AFTER CLUB – RICCARDO BANFI, ANNE DE VRIES, LUCA PUCCI 08.05 - 31.07.2021

AFTER CLUB – AND IN THE MEANTIME THE WORLD HAS CHANGED, IS A PROJECT BORN AND DEVELOPED OVER AN EXTENDED PERIOD OF TIME. AFTER SURFACING IN 2017 FROM AN EARLY DISCUSSION IN CONJUNCTION WITH THE PROJECT BULC, THE EXHIBITION FINDS ITS FINAL REALISATION ONLY IN 2021. THROUGH A RADICALNESS THAT FOR THE FIRST TIME OUR GENERATION HAS EXPERIENCED, THE VERY CONDITIONS OF CONCEIVING THIS EXHIBITION HAVE CHANGED SINCE 2017. IN THIS RESPECT, AFTER CLUB IS A PROJECT AIMING TO FREEZE THE IMPRESSION OF SUDDEN SILENCE AND SUSPENSION THAT HAS PERMEATED NIGHT LIFE SINCE THE BEGINNING OF 2020. A SENSE OF COLLECTIVE FALLING THAT HAS INVESTED THE CLUBBING WORLD – THROUGH THE EXPONENTIALLY FAST SEQUENCE OF SUDDEN CALLING OFF OF EVENTS, COLLECTIVE DISORIENTATION, ONLINE STREAMING EXPLOSION, DIFFUSION OF DIGITAL FESTIVALS AND SOLITARY LIVE SETS. BETWEEN THE FIRST DISCUSSIONS WITH THE ARTISTS FEATURED IN THE EXHIBITION AND ITS ACTUAL REALISATION, THE WORLD HAS CHANGED.

HENCE, CONCEIVING THE EXHIBITION AT THE TURN OF 2019 AND 2021, CARRIES WITH IT THE EXTRAORDINARY IMPACT OF THE YEAR 2020 ON OUR INTERPRETATION OF ONE OF THE PIVOTAL ELEMENTS OF THE CLUBBING AND RAVE SCENES: THE GATHERING.

AFTER CLUB AIMS TO CRYSTALLISE AND EXTEND SUCH MOMENTS OF TRANSITORY SUSPENSION AND OF SWIFT REDUCTION OF THE CROWD INTO A “SINGULARITY”, A PHASE OF ABRUPT ARREST; AND IT DOES SO BY DEPARTING FROM THE LANGUAGE OF THE CLUBBING WORLD ITSELF.

AS IF THIS TEMPORARY SITUATION WOULD BECOME THE NORM.

WHETHER WITHIN THE CONTEXT OF CLUBBING THE “AFTER” IS THE TIME FOLLOWING AND NON-OFFICIALLY EXPANDING THE PARTY – THAT AFTER EXTENDING AND EXALTING THE SECRET COMMUNION OF UNSTOPPABLE NIGHT-GOERS – HERE THE AFTER RATHER BECOMES A REFLECTION ON THE STATUS OF CLUBBING, AS WELL AS ON THE VERY IDEA OF CLUB ITSELF OR OF THE GATHERING FOLLOWING THE 2020 APOCALYPSE. THE ECHO OF SUCH TEMPORARY FREEZING, THUS PERMEATES THE EXHIBITED WORKS AND DEFINES THEIR INTERPRETATION. IN THE SEQUENCE OF ARTWORKS BY RICCARDO BANFI, ANNE DE VRIES AND LUCA PUCCI, SUCH THREAD OF “CLUB AFTER” FINDS A METAPHORICAL AND POETIC EXPRESSION IN BANFI’S PHOTOGRAPHS, A MORE CEREBRAL EXPLORATION OF THE SYMBOLISM OF RAVE-CULTURE IN THE DE VRIES’ WORKS, AND A PERFORMATIVE AND RELATIONAL INTERPRETATION IN PUCCI’S PROJECT, WHERE THE GATHERING IS LINKED TO GROUP DANCES AS A TOOL OF TRANSGENERATIONAL UNITY.

THE EXHIBITION LAUNCHES A SERIES OF PROJECTS HOSTED BY COLLI INDEPENDENT ART GALLERY, THAT WILL CONVERGE INTO BULC, A PRINTED CATALOGUE BY VIAINDUSTRIAE PUBLISHING THAT WILL BE UNVEILED AT THE END OF THE PROGRAMME.

RICCARDO BANFI
LET’S DANCE 2016 / HAND (RIOT) 2017

A SOPHISTICATED INTERPRETER OF NIGHTLIFE, BANFI MADE IT THE FOCUS OF HIS PHOTOGRAPHIC INVESTIGATION FROM 2010 UNTIL ABOUT 2017. IF THE 2015 PROJECT TNX REPRESENTS THE CULMINATION OF SUCH RESEARCH, HIS INTEREST IN CLUBBING HAS GRADUALLY WANED THROUGH THE MULTIPLE TRAJECTORIES OF A VISUAL UNIVERSE THAT HAS EXPERIENCED HYBRID AESTHETIC DIMENSIONS VIA THE PHOTOGRAPHIC MEDIUM: FROM A RENEWED ATTENTION FOR AND EXPERIMENTATION WITH THE DIGITAL (SEE THE SERIES SURPLUS, 2015-2017) TO A PERIOD SPENT IN LOS ANGELES, FROM WHICH HIS LATEST COLLECTION SUNSHINE NOIR ORIGINATES. THE TWO WORKS ON SHOW LET’S DANCE, 2016, AND HAND (RIOT), 2017, REVEAL ELEMENTS IN LINE WITH HIS INVESTIGATION ON CLUBBING – HAND IS PART OF THE PROJECT RIOT ON MYKKI BLANCO – AND THE POETIC TONES OF HIS SUBSEQUENT RESEARCH. BANFI’S PRODUCTION IS RICH AND GUIDED BY THE EXPLORATORY NATURE OF THE ARTIST’S GAZE IN IDENTIFYING ANONYMOUS MOMENTS OR UNEXPECTED EPIPHANIES, POTENTIALLY HIDDEN IN EVERY PLACE. POETIC VISUAL METAPHORS THAT, WHILE DOCUMENTING THE ARTIST’S SPACES OF ACTION, DEFINE A UNIQUE, VARIED, FIGURATIVE AND ABSTRACT, AS WELL AS BIOGRAPHICAL AND DOCUMENTARY REPRESENTATION OF THE CONTEMPORARY WORLD.

IF RIOT SYMBOLICALLY STANDS FOR THE “BUILD UP” PREPARING FOR A “DROP” THAT IS DOOMED NOT TO HAPPEN, LET’S DANCE HOLDS THE EMBRYO OF A RESOLUTION: IN THE WHEEL OF A PIGEON’S WINGS AND IN THE HAND, THE FLUIDITY OF TWO DISTINCT MOVEMENTS CAN BE SEEN RESPECTIVELY AS THE ECHO OF THE SETBACK AND A RENEWED MOMENTUM.

BANFI’S PRESENTATION IS COMPLETED BY THE VIDEO 2012: A REMINISCENCE FINALISED ON THE OCCASION OF AFTER CLUB FOR ITS DIGITAL PLATFORM. AS BANFI STATES, 2012: A REMINISCENCE INDULGES IN A RE-ENACTMENT OF PAST EVENTS, STARTING FROM ARCHIVE FOOTAGE OF A NIGHT OF PARTYING AND REFLECTING ON THE THEME OF CLUBBING DURING A “STATE OF EXCEPTION”. THE VIDEO OFFERS PERSPECTIVES ON LEISURE TIME, RITUALITY AND BELONGING TO A CULTURE, WHILE QUESTIONING THE ROLES OF INDIVIDUALS WITHIN THE NIGHTLIFE COMMUNITY AND THEIR INTERACTIONS. IN A YEAR IN WHICH IT HAS BEEN IMPOSSIBLE TO LIVE IT, BANFI HAS NOT CEASED TO INVESTIGATE THE THEME OF THE NIGHT, AS A THEORETICAL PLACE, EVEN BEFORE IT IS EXPERIENTIAL, OFFERING A MORE CONCEPTUAL ENTRY POINT TO THE DIVERSE RESEARCH APPROACHES FEATURED IN THE SHOW. “NOITE (NÃO-OITO), NUIT (NON-HUIT), NIGHT (NO-EIGHT), NACHT (NEIN-ACHT); NOTTE; NOCHE”. IN THIS QUOTATION RECENTLY DISCOVERED BY THE ARTIST ON THE ETYMOLOGY OF THE WORD NIGHT AND ITS MYSTERY, AN ALMOST NUMERICAL INTRODUCTION TO THE WORKS OF ANNE DE VRIES AND LUCA PUCCI CAN BE FOUND, DISCLOSING TWO DISTINCT DIMENSIONS – ONE NOCTURNAL, THE OTHER DIURNAL – BOTH OVERLOOKED, AS IT WILL BE SEEN, BY A SORT OF NUMEROLOGY AND INTERNAL RHYTHM.

ANNE DE VRIES

FREEZONE 23 2020 / T.A.Z. 2018

THE WORLD OF ELECTRONIC MUSIC, ‘FREE TEKNO’ AND ‘HARDSTYLE’ IS RECURRENT IN THE WORK OF ARTIST ANNE DE VRIES, IN CONJUNCTION WITH A BROADER REFLECTION ON CONTEMPORARY NOTIONS OF “TRANSCENDENCE” AND THE “MIND-BODY DUALITY”, AS WELL AS ON THE RELATIONSHIPS BETWEEN TECHNOLOGY AND PROGRESS, METAPHYSICAL THEORY AND “MASS EXPERIENCE”, PARTICULARLY WITH REFERENCE TO LEGENDARY FESTIVAL AND TRANCE RAVE REUNIONS. AMONG THE WORKS THE ARTIST HAS PRODUCED IN SUCH DIRECTION AND HAVE HAD PARTICULAR RESONANCE, THE INSTALLATION CRITICAL MASS: PURE IMMANENCE, REALISED IN THE OCCASION OF THE 9TH BERLIN BIENNALE IN 2016, CAN BE MENTIONED. DE VRIES’ RESEARCH IS INTERESTED IN THE LINGUISTIC AROUND MUSIC, CORRELATIONS BETWEEN TITLES, LYRICS IN RELATION TO ELECTRONIC (FUTURISTIC) MUSIC, FOR WHICH HE TURNED A WIDE RANGE OF PHILOSOPHICAL AND SOCIOLOGICAL THEORIES INTO LYRICS FOR DANCE TRACKS.

CONCEIVED FOR HIS 2019 SOLO SHOW TITLED TRANCE IN AMSTERDAM – RETURNS AND PRESENTED IN ITALY FOR THE FIRST TIME, FREEZONE 23 AND T.A.Z. DEPART FROM RAVE CULTURE ICONOGRAPHY AND HINT RESPECTIVELY AT A MIX OF SOURCES: HAKIM BEY’S TEMPORARY AUTONOMOUS ZONE, “ONTOLOGICAL ANARCHY” AND “POETIC TERRORISM”, AS WELL AS RUDOLF STEINER’S PHILOSOPHY OF FREEDOM, BOTH TRENDS THAT CROSSED THE ANARCHIST MINDED ‘FREE TEKNO’ AND ‘TRIBE’ CIRCLES IN THE ‘90S. IN THE USE OF STRIPES A PARALLEL WITH THE AESTHETICS OF DANIEL BUREN CAN BE FOUND: A TRIBUTE TO THE FORMAL TROPES OF AN ARTIST THAT HAS MADE OF THE ELEMENT OF THE STRIPE THE BANNER OF AN AESTHETIC CREDO AND A POLITICAL TOOL OF INSTITUTIONAL CRITIQUE, BY FAVOURING THE PRESENTATION OF HIS WORK IN PUBLIC SPACES.

FREEZONE 23 AND T.A.Z. ARISE FROM DE VRIES’ ARTICULATED INTEREST IN THE WORLD OF FREE TEKNO, OF WHICH THE ARTIST CAPTURES THE COUNTER-CULTURAL AND ANARCHIC ORIGIN AND, AT THE SAME TIME, THE PROCESS OF GRADUAL ANAESTHETISATION OF SUCH “HARD” MATRIX, UNTANGLED IN THE TEXT “TRANSFORMATION THROUGH DEPOLITICIZATION” PUBLISHED ON FLASH ART INTERNATIONAL IN 2016. A PROCESS SUBTLY REPLICATED ALSO IN THE “STRIPED LANDSCAPE” OF FREEZONE23, WHICH REMAINS POISED BETWEEN A TRIBUTE TO THE ERA OF COUNTERCULTURE, EVOKED IN THE TITLE AND IN THE KIEREWIET LOGOS – FROM AN UNDERGROUND SELF-ORGANIZING DUTCH SOUND SYSTEM, THAT IS OPPOSING THE FOR-PROFIT CLUB AND FESTIVAL TECHNO UNIVERSE.

LUCA PUCCI
AGENZIA DANCING DAYS

BETWEEN 2010 AND 2015 LUCA PUCCI HAS PRODUCED AGENZIA DANCING DAYS, A PROJECT IN COLLABORATION WITH EMANUELE DE DONNO ARISING FROM AN INVESTIGATION ON GROUP DANCES. IT IS A PERFORMATIVE PROJECT, MOVED BY AN AIM TO GATHER AND CREATE A COLLECTIVITY THROUGH THE ARTISTIC MEDIUM THAT HERE BECOMES A “CATALYST FOR COMMUNITY”. A PROJECT THAT COULD BE SEEN AS AKIN TO RELATIONAL ARTS, AGENZIA DANCING DAYS SEES IN THE GALLERY ITS CONCRETE REALISATION THROUGH THE SLICK AESTHETICS OF A WHITE LP, DOCUMENTING THE ARTIST’S JOURNEY BETWEEN DIVERSE PLACES, FROM UMBRIA TO POLAND, FROM RAVENNA TO WARSAW.

AS DESCRIBED IN THE “TRAVEL NOTES” COLLECTED BY THE ARTIST IN THE SEVERAL SITES WHERE THE PROJECT HAS OCCURRED, AGENZIA DANCING DAYS FINDS ITS ORIGIN IN THE DANCITY FESTIVAL: AN ELECTRONIC MUSIC FESTIVAL ONCE TAKING PLACE IN FOLIGNO. FROM SUCH CONTEXT SPRUNG THE INTENTION TO BRING A GROUP OF “YOUNG SENIORS” CLOSER TO THE CLUBBING WORLD. “ON THAT EVENING, THE STRENGTH TO MOBILISE AND SHOW TO THOSE WHO WERE DANCING THAT THERE WAS ALSO A DIFFERENT POSSIBILITY OF DANCING, THROUGH GROUP DANCES, WAS VERY CLEAR”. AVAILABLE IN THE GALLERY FOR VISITORS, THE LIST OF TRAVEL NOTES OFFER A PRECISE GUIDE TO THE PROJECT’S VARIOUS STAGES OF DEVELOPMENT.

AN ARTIST WHO GOES BEYOND THE CANONICAL SYSTEMS, PROFILES AND CONTEXTS OF CONTEMPORARY ART, PUCCI’S DISCREET RESEARCH DEVELOPS ON TWO LEVELS: LARGE SCALE PROJECTS INVOLVING BROAD COMMUNITIES IN EVEN PICARESQUE ENTERPRISES, AND A FINAL SOBER, DRY AND PRECISE FORMALISATION, ULTIMATELY, A CONCEPTUAL ONE. AS WHITE AS THE DANCE FLOORS WHERE THE “POLISH DANCING DANCERS” PERFORMED THEIR MOVES WITH THE ARTIST, THE RECORD IS NOT JUST A SONIC MEMORY, BUT ALSO A HUMAN RECOLLECTION OF THE PROJECT’S ITINERARY. TWO SIDES, A AND DD, EACH CONTAINING 18 ONE-MINUTE TRACKS. ONE MINUTE CORRESPONDS TO 33 RPM, TRANSLATING ON THE RECORD THE PRODUCTION PROTOCOL OF THE PERFORMANCE. SIDE A COLLECTS THE RECORDINGS OF 18 GROUP DANCES HELD IN WARSAW; THE DD SIDE COLLECTS 18 TRACKS LINKED TO EIGHTEEN PERFORMANCES IN DIVERSE SITES.

THE SEQUENCE SELECTED FOR THE EXHIBITION (TRACK 9 TO 13, DD SIDE) INCLUDES THE DIVERSE SOUND AND PERFORMATIVE REGISTERS OF THE PROJECT, THE HANDS CLAPPING TYPICAL OF GROUP DANCES, MAZURKAS, THE PRACTICE AND REPETITION OF PUCCI’S STEPS WITH THE GROUP, CLASSIC BALERA SOUNDS AND A BIZARRE – AS IN THIS CASE IT IS DIFFICULT TO RECONCILE IT WITH THE CONTEXT – TECHNO CODA. THE ECHOES OF THE RECORDING AND THE RUMBLE OF THE ROOMS, OF THE STEPS, OF THE GESTURES, CONFERS TO THE AUDIO A STRANGE DIMENSION OF BOTH PRESENCE AND ABSENCE. PUCCI’S PROCESS SEEMS NOWADAYS DIFFICULT TO IMAGINE, FOR IT SOUNDS VERNACULAR AND DISTANT AT THE SAME TIME, THE MEMORY OF AN IDEA OF UNION, DURING “DANCING DAYS” OVER WHICH THE SHADOW OF THE LAST YEAR INEVITABLY LOOMS.

17 MARCH 2020

DEAR GIULIA,

PLEASE FORGIVE ME FOR NOT GETTING BACK TO YOU SOONER.

I WAS QUITE SICK, AND BY THE TIME I RECOVERED THE WHOLE WORLD HAD CHANGED.

SAME FOR YOUR PLANS I SUPPOSE?

I HOPE YOU ARE HEALTHY AND SAFE.

ANNE

AFTER CLUB

AS IF THIS TEMPORARY SITUATION WOULD BECOME THE NORM.
A SUSPENDED SCENARIO, IN WHICH, OF CLUBS, ONLY PROPS AND MEMORIES REMAIN.

GIULIA BINI


RICCARDO BANFI – 2012: A REMINISCENCE


INSTALLATION VIEWS

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FASTER THAN CHRIST | FRANCO ARIAUDO

The project Faster than Christ by Franco Ariaudo is inserted in the wider investigation that he artist has conducted on some scenarios of the possible and on the influence that they can have on our perception of the reality or on that we assume to be possible. Through a series of sketches and actions developed since the 2017 during a residence in the island of Biruchiy, dipped in the suggestive landscape of the Azov sea, the project has initially taken the form of a book, Basilisk or How to run on water, that has explored under multidisciplinary points of view the practice of the run on water and its motivational potentialities in front of the challenges that the human being must face.
The project from COLLI independent art gallery is an extension of this research in the format of show that, in its plastic-sculptural evolution, acquires further senses and meanings. Beginning from a (re) teo-philosophical reading that the act of walk on water occupies in the western symbology and imagination, the project gets away from biblical topic toward other domains, closer to more actual anthropological and socio-cultural worries. Which are the necessary ideal conditions for facing the challenge of the run on water? Which are the physical and spiritual strengths that must be implemented, and which are the prerequisites that would allow a person to run on water? And above all, how can we change our point of view on the reality and start to imagine something impossible as possible?
The space of the gallery becomes a training centre that stage a series of tecno-gymnastic prototypes, that act as potential tools to reach this apparently impossible objective. From the installation PETER Mt14:31, a tapis roulant that desecrate the run on water, depriving it of its extraordinary nature, to the footwears that melt the theological lexicon with the mass production promotional one. The sublime fuses with today’s sport aesthetic, in a playful and ironic gesture of appropriation and hybridization. Like, for example, the poster with the representation of Jesus and the evocative writing Why did you doubt?.  Starting from a para-scientific register, the project Faster than Christ lays the foundations for the theory and the practice of the run on water, in which the notion of the magic and of the miraculous cohabits with a competitive and pragmatic vision, reflecting some contradictions of the contemporary society. Result of multiples suggestions and visions drawn by the natural world and by the science, the show proposes a radical perspective change on the topic, moving the point of view from the utopic to the dystopic that pull us toward a redefinition of the same notion of impossible and of its perceptive limits, in front of the numerous technological and social transformations that we are going through.
The show is accompanied by the artist book Basilisk, edited by COLLI gallery, Viaindustriae publishing with the graphic project of Friends Make Books. The typeface shown by the works in the exhibition is “Sporty”, by Alessio Di Ellena.
The exhibition is accompanied by the artist book “Basilisco”, edited by Colli independent art gallery, Viaindustriae publishing, with the graphic project by Friends make books. LINK TO THE BOOK

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BATIA SUTER & KATINKA BOCK – FLAVA. SOLO ANNACQUATO

Colli Independent Art Gallery presents Flava – Solo annacquato, a project “in two” made by the German artist Katinka Bock and the Swiss-Dutch Batia Suter. The exhibition is the result of research on the “fluvial area” of Tevere, and more generally on the relationship between the water and the city of Rome, which becomes liquid iconography inside the artist’s book edited by Roma Publication (Amsterdam). The show will present the intervention of the two artists who will co-habitate the gallery’ spaces. The relationship between the water and the city is exhibited in multiples declinations. In Suter’s works the numerous images try to describe the water from a superficial only to go into depth later on. The associative method goes through the use of preexistent images to built a new narration, which allows the artist  to describe the Tevere and its iconography by means of his different stratification. History and images are connected through a continuous rhythm, scanned by sensorial and conceptual references. For Suter a work never begins with a detail; instead through the use of  various images her work is tries to define personal encyclopedia. On the other hand, Bock’s work intervenes especially inside the space’s context. The use of water becomes a “physical passage.” Its course, through a series of plumbings, constitutes a programmed path in which the water would not able to flow without the support offered by the sculpture. Showing and hiding are predominant aspects. The plumbing’s structure – usually hidden – becomes the protagonist that reveals the exchange between the water and the solid matter. The pipes in iron and the floor in concrete are connected thanks to the hole in the centre of the flooring, that transforms the gallery’s basement in a fountain. Water thus becomes a metaphor of time and the presence of the people moving inside the space, coming in and out.
The catalogue/artist’s book is produced by Colli publishing platform in collaboration with Roma publications and Viaindustriae publishing.

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DEXTER SINISTER – MEET THE TETRACONO

In 1965, Italian artist and designer Bruno Munari released the Tetracono with an event and exhibition at the Danese Milano showroom, inviting spectators to “. . . meet the Tetracono” as if it was a person. Instead Tetracono is a multiple product, an austere 15-cm black steel cube housing four aluminum cones, each painted half-red and half-green, designed to spin at four distinct speeds on an 18-minute cycle. Its function is to “show forms while they are in the process of becoming.” Developed from a 6-month fellowship at the American Academy in Rome, this setup features a rotating installation of 4 posters upstairs and a refreshed inventory of specific design titles in the bookshop downstairs, together with a short background video. Limited edition silkscreen posters announce the future exhibition project by Dexter Sinister at the beginning of 2018 in the COLLI independent space.

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ARMIN LINKE – JEUX SANS FRONTIERÈS

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.

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