The Italian-German artist presents a photographic project based on the television show Games Without Frontiers. Special attention is paid to the 1995 TV episode that took place in Castello Sforzesco in Milan: an architecturally monumental scenery, a backdrop enriched with ephemeral sets for the sports challenge broadcast in “Eurovision”. The photographic series by Armin Linke conceived for the space at Colli’s will be accompanied by 12 photographs from the Media Linien archive, part of a larger project on the work of the architect Hans Hollein and originally commissioned by the MAK Museum in Vienna and Museum Abteiberg in Mönchengladbach. The archive focuses on the architectural complex projected by Hollein in Munich for the 1972 Olympic Games. Media Linien is part of a larger research based on “architecture, sports and society”.
The exhibition is the last of a series of shows hosted by Colli on Sportication, community, competitions and games without frontiers, a research project dealing with social and recreative spaces during the European Community crisis. Two editorial formats have been produced for this occasion: Media Linien, a limited edition portfolio/multiple by Armin Linke, edited exclusively for the gallery, and the book Sporti cation, published by Viaindustriae with Colli Publishing Platform, that will be launched during the exhibition, that will last until February 11th, 2017. Downstairs, the fourth Project Book presents Federico Antonini’s ASMR Library. Antonini reconstructs and traces the recent approaches to books through ASMR videos, with a particular interest in “tactile” representations uploaded on video-sharing platforms. ASMR Library introduces a totally altered format with new unmediated concepts of sensorial perception.









COLLI independent Art Gallery presents the third edition of the Project Room for emerging artists, with Models of Display- Tonino Casula (our most beloved techno-archaic artist), by Montecristo Project with Tonino Casula and curated by Daniela Cotimbo. Montecristo Project is the continuation of Occhio Riflesso with Enrico Piras and Alessandro Sau and various guest artists invited by the Sardinian duo. Occhio Riflesso was based on the necessity to ponder on the spectator’s point of view in an exhibition, on a common language to be used in the installation captions and printed material. Montecristo Project builds events based on artists that have (or have not) caught the audience’s attention. The title of the project, inspired by Dumas’ novel, stems from its location: the exhibitions are installed on a desert island off the Sardinian coast. Given the secret emplacement, a seventeenth century Spanish observation tower renovated during World War II, the exhibitions are viewed only through the documentation created by the artists. The second project on the island is a solo show by Sardinian artist Tonino Casula (1931), a pioneer in electronic arts. Best known for his writings on art and semiotics, Casula radically gave up painting at the end of the eighties and started a long investigation of what he calls “abstract cinema”.
This is the first time that an exhibition on the island coincides with the presentation of the documentation in a gallery space, Colli Independent in Rome. The Roman public will thus be able to explore Casula’s work through a “partial” image registered by the artists of what lies on the island. The downstairs room will host an unfiltered unreleased video by Tonino Casula. A poster-catalogue of Casula’s project on the island has been printed for the occasion. Montecristo Project is an exhibition space on a desert island off the coast of Sardinia, a continuation of the Occhio Riflesso project by Enrico Piras (1987) and Alessandro Sau (1981). Montecristo is both an artistic-curatorial structure and a platform for the publication of theoretical texts.Tonino Casula was born in Seulo in 1931. His work has always been based on vision and perception. He radically abandoned traditional techniques in 1988 to investigate electronic arts. In the past 15 years, he has created unique and recognizable pieces of “abstract cinema” (as he likes to call it), by recuperating ancestral signs and forms and transposing them into an electronic language, especially in his 3d video animations.

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Are our convictions indisputable? Is our perception of things really objective? Are we afraid to topple our principles to see what lies behind them? Between certainty and suspicion there is doubt. The initial installation consists of a sitting room. The artist reads a book, quietly sitting in an armchair. There is one anomaly: the floor and the wall are inverted. The order of things will be upset and the role of objects will be subverted.
The final installation is the product of the performance tableau vivant: the inverted composition is a space for doubt representing a domestic scene, a photograph and a book to read: a study of the phenomenology of doubt in the post-material universe of contemporary performance art through a study of… The title, written around the perimeter of an imaginary circle emphasizes the concept of doubt. The book-object used in this performance/installation is a limited edition artist’s book. The video of the introductory performance-transformation will be visible in the gallery. Myriam Laplante is a Canadian artist born in Chittagong, Bangladesh. She lives and works in Bevagna and Rome (Italy) in a state of permanent doubt. Over the years, she has shown her performances, installations, sculptures and photographs in numerous venues, from squats to museums in America, Europe and Asia. Her works are in the collections of the Galleria Nazionale d’Arte Moderna and MACRO in Rome, in the Musée national des beaux-arts du Québec (Québec), Musée national de la photographie, (Ottawa,Canada) and in major private collections.

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The exhibition is focused on multiple neon works by Nannucci, from early Seventies, as “Asred”, “Quasi infinito” and ” Out of the blu “, to the latest “Look” and ” Listen to your eyes “, until  “THINK”, specifically created for this exhibition. It is the first time that the artist gathers and presents the entire collection of his “neon multiples”, mostly published by/for institutions and museums such as the Beyeler Foundation in Basel, the Sprengel Museum in Hannover, the Kunstverein in Cologne and in Frankfurt. The recent retrospective exhibition of Nannucci at Maxxi in Rome has already pointed out that the editions and multiples are a central practice of his work, which starting from concrete poetry and conceptual experience has opened up to a wider reflection, placing itself in dialogue with public and private spaces, leading to develop new research perspectives, new horizons of reflection. For the artist has been important the research around the reproducibility of the work of art, gradually opened to a new and democratic dimension, disseminated and “multiplied”. On this basis and these issues comes a “corpus” of over three hundred editions of artists’ books, multiples, records, posters, prints, photographs, ephemera, audiovisual and neon documenting various periods of his outstanding research, very relevant in the contemporary international art scene. This plurality of media is about an integrated artistic practice and interdisciplinary creativity ranging from multiplication fields and disciplines, overcoming the separations and existing hierarchies between the various media.





The thematic outline, indirectly linked to the 1972 Olympics, is positioned within the large European sport operations such as the Olympic and social policies of enlargement of the sport political entities. The medium of the poster is dealt within this context both as a form of official communication and as unconventional artistic form or counter-notice. Olympia ’72 thus speaks of the famous XX Olympics in Monaco, called The Happy Games, in fact become the scene of the conflict on a European and global scale with the tragic, competitive and media background of the sport.
The exhibition of the printed matter works of Joseph Beuys, Alberto Burri, Piero Dorazio, Klaus Staeck, Ettore Vitale, Wolf Vostell is part of the wider research project-book SPORTIFICATION, conceived as second of a series of displays that anticipate the release of book. Sportification, communities, competitiveness and games without borders, which the outcomes, result of three years of studies, will be presented in form of publication for the exhibition, with specific contributions of different curators and scholars of competitiveness in the recreational-social european space. The exhibition accompanies the bookshop space that opens the ED/MN edited by MN program, a shelf dedicated to the artist/publisher Maurizio Nannucci which also features a poster and a plate/invitation designed for the gallery in a limited edition. ED/MN edited by MN is a prelude to the exhibition THINK by Maurizio Nannucci opening on June 4th at COLLI independent art gallery.



“Capture a fleeting moment and transform it into infinity” could be the key to decipher the multifaceted work of Roberto De Simone. His work is poetic: sublime but rational, audacious, ironic and dazzling. Since the early eighties he worked in an array of media: objects, drawings, explosives, lights, natural phenomena, technical devices, video, audio, photographs and installations. From space launches to canned objects that could possibly generate real events, his visions came to life: images not only intrinsically linked to words, but also the result of accurate scientific research. The exhibition, curated by Myriam Laplante, presents emblematic works of his poetics of infinity. The installations are devices designed not only as mere works but conceived to produce and multiply the sign, to paint the winds, to draw from reality.
In occasion of the exhibition, Viaindustriae publishing with COLLI publishing platform has edited a book, the result of an exhaustive cataloguing of the work of Roberto De Simone. LINK TO THE BOOK