Spot – studio dal vivo hosted at the la Sala del Camino of Santa Cosma e Damiano atelier, Giudecca - Venice.Curated by Francesco Ragazzi and Francesco Urbano - “E” cultural association. www.e-ven.net

Marcello Spada frrtacshh@gmail.com

Nikos Alexiou nikoalexiou@gmail.com

David Behar Perahia behar_david@yahoo.com

Graziano Meneghingraziano.meneghin@libero.it

Bidhata K.C. bidhatakc@hotmail.com

Neil Harbisson neilharbisson@gmail.com

Dèirdre Kelly deirdrek99@yahoo.co.uk

Marta Maldini maldinimarta@gmail.com

Rachele Maistrello rachele.maistrello@gmail.com

Produced by Eventi Arte Veneziaeventi-arte-venezia.blogspot.com

eventiartevenezia@gmail.com

Graphic project realized with the participation of Marta Maldini & Giulia MarzinTranslation by Michelle Galletta