wp1 presentation by serge collet
TRANSCRIPT
![Page 1: WP1 presentation by Serge Collet](https://reader031.vdocuments.site/reader031/viewer/2022013013/58999f5b1a28ab2d468b76bd/html5/thumbnails/1.jpg)
The sea in us: preliminary reflections for an international art exhibition on
the intangible sea values
Serge Collet, ECOST partner 7 with LEGA PESCA, Italy
Max Ernst: L‘air lavé à l‘eau 1969
5th ECOST Meeting, 12 – 16 November 2007, Punta Cana, Bovo, Domenican Republic
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Voices of the sea, 2007 / October
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Giorgio de Chirico, bagni misteriosi, 1934
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Giacomo Balla, Marvento. 1919
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Lionel Feininger, Das hohe Ufer, 1923
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Mario Broglio, conchiglie variopinte, 1937
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Aldo Turchiaro, E‘ il tempo del delfino,1974
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Lorenzo Viani, le vedove del mare, 1915
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Giorgio Omiccioli, protesta di pescatori, 1949
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Nicola de Maria, Mare, chiudere gli occhi, o mare. 1983
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Enzo Turchi, Il sospiro di un onda, 1983
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Nicola de Maria, Soave musica del mare, 1989
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Piero Guccione, I piccoli movimenti del mare, 2005
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Marinella Letico, Squali a cacchia di angeli, 2003
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Bertina Lopes,
No mare nasce a vida. 2003
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Mimo Germanà, La donna del acqua. 1981
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Stefano di Stasio,
Quasi Ulisse. 1995
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Wall- painting of dolphins which adorned the Queen‘s Megaron in the palace at Knossos. 1600 B.C.
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I Key framing issues
• Artistic expressions relate priory to the 3 marine zones and more to the marine or sea places and the ways in which they foster a sense of place or belonging.
• They are broadly speaking three cultural aesthetic codes to put in dialogue on common items (an arduous task) taking into account the intra diversity of these three cultural codes. The understanding, appreciation and categorisation are highly complex operations and require very first, beyond specific competences, a basic interdisciplinary work (relationships between concepts and icons in specific cultural contexts).
• It is absolutely necessary to underline that creative artistic expressions are not simple translations or illustrations of social, cultural natural items. In relation with sea places, people of these sea places, it is the meaning that these works of art deliver, construct or set which is relevant.
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II Management organisation • Each marine zone is represented by a group constituted of artists,
representatives of the authority in charge of the works of art (Ministry, Gallery, and Museums of Art) and competent social scientists, able to link the sense of these sea places with artistic expressions.
• Coordination committee: its functions are – to develop the conception of the exhibition– to stage manage the international exhibition (UNESCO is considered a
few attractive place for exhibitions and does not offer the best security conditions for very valuable works of art)
– to set the dialogue of works of art (pictures, sculptures, music, video)– to elaborate the catalogue including poets, writings in 3 or 4 languages– to design the virtual exhibition on the web for a world wide free access
(Problems of property rights)– to promote a world wide publicity– to organize the opening of the exhibition (artists, state representatives,
international organisations, NGOs etc.)
• This committee is made up of the director of the exhibition (she or he), a person who can only have a long experience of such international artistic events speaking several languages.
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His or her technical staff: 2 – 3 persons including the technical director participate at the work of the committee as.
– the responsible of the values at sea research– the coordinator of the ECOST project– three of the five meetings will be held in the respective marine
zones– each coordinator of the marine zone
In concluding this managerial part, the setting of the committee supposes the elaboration of a kind of chart fine tuning the concept of the exhibition, setting the responsibilities and obligation and relationships with the UNESCO. Does the UNESCO offer or not the place for the exhibition? (G.Pompidou Center for example) Who edits the catalogue, to who belongs the financial outcome of entrance fees? One of the most important issues is the fees on the works of art (artists, gallery etc.). Absolutely crucial is the issue of insurances and secure transport of the originals. How many works of art do we intend to present? 150 works of art constitute a relevant international exhibition. (there are limits with transport, insurances, size of the catalogue etc.)
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III. Funding a budget and timing
For a staff of 15 persons programming and realizing such an event the funding has to be very sizeable running to 4 millions € according to first informations. At this stage it is not possible to get in touch seriously with professionals without being sure of a sizable financial base. Realizing this art exhibition is hardly workable before the second half of 2009 (end June 2009). Thus, the institutional basic requisite is the building of an arrangement involving the UNESCO, a Museum of Art, an international foundation sensitive to the originality of the project and its peculiarities and obviously the ECOST Project.
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IV Conclusions
This international exhibition on such a topic is somewhat risky and ambitious. At this scale, with an intercultural, transverse perspective on aesthetic expressions of the intangible values of the marine world, there is actually no experience for what we know. It is a nice idea with a lot of desire at the moment, but a beautiful challenge which asks for some passion and adequate understanding of the complex relationships between sciences and arts and between them and society at large!
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Thank you for your attention!