1180 Résultats
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.2009.PR01
Description:
The project series documents the installation "Brano di Città" presented at the Galleria Enrico Fornello, in Prato, in 2009. The installation consists of covering the walls and the floor of an entire gallery space with branches and dry leaves. "The material is predominant here, and “becomes” architecture. It is a piece of city, or a ghost of it, where nature turns into architecture, or a work of architecture structures itself, describes itself with natural materials." [1] The project series contains drawings and photographs of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-city-architecture-2009/ (last accessed 22 January 2020).
AP207.S1.2009.PR01
Description:
The project series documents the installation "Brano di Città" presented at the Galleria Enrico Fornello, in Prato, in 2009. The installation consists of covering the walls and the floor of an entire gallery space with branches and dry leaves. "The material is predominant here, and “becomes” architecture. It is a piece of city, or a ghost of it, where nature turns into architecture, or a work of architecture structures itself, describes itself with natural materials." [1] The project series contains drawings and photographs of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-city-architecture-2009/ (last accessed 22 January 2020).
Personnes et institutions:
Date:
2009-2015
2009-2015
Titre:
Brano di Città [City Architecture] (2009)
Actions:
AP207.S1.2009.PR01
Description:
The project series documents the installation "Brano di Città" presented at the Galleria Enrico Fornello, in Prato, in 2009. The installation consists of covering the walls and the floor of an entire gallery space with branches and dry leaves. "The material is predominant here, and “becomes” architecture. It is a piece of city, or a ghost of it, where nature turns into architecture, or a work of architecture structures itself, describes itself with natural materials." [1] The project series contains drawings and photographs of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-city-architecture-2009/ (last accessed 22 January 2020).
Brano di Città [City Architecture] (2009)
Actions:
AP207.S1.2009.PR01
Description:
The project series documents the installation "Brano di Città" presented at the Galleria Enrico Fornello, in Prato, in 2009. The installation consists of covering the walls and the floor of an entire gallery space with branches and dry leaves. "The material is predominant here, and “becomes” architecture. It is a piece of city, or a ghost of it, where nature turns into architecture, or a work of architecture structures itself, describes itself with natural materials." [1] The project series contains drawings and photographs of the installation. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-city-architecture-2009/ (last accessed 22 January 2020).
Niveau de description archivistique:
Project
Project
Date:
2009-2015
2009-2015
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
Applausi [Applause] (1968)
Applausi [Applause] (1968)
Numéro de référence:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Personnes et institutions:
Date:
circa 1968-2015
circa 1968-2015
Titre:
Applausi [Applause] (1968)
Actions:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Applausi [Applause] (1968)
Actions:
AP207.S1.1968.PR05
Description:
This project series documents Pettena's design for "Applausi", a suitcase split in half to create two flashing signs with the word "Applausi". The signs were designed for the music performance by Vittorio Gelmetti, "La descrittione del gran paese" a post-pop opera for which Pettena was also in charge of the scene direction. The performance was presented at the 6th Festival of Avant-Garde Music at the Teatro Biondo, in Palermo, in December 1968. The signs were placed on each side of the stage, toward the audience. "The text, together with others that indicated the piano, the singer and the cello, reminded the audience of the habits of an illiterate public participating in a televised show." [1] The "Applausi" signs were also presented in the exhibition "The living currency" in Varsaw, at the Teatr Dramatyczny in 2010, and at the 6th Berlin Biennale at the Hau1, Die lebende Münze, in 2010. The project series contains photographs of the 'Applausi' signs, a drawing of the sign, and a draft poster showing the display of the stage for Vittorio Gelmetti performance at the 6th Festival of Avant-Garde Music. The project series also includes photographs of the music performance, a video of Pettena and the sign at the Berlin Biennale in 2010, and project descriptions in English and Italian. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 102.
Niveau de description archivistique:
Project
Project
Date:
circa 1968-2015
circa 1968-2015
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1971.PR05
Description:
The project series documents the performance "Falsa Curva D'Autostrada", also know in English as Fake Expressway Bend. The performance was undertaken with a group of Pettena's students from the Minneapolis College of Art and Design in Minneapolis, in 1971. It consisted of hanging a large tarp from the overpass of an expressway under construction. The tarp extended to the road underneath and was used to create a fake bend in the overpass. The performance was targeting "the excess of uniformity in urban design" by reimagining the linearity of the overpass into a fake curve. The project series contains two photographs of the fake expressway bend, two sketches for the installation, and project descriptions in English and in Italian. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/ff-intens-1971-1/ (last accessed 4 November 2019)
AP207.S1.1971.PR05
Description:
The project series documents the performance "Falsa Curva D'Autostrada", also know in English as Fake Expressway Bend. The performance was undertaken with a group of Pettena's students from the Minneapolis College of Art and Design in Minneapolis, in 1971. It consisted of hanging a large tarp from the overpass of an expressway under construction. The tarp extended to the road underneath and was used to create a fake bend in the overpass. The performance was targeting "the excess of uniformity in urban design" by reimagining the linearity of the overpass into a fake curve. The project series contains two photographs of the fake expressway bend, two sketches for the installation, and project descriptions in English and in Italian. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/ff-intens-1971-1/ (last accessed 4 November 2019)
Personnes et institutions:
Date:
circa 1971-2015
circa 1971-2015
Titre:
Falsa Curva D'Autostrada [Fake Expressway Bend] (1971)
Actions:
AP207.S1.1971.PR05
Description:
The project series documents the performance "Falsa Curva D'Autostrada", also know in English as Fake Expressway Bend. The performance was undertaken with a group of Pettena's students from the Minneapolis College of Art and Design in Minneapolis, in 1971. It consisted of hanging a large tarp from the overpass of an expressway under construction. The tarp extended to the road underneath and was used to create a fake bend in the overpass. The performance was targeting "the excess of uniformity in urban design" by reimagining the linearity of the overpass into a fake curve. The project series contains two photographs of the fake expressway bend, two sketches for the installation, and project descriptions in English and in Italian. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/ff-intens-1971-1/ (last accessed 4 November 2019)
Falsa Curva D'Autostrada [Fake Expressway Bend] (1971)
Actions:
AP207.S1.1971.PR05
Description:
The project series documents the performance "Falsa Curva D'Autostrada", also know in English as Fake Expressway Bend. The performance was undertaken with a group of Pettena's students from the Minneapolis College of Art and Design in Minneapolis, in 1971. It consisted of hanging a large tarp from the overpass of an expressway under construction. The tarp extended to the road underneath and was used to create a fake bend in the overpass. The performance was targeting "the excess of uniformity in urban design" by reimagining the linearity of the overpass into a fake curve. The project series contains two photographs of the fake expressway bend, two sketches for the installation, and project descriptions in English and in Italian. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/ff-intens-1971-1/ (last accessed 4 November 2019)
Niveau de description archivistique:
Project
Project
Date:
circa 1971-2015
circa 1971-2015
Personnes et institutions:
Numéro de référence:
ARCH282908
Description:
The case is labelled "MITTELARCHITETTURA / Hans Hollein / Portoghesi / Pettena" and videocassette label inscribed "MITTELARCHITETTURA / Hans Hollein / Portoghesi / Pettena".
ARCH282908
Description:
The case is labelled "MITTELARCHITETTURA / Hans Hollein / Portoghesi / Pettena" and videocassette label inscribed "MITTELARCHITETTURA / Hans Hollein / Portoghesi / Pettena".
Personnes et institutions:
Date:
2002-01-02
2002-01-02
Titre:
Unidentified video recording related to the exhibition “Hans Hollein. Opere 1960-1988”
Actions:
ARCH282908
Description:
The case is labelled "MITTELARCHITETTURA / Hans Hollein / Portoghesi / Pettena" and videocassette label inscribed "MITTELARCHITETTURA / Hans Hollein / Portoghesi / Pettena".
Unidentified video recording related to the exhibition “Hans Hollein. Opere 1960-1988”
Actions:
ARCH282908
Description:
The case is labelled "MITTELARCHITETTURA / Hans Hollein / Portoghesi / Pettena" and videocassette label inscribed "MITTELARCHITETTURA / Hans Hollein / Portoghesi / Pettena".
Date:
2002-01-02
2002-01-02
Personnes et institutions:
Classification:
livres
livres
Titre:
Sketch for Montagne Naturali
Sketch for Montagne Naturali
Numéro de référence:
ARCH287093
Description:
Bound set of digital renderings, a sketch by Pettena and plans of the trellises.
ARCH287093
Description:
Bound set of digital renderings, a sketch by Pettena and plans of the trellises.
Personnes et institutions:
Date:
circa 2011
circa 2011
Titre:
Sketch for Montagne Naturali
Actions:
ARCH287093
Description:
Bound set of digital renderings, a sketch by Pettena and plans of the trellises.
Sketch for Montagne Naturali
Actions:
ARCH287093
Description:
Bound set of digital renderings, a sketch by Pettena and plans of the trellises.
Classification:
livres
livres
Date:
circa 2011
circa 2011
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Titre:
Quarry (1971)
Quarry (1971)
Numéro de référence:
AP207.S1.1971.PR03
Description:
The project series documents Pettena's project "Quarry". It consists of a series of three drawings showing a quarry wall painted in pink washed away by a rain storm, consequently creating and leading to the formation of a small lake of pink water at the bottom of the quarry. A camera, placed on the opposite side of the quarry, films the whole process. "The drawing traces an intervention in three successive phases in a context modified by the work of human beings and then reconquered by nature [...]." [1] The project series contains drawings of the three successive phases, one showing the painted wall, the second showing the rain storm, and the last one showing the lake formed at the bottom of the quarry with the pink stained water. It also includes project descriptions in English and in Italian. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-quarry-1971-1/ (last accessed 11 November 2019)
AP207.S1.1971.PR03
Description:
The project series documents Pettena's project "Quarry". It consists of a series of three drawings showing a quarry wall painted in pink washed away by a rain storm, consequently creating and leading to the formation of a small lake of pink water at the bottom of the quarry. A camera, placed on the opposite side of the quarry, films the whole process. "The drawing traces an intervention in three successive phases in a context modified by the work of human beings and then reconquered by nature [...]." [1] The project series contains drawings of the three successive phases, one showing the painted wall, the second showing the rain storm, and the last one showing the lake formed at the bottom of the quarry with the pink stained water. It also includes project descriptions in English and in Italian. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-quarry-1971-1/ (last accessed 11 November 2019)
Personnes et institutions:
Date:
1971-2015
1971-2015
Titre:
Quarry (1971)
Actions:
AP207.S1.1971.PR03
Description:
The project series documents Pettena's project "Quarry". It consists of a series of three drawings showing a quarry wall painted in pink washed away by a rain storm, consequently creating and leading to the formation of a small lake of pink water at the bottom of the quarry. A camera, placed on the opposite side of the quarry, films the whole process. "The drawing traces an intervention in three successive phases in a context modified by the work of human beings and then reconquered by nature [...]." [1] The project series contains drawings of the three successive phases, one showing the painted wall, the second showing the rain storm, and the last one showing the lake formed at the bottom of the quarry with the pink stained water. It also includes project descriptions in English and in Italian. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-quarry-1971-1/ (last accessed 11 November 2019)
Quarry (1971)
Actions:
AP207.S1.1971.PR03
Description:
The project series documents Pettena's project "Quarry". It consists of a series of three drawings showing a quarry wall painted in pink washed away by a rain storm, consequently creating and leading to the formation of a small lake of pink water at the bottom of the quarry. A camera, placed on the opposite side of the quarry, films the whole process. "The drawing traces an intervention in three successive phases in a context modified by the work of human beings and then reconquered by nature [...]." [1] The project series contains drawings of the three successive phases, one showing the painted wall, the second showing the rain storm, and the last one showing the lake formed at the bottom of the quarry with the pink stained water. It also includes project descriptions in English and in Italian. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-quarry-1971-1/ (last accessed 11 November 2019)
Niveau de description archivistique:
Project
Project
Date:
1971-2015
1971-2015
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Personnes et institutions:
Date:
circa 1985-2015
circa 1985-2015
Titre:
Ombra ["Shadow" Armchair] (1986)
Actions:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Ombra ["Shadow" Armchair] (1986)
Actions:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Niveau de description archivistique:
Project
Project
Date:
circa 1985-2015
circa 1985-2015
Personnes et institutions:
Classification:
dessins
dessins
Numéro de référence:
AP207.S1.2014.PR02.001
Description:
Bound set of digital renderings, a sketch by Pettena and plans of the trellises.
AP207.S1.2014.PR02.001
Description:
Bound set of digital renderings, a sketch by Pettena and plans of the trellises.
Personnes et institutions:
Date:
circa 2014
circa 2014
Titre:
Presentation booklet for landscape design, Montagne Naturali
Actions:
AP207.S1.2014.PR02.001
Description:
Bound set of digital renderings, a sketch by Pettena and plans of the trellises.
Presentation booklet for landscape design, Montagne Naturali
Actions:
AP207.S1.2014.PR02.001
Description:
Bound set of digital renderings, a sketch by Pettena and plans of the trellises.
Classification:
dessins
dessins
Date:
circa 2014
circa 2014
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1973.PR04
Description:
The project series documents "Progetto D'Architettura n. 5" a three fold performance carried out at the Milan Triennale in 1973. The first group performing were two musicians, one accordionist, Davide Mosconi, and one cellist, Marino Vismara, playing while walking around the large entrance at the bottom of the grand staircase of the Triennale building. The performers constantly bumped into each other as they tried to get the upper hand on the other. At the same time, a 'fire eater', Nunzio Salvago, spat out flames in the staircase. Finally, on the second floor at the end of the stairs, Pettena, using vibraphone mallets, hit the ceramic tiles of the entrance walls off of which the sound was amplified by contact with microphones installed beforehand. The performance was thought of as "an operation of the “reading” of physical space, of occupation of the whole of the environment, realized through sound [...]." The project series contains video recordings and photographs of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-archi-n-5-project-1973/ (last accessed 12 November 2019)
AP207.S1.1973.PR04
Description:
The project series documents "Progetto D'Architettura n. 5" a three fold performance carried out at the Milan Triennale in 1973. The first group performing were two musicians, one accordionist, Davide Mosconi, and one cellist, Marino Vismara, playing while walking around the large entrance at the bottom of the grand staircase of the Triennale building. The performers constantly bumped into each other as they tried to get the upper hand on the other. At the same time, a 'fire eater', Nunzio Salvago, spat out flames in the staircase. Finally, on the second floor at the end of the stairs, Pettena, using vibraphone mallets, hit the ceramic tiles of the entrance walls off of which the sound was amplified by contact with microphones installed beforehand. The performance was thought of as "an operation of the “reading” of physical space, of occupation of the whole of the environment, realized through sound [...]." The project series contains video recordings and photographs of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-archi-n-5-project-1973/ (last accessed 12 November 2019)
Personnes et institutions:
Date:
2009-2016
2009-2016
Titre:
Progetto D'Architettura n. 5 [Architectural Project no. 5] (1973)
Actions:
AP207.S1.1973.PR04
Description:
The project series documents "Progetto D'Architettura n. 5" a three fold performance carried out at the Milan Triennale in 1973. The first group performing were two musicians, one accordionist, Davide Mosconi, and one cellist, Marino Vismara, playing while walking around the large entrance at the bottom of the grand staircase of the Triennale building. The performers constantly bumped into each other as they tried to get the upper hand on the other. At the same time, a 'fire eater', Nunzio Salvago, spat out flames in the staircase. Finally, on the second floor at the end of the stairs, Pettena, using vibraphone mallets, hit the ceramic tiles of the entrance walls off of which the sound was amplified by contact with microphones installed beforehand. The performance was thought of as "an operation of the “reading” of physical space, of occupation of the whole of the environment, realized through sound [...]." The project series contains video recordings and photographs of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-archi-n-5-project-1973/ (last accessed 12 November 2019)
Progetto D'Architettura n. 5 [Architectural Project no. 5] (1973)
Actions:
AP207.S1.1973.PR04
Description:
The project series documents "Progetto D'Architettura n. 5" a three fold performance carried out at the Milan Triennale in 1973. The first group performing were two musicians, one accordionist, Davide Mosconi, and one cellist, Marino Vismara, playing while walking around the large entrance at the bottom of the grand staircase of the Triennale building. The performers constantly bumped into each other as they tried to get the upper hand on the other. At the same time, a 'fire eater', Nunzio Salvago, spat out flames in the staircase. Finally, on the second floor at the end of the stairs, Pettena, using vibraphone mallets, hit the ceramic tiles of the entrance walls off of which the sound was amplified by contact with microphones installed beforehand. The performance was thought of as "an operation of the “reading” of physical space, of occupation of the whole of the environment, realized through sound [...]." The project series contains video recordings and photographs of the performance. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-archi-n-5-project-1973/ (last accessed 12 November 2019)
Niveau de description archivistique:
Project
Project
Date:
2009-2016
2009-2016
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1977.PR01
Description:
The project series documents the performance "Performance Fotofosforescente" carried out at the Palazzo Grassi, in Venice, for the International Festival "The Art of Performance" in 1977. The performance consisted of a phosphorescent figure descending the grand staircase of the main entrance to the courtyard of the Palazzo Grassi, crossing the atrium through the audience, and heading down the steps towards the Grand Canal to finally disappear into the water. The performer is holding in his hands a three-dimensional phosphorescent Escher cube, the only source of light while the courtyard is in almost total darkness. "The evocative setting, the music, the darkness and this moving light produced an effect of “working” of the space, somewhere between the real and the imaginary [...]." [1] The project series contains a draft and a more final storyboard of the performance, Pettena's handwritten notes, and photographs of the performance at the Palazzo Grassi. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-phorsphorescent-1977/ (last accessed 12 November 2019)
AP207.S1.1977.PR01
Description:
The project series documents the performance "Performance Fotofosforescente" carried out at the Palazzo Grassi, in Venice, for the International Festival "The Art of Performance" in 1977. The performance consisted of a phosphorescent figure descending the grand staircase of the main entrance to the courtyard of the Palazzo Grassi, crossing the atrium through the audience, and heading down the steps towards the Grand Canal to finally disappear into the water. The performer is holding in his hands a three-dimensional phosphorescent Escher cube, the only source of light while the courtyard is in almost total darkness. "The evocative setting, the music, the darkness and this moving light produced an effect of “working” of the space, somewhere between the real and the imaginary [...]." [1] The project series contains a draft and a more final storyboard of the performance, Pettena's handwritten notes, and photographs of the performance at the Palazzo Grassi. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-phorsphorescent-1977/ (last accessed 12 November 2019)
Personnes et institutions:
Date:
circa 1977-2015
circa 1977-2015
Titre:
Performance Fotofosforescente [Performance Phosphorescent] (1977)
Actions:
AP207.S1.1977.PR01
Description:
The project series documents the performance "Performance Fotofosforescente" carried out at the Palazzo Grassi, in Venice, for the International Festival "The Art of Performance" in 1977. The performance consisted of a phosphorescent figure descending the grand staircase of the main entrance to the courtyard of the Palazzo Grassi, crossing the atrium through the audience, and heading down the steps towards the Grand Canal to finally disappear into the water. The performer is holding in his hands a three-dimensional phosphorescent Escher cube, the only source of light while the courtyard is in almost total darkness. "The evocative setting, the music, the darkness and this moving light produced an effect of “working” of the space, somewhere between the real and the imaginary [...]." [1] The project series contains a draft and a more final storyboard of the performance, Pettena's handwritten notes, and photographs of the performance at the Palazzo Grassi. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-phorsphorescent-1977/ (last accessed 12 November 2019)
Performance Fotofosforescente [Performance Phosphorescent] (1977)
Actions:
AP207.S1.1977.PR01
Description:
The project series documents the performance "Performance Fotofosforescente" carried out at the Palazzo Grassi, in Venice, for the International Festival "The Art of Performance" in 1977. The performance consisted of a phosphorescent figure descending the grand staircase of the main entrance to the courtyard of the Palazzo Grassi, crossing the atrium through the audience, and heading down the steps towards the Grand Canal to finally disappear into the water. The performer is holding in his hands a three-dimensional phosphorescent Escher cube, the only source of light while the courtyard is in almost total darkness. "The evocative setting, the music, the darkness and this moving light produced an effect of “working” of the space, somewhere between the real and the imaginary [...]." [1] The project series contains a draft and a more final storyboard of the performance, Pettena's handwritten notes, and photographs of the performance at the Palazzo Grassi. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/perf-phorsphorescent-1977/ (last accessed 12 November 2019)
Niveau de description archivistique:
Project
Project
Date:
circa 1977-2015
circa 1977-2015
Personnes et institutions:
