Radical Intention will participate in the 2011 Final Exhibition of Incheon Art Platform Resident Artists. While in Korea, Radical Intention organized project Pop up Fried Book by member and co-founder Maria Pecchioli. The day-to-day update and final performance documentation, edited by the project partner online art platform UnDo.net, can be found  at Popupfriedbook.undo.net

The show opens on the 19th of Janaury at 4pm, Incheon Art Platform, 10-1 Haean-dong 1ga, Jung-gu, Incheon, S.Korea

L’opera consiste in una serie di incontri itineranti (da svolgersi con l’uso di un banco mobile ispirato a quelli degli street market asiatici) nei luoghi della città, durante i quali si creerà una relazione con la comunità locale sull’idea di libro e cibo raccogliendo ricette e testi. Durante la residenza presso IAP – Incheon Art Platform Maria Pecchioli attiverà Pop Up Fried Book, azione itinerante e interattiva che ci condurrà attraverso le strade di Incheon. Pop Up Fried Book è una Cargo Bike modificata, realizzata con il contributo di Bartolini Fiamminghi Architetti, che ci permette di friggere, raccogliere, mostrare e scambiare ricette, da usare in una performance finale “Fried Book”.

A partire dal 14 Ottobre, in collaborazione con UnDo.net, L’artista ci racconta le diverse fasi della performance trasformando le pagine del sito in un ricettario in cui immagini e umori si fondono in un potage agro-piccante.

Pop Up Fried Book si sviluppa attorno a quattro principali momenti d’indagine: la collettività, il cibo, l’arte e la letteratura. Pensato come un evento itinerante, il progetto si declina in una serie di appuntamenti costruiti sulle esigenze specifiche del contesto ospite. L’intenzione è di creare momenti che abbiano come comune denominatore lo scambio e la sperimentazione fra arte, cucina e letteratura. L’interesse è di analizzare come la cultura cambia forma e modi per esprimersi, sperimentando quanto la commistione di linguaggi e discipline artistiche possa “venire in soccorso” nella condivisione di una cultura e di un idioma straniero. Il progetto così si confronta sulle possibilità nel mondo globalizzato di relazionarsi attraverso le arti.

Performance itinerante dal 17 al 23 ottobre, 2011 – luoghi vari – Incheon

Performance Finale, Martedì 25 ottobre 2011 – Incheon Art Platform

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POP UP FRIED BOOK

performance by Maria Pecchioli

Organized by Radical Intention and supported by Incheon Art Platform

Itinerant performance, from the 17th to the 23rd of October, several venues in Incheon

Final Performance, 25th October at 4 pm, Incheon Art Platform

The performance is based on collective Liquid Cat project # 11 – Fried Book. The first edition of Maria Pecchioli’s new version took place in October 2010 in Milan during the show There is no place like home.

The second edition, called Pop Up Fried Book, is based on the possibility of shortening distances between languages, and challenging the sense of being “Lost in Translation”. If we can’t say that people are the same all over the world, we can recognize the familiarity between fried food, tempura and twigim. Pop Up Fried Book is built around four main areas of investigation: community, food, art and literature. Through the arts, the project confronts the possibility of engagement in a globalized world. By analyzing the shape and form of culture shifts, the project verifies how much the mixture between languages and art forms, can become “handy” while engaging with foreign cultures. The project is structured in two stages: an itinerant event and a final performance. The common denominator to each appointment resides in exchanging and experimenting the limits between art, cuisine and literature. During the residency program at Incheon Art Platform, Maria Pecchioli and Radical Intention will create a report on the local community by wandering the streets of Incheon with a cargo bike, made in collaboration with Bartolini Fiamminghi Archittetti, and collect recipes and books. For the final performance, Fried Books, Maria Pecchioli will organize reading and frying sessions, and she will exchange recipes with the visitors. From the 14th of October a follow up on the project will be published by an online art magazine UnDo.net in the form of a day-to-day cookbook in which a series of recipes, texts, and images will describe the artist’s experience in Incheon.

Itinerant performance 17-23 October 2011 – Final Performance 25th October 2011

Incheon Art Platfrom
10-1 Haean-dong 1-ga, Jung-gu – Incheon

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# 1: Lectures
8 | 15 | 22 | 29 June 2011 | 7 pm
Medionauta | Via Confalonieri 2 | Milan

Through the involvement of some of the key figures in the artistic and cultural scene in Milan such as Fernando De Filippi, Paolo Rosa, Giovanni Rubino, and Roberto Taroni, the Milano Radicale project enhances a series of conferences in which the speakers will be invited to comment, analyze and discuss together with artists selected for the residency and the audience, some visual works they produced or collaborated on during the seventies. The intent here is to re-examine methods and strategies that often occurred in artistic practices during that time, in order to reflect on the image, used here as a pretext to explore the legacy of those years in artistic and cultural production today.

> Giovanni Rubino – June 29, at 7 pm
Giovanni Rubino was a catalyst figure amongst those from the Collettivo Autonomo Pittori di Porta Ticinese. He organized numerous exhibitions and events in public spaces, including the “Mostra incessante per il Cile” (Milan, 1973-76): the show started after the coup of Pinochet and represented the greatest moment of participation to the Collettivo di Porta Ticinese and saw a succession of several interventions, mainly in Gigliola Rovasino’s Galleria di Porta Ticinese, until its final act at the Rotonda della Besana in 1977. He also organized the exhibition / conference “Un po’ poetico, un po’ politico” (Milan, Italy / Pavia, 1979), which by referring specifically to the “poetic” sphere, it reflected on the theme of political defeat and the figure of the ‘artist-hero” that will mark the art in the Eighties. In 1976 he participated in the Italian section of the Venice Biennale dedicated to “Ambiente come sociale”, curated by Enrico Crispolti.

> Fernando De Filippi  - 22 giugno, ore 19

Fernando De Filippi ha tenuto tra il 1973 e il 1980 il Corso di Tecniche Grafiche Speciali presso l’Accademia di Belle Arti di Brera (Milano); gli allievi del laboratorio, costituitisi in collettivo, concepirono e stamparono la maggior parte delle icone e slogan utilizzate nei cortei milanesi di quegli anni e che hanno accompagnato la contestazione degli anni Settanta. Ha partecipato a numerose mostre tra cui “Testuale. Le parole e le immagini” (Milano, 1979), nella quale presentò striscioni e manifesti collocati in tutta la città che riportavano testi tratti dagli Scritti sull’arte di Marx e altri scritti dello stesso De Filippi, alle edizioni della Biennale di Venezia del 1970, 1972, 1976, 1978 e 1980 e alla Quadriennale di Roma nel 1965, 1972 e 1986. È stato direttore dell’Accademia di Brera.

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# 1: Lectures
8 | 15 | 22 | 29 June 2011 | 7 pm
Medionauta | Via Confalonieri 2 | Milan

Through the involvement of some of the key figures in the artistic and cultural scene in Milan such as Fernando De Filippi, Paolo Rosa, Giovanni Rubino, and Roberto Taroni, the Milano Radicale project enhances a series of conferences in which the speakers will be invited to comment, analyze and discuss together with artists selected for the residency and the audience, some visual works they produced or collaborated on during the seventies. The intent here is to re-examine methods and strategies that often occurred in artistic practices during that time, in order to reflect on the image, used here as a pretext to explore the legacy of those years in artistic and cultural production today.

> Fernando De Filippi – June 22, at 7 pm
Fernando De Filippi held the course of special graphic techniques between 1973 and 1980 at the Accademia di Belle Arti di Brera (Milan); the students formed a collective and helped the challenge of the seventies movement by conceiving most of the icons and printing the slogans used in demonstrations throughout those years in Milan. He has participated in numerous exhibitions, including “Testuale. Le parole e le immagini” (Milan, 1979), during which he  placed banners and posters that represented extracts from Writings on Art by Marx and other writings by De Filippi himself, throughout the city. He also participated in the Venice Biennale in 1970, 1972, 1976, 1978 and 1980 and in the Quadrennial in Rome in 1965, 1972 and 1986. It was also Dean of the Accademia di Brera.

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# 1: Lectures
8 | 15 | 22 | 29 June 2011 | 7 pm
Medionauta | Via Confalonieri 2 | Milan

Through the involvement of some of the key figures in the artistic and cultural scene in Milan such as Fernando De Filippi, Paolo Rosa, Giovanni Rubino, and Roberto Taroni, the Milano Radicale project enhances a series of conferences in which the speakers will be invited to comment, analyze and discuss together with artists selected for the residency and the audience, some visual works they produced or collaborated on during the seventies. The intent here is to re-examine methods and strategies that often occurred in artistic practices during that time, in order to reflect on the image, used here as a pretext to explore the legacy of those years in artistic and cultural production today.

> Roberto Taroni – June 15, at 7 pm
Roberto Taroni founded Sixto Notes in 1977. In 1981 he created and organized, “Sonorità Prospettiche” an exhibition on the relationship between sound and environment. His works have been presented in international events like the Venice Biennale, the “International Week of Performance” of Bologna, the “Symposium Internationale d’Art Performance” in Lyon, “Forum ’80” in Middelburg, “Anni ’90” in Bologna, “Italian Art 1960-1982” in London and in private galleries and in international museums such as the Centre Pompidou in Paris, the Koelnischer Kunstverein in Cologne, the Folkwang Museum in Essen, the ELAC of Lyon, Wexner Center for the Arts in Columbus, the National Gallery of Modern Art in Rome and the PAC in Milan. He is a protagonist of International Performance and Video Art of the late ’70s, he built his artistic exhibitions, installations, environments, performances and videos, which constantly created a relation between Visual Arts and other artistic disciplines.

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# 1: Lectures
8 | 15 | 22 | 29 June 2011 | 7 pm
Medionauta | Via Confalonieri 2 | Milan

Through the involvement of some of the key figures in the artistic and cultural scene in Milan such as Fernando De Filippi, Paolo Rosa, Giovanni Rubino, and Roberto Taroni, the Milano Radicale project enhances a series of conferences in which the speakers will be invited to comment, analyze and discuss together with artists selected for the residency and the audience, some visual works they produced or collaborated on during the seventies. The intent here is to re-examine methods and strategies that often occurred in artistic practices during that time, in order to reflect on the image, used here as a pretext to explore the legacy of those years in artistic and cultural production today.

> Paolo Rosa – June 8, at 7 pm
Paolo Rosa along with Tullio Brunone, Giovanni Columbu, Claudio Guenzani and Ettore Pasculli, was a member of the Laboratorio di Comunicazione Militante, a group that was active from 1975 to 1979, and in 1976 they occupied the Church of San Carpoforo in Milan, transforming it into a self-organized cultural center called la Fabbrica di Comunicazione Militante. Thanks to the exhibition “Strategia d’informazione” ” (Rotonda della Besana, Milan, 1976, Casa del Mantegna, Mantova, 1977), the Laboratory would call into question the power of mass media images, subjecting them to a real process of “deconstruction”: framing, lighting, the use of screening, staging the subjects were all recombined actions that revealed the fallacy of visual quality. The video, Facce di festa, filmed in 1980 – a reflection on a lost youth in search for new references – marked the dissolution of the group and the birth of Studio Azzurro, a group founded in 1982 by Paolo Rosa, Fabio Cirifino and Leonardo Sangiorgi.

l'immagine è tratta da: "Brera Flash", anno 3, num.10 (ottobre 1979) Fernando de Filippi, Slogan, affissione 197

MILANO RADICALE
A cura di Radical Intention + Caterina Iaquinta

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A partire da giugno 2011, Radical Intention, in collaborazione con Caterina Iaquinta, promuove Milano Radicale, un progetto articolato in tre fasi che intende attivare una riflessione sul concetto di radicalismo e su una sua possibile contestualizzazione nella produzione artistica contemporanea milanese.
La prima fase consiste in un ciclo  di quattro conferenze rivolto all’analisi delle strategie visive e compositive che, tra il ‘73 e il ‘79 a Milano, hanno caratterizzato una particolare produzione artistica in riferimento soprattutto a immagini fotografiche, uso di slogan e immagini pubblicitarie, murales e anche alcuni aspetti dell’immagine in movimento. Gli interventi di quattro protagonisti della scena milanese di quel periodo (Fernando De Filippi, Paolo Rosa, Giovanni Rubino e Roberto Taroni), saranno seguiti da un gruppo di giovani artisti selezionati con l’obiettivo di avviare assieme a loro un percorso teorico e pratico che troverà nella seconda fase del progetto un momento di sperimentazione e condivisione laboratoriale nel contesto della residenza Corniolo Art Platform (agosto 2011) e infine si concluderà con una mostra collettiva (dicembre 2011 – gennaio 2012).

Il presupposto da cui il progetto ha preso avvio è l’idea di radicalismo, inteso come comportamento di opposizione e antagonismo. Se, infatti, nel corso degli anni Settanta numerosi processi artistici potevano essere definiti “radicali”, essi erano tali soprattutto perché nascevano in reazione a un potere considerato “nemico” e che attraverso il loro operato intendevano sovvertire, e perché una buona parte degli artisti attivi non potevano esimersi dal discutere nel loro operato alcune emergenze sul piano sociale e politico, creando così una discontinuità rispetto ai processi uniformati dell’arte. Se si considerano infatti alcune vicende artistiche che si sono susseguite a Milano tra il 1973 e il 1979, risulta come nell’arco di quegli anni il piano della contestazione e dell’impegno politico non era scollegato da quello della produzione artistica e culturale nella promozione di una funzione dell’arte come azione culturale, rivolta alla ridiscussione e ricostruzione dei codici visivi e spaziali, indicando in questo senso proprio la città di Milano come un esempio di “radicalismo” nel più ampio contesto europeo.
Oggi, quando l’azione artistica è estranea a quella politica, l’arte non persegue più un antagonismo “mirato”, ne consegue che laddove persiste una sensibilità “radicale”, il radicalismo ha cambiato forma.

“Milano Radicale” vuole interrogare quali siano i luoghi e i metodi in cui la pratica artistica possa ancora esprimere un carattere radicale e quali siano le forme in cui questo aspetto si manifesta. Attraverso il riferimento al clima culturale degli anni Settanta milanesi, l’intento del progetto è quello di contribuire a un “aggiornamento” del concetto di radicalismo.

Caterina Iaquinta

Vive e lavora a Milano
Sta svolgendo un Dottorato in Discipline Filosofiche. Artistiche e del Teatro presso l’Università Cattolica di Milano, con un progetto di ricerca volto a indagare la prospettiva teorico-critica e storiografica delle pratiche performative, in particolare in rapporto all’azione sociale e al teatro di ricerca con un focus sulla scena italiana dal 1975 al 1980. Si è occupata di rapporti tra produzione artistica, femminismo e contestazione sociale negli anni Settanta. Collabora con il Dipartimento Arti Visive di NABA – Nuova Accademica di Belle Arti di Milano. Come curatrice ha sviluppato progetti espositivi tra cui Dissertare/Disertare (2006) e La Forza dei Legami Deboli (2008), elaborati in network con il coinvolgimento di curatori e realtà no-profit italiane.

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MILANO RADICALE
Curated By Radical Intention + Caterina Iaquinta

Milano Radicale is a project curated by Radical Intention in collaboration with Caterina Iaquinta that will start in June 2011 and will end with an exhibition in 2012. The project intends to start a critical reflection on the concept of radicalism and its possible contextualization in contemporary art in Milan.

The first step consists in four lectures held by four protagonists of a particular artistic production that took place between 1973 and 1979 in Milan (Fernando De Filippi, Paolo Rosa, Giovanni Rubino, Roberto Taroni). The lecturers will analyze visual and compositional strategies in reference to photography, to using slogans and to advertisement, to murals and to some aspects of the moving image. The lectures will be followed by a group of selected young artists, who will enhance a theoretical and practical process during the second phase of the project at Corniolo Art Platform (August 2011) by participating in a laboratory in which they will experiment and discuss the aftermath of the lectures. The project will end with a group show between the end 2011 and the beginning of 2012.

The assumption of the project is that the idea of radicalism is to be understood as an oppositional behavior and thus as antagonism. During the 1970’s many artistic processes could be defined as “radical” mainly because they were born in reaction to a power considered as a “enemy” that they intended to overthrow through their actions and because a good number of artists could not refrain from discussing their approach to social and political emergencies, thus creating discontinuity towards uniformed processes of art. Indeed, given some artistic events that have taken place in Milan between 1973 and 1979, while promoting art as a cultural action and aiming at re-discussing and reconstructing the visual codes and space, it is as if over those years the level of protest and political engagement was not disconnected from that of the artistic and cultural production. This process indicated brought the city of Milan to be an example of “radicalism” in the wider European context.

Today, when the artistic action is sometimes alien to the political, art does not pursue a “targeted” antagonism, but a radical “feeling” is still present and radicalism has changed its forms of action.

“Milano Radicale” wants to question which places and which ways, and in what kind of artistic practice a radical nature can still be expressed, and what are the forms in which this issue occurs. Through a reference to the cultural climate of the seventies in Milan, the intent of the project is to contribute to an “update” of the concept of radicalism.

Caterina Iaquinta lives and works in Milan ad she is PhD candidate in Philosophy, Art and Theatre at the Cattolica University of Milan, with a research project aimed to investigate the theoretical, critical and historical prospects of performative practices, in particular relation with social action and experimental theater, with a focus on the Italian scene from 1975 to 1980. In these past years she has addressed the relationship between artistic production, feminism and the social context in the seventies. She is currently collaborating with the Department of Visual Arts at NABA – Nuova Accademia di Belle Arti di Milano. As a curator, she  developed exhibition projects including Dissertare/Disertare (2006) and La Forza dei Legami Deboli (2008), developed with the involvement of a network of curators and Italian no profit realities.

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Educar Apriendendo

Il 26 Maggio presso l’Accademia di Belle Arti di Bari , Vessel, Valerio Del Baglivo e Radical Intention in collaborazione con Iacopo Seri e Angelo Sarleti presenteranno il terzo atto di “Educar Apriendendo”, workshop sulle pratiche educative alternative che prende il suo nome da un celebre motto Zapatista.

Il workshop è parte di un progetto più ampio dal titolo “Becoming Rather Than Being – acts of self-education” che si sviluppa attraverso una serie di lezioni, conferenze e mostre per diffondere informazioni sulle pratiche di auto-apprendimento sviluppate in ambito artistico.

Dopo il primo atto svoltosi presso la NABA durante la mostra a cura di Marco Scotini, Learning Machines, ed il secondo atto organizzatosi presso il DOCVA di Milano, Educar Apriendendo valica per la prima volta i confini milanesi e presenta il terzo atto. Attraverso un gioco collettivo saranno testati alcuni dei principi alla base dell’auto-apprendimento e di modelli scolastici alternativi.

Ai partecipanti sarà chiesto di condividere le proprie conoscenze, con l’intento pratico di ricreare un provvisorio – ma funzionante – sistema formativo. Educar Apriendendo vuole affermare come anche il processo di apprendimento possa esser trasformato in un percorso collettivo auto-gestito ed auto-organizzato.

26 Maggio 2011 – ore 16-18

Aula Magna e Biblioteca dell’Accademia di Belle Arti di Bari
via Re David, 189/c – 70124, Bari

La partecipazione a questo LAB è aperta al pubblico fino al raggiungimento della quota massima di iscritti. Per iscriversi, scrivere a info@vesselartproject.org

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Becoming Rather Than Being acts of self-education – act 3

Educar Apriendendo

On May 26th at the Academy of Fine Arts in Bari, vessel, Valerio Del Baglivo and Radical Intention in collaboration with Iacopo Seri and Angelo Sarleti will present the third act of “Educar Apriendendo”, a workshop on alternative educational practices, which borrows its name from a famous Zapatista slogan.

The workshop is part of a larger project entitled “Becoming Rather Than Being – acts of self-education” which disseminates information on self-educational practices developed within the art context through a series of lectures, conferences and exhibitions.

After the first act took place at the NABA – New academy of fine arts in Milan during the exhibition Learning Machines curated by Marco Scotini, the second act was organized at the DOCVA Milan within the Framework of Education LAB. For the first time Educar Apriendendo crosses the Milanese borders and presents the thrid act. Through a collective game some of the fundamentals of self-learning and alternative school models will be tested.

Participants will be asked to share their knowledge with the practical purpose of recreating a temporary – but functional – educational system. Educar Apriendendo underlines how the learning process can be transformed into a collective self-managed and self-organized pathway.

May 26th 2011 – from 4 pm to 6 pm

Aula Magna e Biblioteca dell’Accademia di Belle Arti di Bari
via Re David, 189/c – 70124, Bari

Paticpation is free and places are limited. To subscribe, please contact info@vesselartproject.org.