Basilisco (o come correre sull’acqua)
Basilisk (or how to run on water)
Василиск (или как бегать по воде)
The book is the very basis for a broader discussion about the challenges of transforming anything that appears impossible to accomplish by human beings into something feasible, just by shifting the point of view. It is a guide/vademecum with instructions concerning the challenge to run on the water from different perspectives and multidisciplinary fields. A detailed discussion on several levels to analyze the theme of the project from different points of view: when, how and in what way is the image of walking on water in different religions used and expressed at the theological level? What animal species are able to perform this action and in which particular conditions are they forced to do it? What are the physical forces put in place and what are the prerequisites that would allow a person to run on water? And so on.
Cristiano Ghibaudo (business coach), Riccardo Mangione (project manager), Daniele Sciannandrone (phisicist), Gianni Magrin (theologian), Massimo Delfino e Marco Isaia (herpetologist and paleontologist)
Illustration by: Franco Ariaudo Graphic design by: Friends Make Books (Torino) Viaindustriae publishing e Colli publishing platform Risograph
digital and offset softcover illustrated 144 pages, 300 copies, Italian/English/Russian size: 14x21cm,2018
GO TO SHOP
49 years ago Robert Smithson made his first earthwork Asphalt Rundown in October 1969 in an abandoned quarry near Rome with Galleria L’Attico. This exhibition and publication brings together rare and previously unpublished material from the Archivio Claudio Abate and Fabio Sargentini (Galleria L’Attico) documenting the iconic flow and the exhibition Smithson realized inside Galleria L’Attico, as well as sculptures and video works from Markus Karstiess who made a dig for the remains of the asphalt in 2014.
In the exhibition With the Eyes of the Earth, conceived by Markus Karstiess, the artist practices what in some places might be called artistic research. That is to say, rather, Markus Karstiess is following through in a personal quest in this exhibition, into what remains of Robert Smithson’s Asphalt Rundown (1969), located in Rome. Karstiess finds himself in the combined role of artist-curator. This already provides a glimpse into the complex nature of his artistic oeuvre, a lens to the exhibition itself, which in turn consists of diverse visible and invisible individual components. The display consists of the Scholar’s Rocks sculptures by Karstiess, Claudio Abate’s photography of the Smitshon’s land art action, the rare original poster and ephemera produced by L’Attico gallery and downstairs the video Was die Erde sieht that records the exploration of the site of Asphalt Rundown.
An accompanying publication with texts by Sylvia Metz and Friedrich Meschede is published by A+Mbookstore edizioni, Milano and VIAINDUSTRIAE PUBLISHING, Foligno. GO TO SHOP
“How to design (multiples) … Multiples are designed with the methods of research. Unlike the artist, the designer does not make a wonderful sketch and later find some reproduction technique. He experiments on a phenomenon which is optical, physical, geometrical, typological, mechanical … He refines the elements of communication, and studies the best material with which to produce the object for the maximum level of visual communication and the minimum level of cost. He finds the mechanical technique which best suits his purposes, and in the end a prototype is born — not a unique artistic creation, but a model for the creation of a series. Reproductions of artwork are always inferior to the original, but when designing a model for mass production, the prototype is always inferior to the final products.” (Codice Ovvio, Bruno Munari, 1971)
Dexter Sinister presents the second in a series of three exhibitions with COLLI independent tracking Bruno Munari’s work . In this occasion Dexter Sinister will present a new multiple The Last Shot Clock (multiple), a small, electronic clock based on an idiosyncratic counter originally designed for La Bienalle di Venezia 2013 and since reconstructed for a series of exhibitions and performances over the intervening five years. This exhibition follows directly from “…meet the Tetracono” at COLLI in June 2017 and will include a collection of related Munari, Danese, and Dexter Sinister materials.
Experimental Jetset, 2015, series of 5 poster, 59 x 42 cm, digital ultra-chrome pigment ink print on blue-back paper, limited edition of 5 copies, numbered and signed, produced for the exhibition Yes Yes Yes Alternative press, Rome 2015. BUY NOW
Experimental Jetset is a small, Amsterdam-based graphic design studio, founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, EJ have worked for a wide variety of institutes. Their work has been featured in group exhibitions such as ‘Graphic Design: Now in Production’ (Walker Art Center, 2011) and ‘Ecstatic Alphabets’ (MoMA, 2012). Solo exhibitions include ‘Kelly 1:1’ (Casco, 2002) and ‘Two or Three Things I Know About Provo’ (W139, 2011). In 2007, a large selection of EJ’s work was acquired by the MoMA. Members of EJ have been teaching at the Rietveld Academie and Werkplaats Typografie.
Co-operated by Stuart Bailey & David Reinfurt, Dexter Sinister constitutes a triangle of activities: (a) a publishing imprint, a workshop & bookstore, and a pseudonym making site/time-specific work in art venues. David graduated from the University of North Carolina in 1993, Yale University in 1999, and formed the design studio O-R-G in 2000. Stuart graduated from the University of Reading in 1994, the Werkplaats Typografie in 2000, and co-founded the journal Dot Dot Dot the same year. Dexter Sinister was originally set up to model a ‘Just-In-Time’ economy of print production, counter to the contemporary assembly-line realities of large-scale publishing. This involves avoiding waste by working on-demand, utilizing local cheap machinery, considering alternate distribution strategies, and collapsing distinctions of editing, design, production and distribution into one efficient activity. Since then, their work has branched (pragmatically) into many different contexts and venues.
Dexter Sinister, Stampa programmata, 2017, installation of the process of the four color printing (CMYK) on Munari’s Tetracono. 100 x 70 cm each, unique copy,
Dexter Sinister, The Last Shot Clock, edition of 16 copies, 23 x 10 x 10 cm, 2018.