https://davidecascio.com davidecascio.com Mon, 13 Jan 2020 22:21:30 +0000 https://davidecascio.com en https://davidecascio.com/Information-1 Mon, 13 Jan 2020 22:21:30 +0000 davidecascio.com https://davidecascio.com/Information-1 Davide Cascio Born in 1976 in Lugano (Switzerland), between 1992 and 1996 he attended the Centro scolastico industrie artistiche (CSIA) in Lugano and then the Accademia di Belle Arti in Rome, where he graduated in 2000. Between 2000 and 2001 he lived in Cairo, deepening his knowledge of Islamic art. From 2004 to 2006 he returned to the Italian capital as a member of the Swiss Institute of Rome. In 2005 he was awarded the Vordemberge-Gildewart Foundation Prize, while two years later, on the occasion of the awarding of the Manor Ticino Art Prize, the Museo Cantonale d'Arte hosted a solo exhibition of his work. In 2007 and 2008 he was among the artists awarded at the Swiss Art Awards, exhibiting his works at the Kunsthalle Basel (2008) and the Kunsthaus Glarus (2009). After a stay in Zug as part of a residency sponsored by the Landis &amp; Gyr Foundation, in 2009 he was admitted to the Pavillon of the Palais de Tokyo in Paris for an international residency. Since then he has been living in France, where he has participated in other artist residencies: in 2011 in Marseille (Astérides), in 2012 in Bourges (La Box, École nationale supérieure d'art) and in 2014 in Paris (Fondation d'entreprise galleries Lafayette). In 2011 the Kunstmuseum Thun dedicated an important two-person exhibition to him with Peter Stämpfli. From 2015 to 2019 he was a doctoral student at SACRe ENS/PSL (ENSBA grant) in Paris. Davide Cascio, (1976, Lugano, Suisse), vit et travaille à Paris et à Lugano depuis 2009.Membre de l’Institut Suisse de Rome pendant deux ans (2004-06). Il a gagné le Prix Vordemberge-Gildewart en 2005 et le Prix culturel Manor en 2007, ainsi que le Swiss Art Awards en 2007 et 2008.En Suisse il a exposé à la Kunsthalle de Bâle, au Kunstmuseum de Glarus et de Thun (expositions personelles). En France, à "La chambre" de la galerie Xipppas, au FRAC centre d'Orleans, à la biennale de Bourges (2012). Il a été résident au Pavillon du Palais de Tokyo à Paris (2009-2010), à Astérides à Marseille en 2011, en 2012 à la Box de l'ENSA Bourges et en 2014 à Lafayette Anticipations, Fondation d’entreprise Galeries Lafayette à Paris. Il a été doctorant au SACRe ENS/ PSL, (bourse ENSBA) à Paris (2015-2019). Davide Cascio 1976 born in Lugano, Switzerland. Lives and works in Lugano and Paris Studies 1992-1996CSIA, Centro scolastico per le industrie artistique, Lugano, Switzerland 1996-2000 Accademia di Belle Arti di Roma, Rome, Italy 2015-2019 PhD, SACRe, ENS/ENSBA, Paris Residencies and grants 2014&nbsp; &nbsp; Lafayette Anticipation Fondation d’entreprise Galeries Lafayette, Paris (residency program) 2012 La Box, ENSA Bourges, France (residency program) 2011 Astérides, Marseille (residency program) 2009–2010 Le Pavillon, laboratoire de création du Palais de Tokyo, Paris (residency program) 2008 Stipendium der Stiftung Landis &amp; Gyr, Zug, Switzerland (residency program) UBS Culture Foundation (Grant) Swiss Art Award, Basel (Grant) 2007 Prix culturel Manor, Lugano (Grant) Swiss Art Award, Basel (Grant) Pro Helvetia, Cairo, Egypt (residency program) 2006 Cahiers d’artistes, Pro Helvetia (Grant) 2004–2006 Suisse Institute of Rome (residency program) 2005 Kunststipendium Vordemberge-Gildewart (Grant) Selected solo exhibitions 2020 Davide Cascio Collages 2000-2020, larada, locarno 2019 Acéphale, Eglise des Petits-Augustins, ENSBA, Paris2018 Riverrun II, NCCA,Yekaterinburg, Russia 2017 Riverrun, 13er Kunsttreff, Alpnach Dorf, Switzerland 2016 Revolution in our lifetime, Espace Labo, Geneva 2015 Just a fur coat and a pair of gloves thrown on a chair with a monochrome background,&nbsp;Zabrinski point, Geneva 2014 Ikebana, Forma art contemporain, Lausanne 2013 If not yet done (phase 2), Le Cabanon, Université de Lausanne (with Vincent Kohler) 2012 If not yet done (with Vincent Kohler), Laboratorio Kunsthalle Lugano, Lugano 2011 James bond &amp; pin-ups (with Peter Stämpfli), Kunstmuseum Thun, Switzerland Complex interiors, La chambre, Galerie Xippas, ParisStates of Matter, (with Ilona Sagar), London Swiss Church, London 2009 Be-building, Nicolas Krupp Contemporary Art, Basel A portrait of the man as a building, Kunsthaus Glarus, Switzerland Transposition (with Christian Kathriner), Walfahrtskirche Hergiswald, Switzerland Flying cellular unit 3, I2A, International Institute of Architecture, Vico Morcote, Switzerland 2008 E.N. Elementa Pamatforma, Latvian Center for Contemporary Art, Ednica, Riga, Latvia E.N. Quasi-bridge, FormContent, London E.N., agenzia04, Bologna, Italy Werkschau, Zuger Kulturstiftung Landis &amp; Gyr, Zug, Switzerland 2007 Rooms, Roses, Polyhedrons, Prix culturel Manor Ticino, Museo Cantonale d’Arte, Lugano News from nowhere, planet22, Geneva Variations on a blue star (with Doa Aly), studio Emad el Din, Cairo, Egypt 2005 Golem (progetto utopico per spazio urbano), rialtosantambrogio, Rome Polyhedra (room for reading Joyce’s Ulysses), Borgovico33, Como, Italy Selected group exhibitions 2019 One Way or another, La box, Bourges City café, Paris 2018 Partitions isotropes, Porrentruy, Switzerland Intoto 6, Fondation d’entreprise Ricard, Paris 2017 Happening 2, Marina di Ginosa, ItalyLa ruche et la valise, Villa Bernasconi, Lancy - Geneva 2016 DDL’A, La persistance des images, Primo Piano, Paris Clèa, Section 7 books, Paris Espresso, Le 6b, Saint-Denis, France Happening, Marina di Ginosa, Italy 2015 Dust: The plates of the present, Baxter St, New York To call a cat a cat, Salon du salon, Marseille The generic way, Zabriskie point, Geneva Whonung, Zurich The Drawer, Volume 7, Paris 2014 Venir, voir, venir, Fondation d’entreprise Galeries Lafayette, Paris blackboard - white page, Kantonsschule Zürich Nord, Zürich #3 Tout arrive, exo exo, Paris 2013 Méfie-toi de la surface des choses, Espace Labo, Geneva Geometria: desvios y desmesuras, Fundacion OSDE, Buenos Aires Schwarzwälder, Sonntag, Paris I am your neighbour! Young artists and portraiture, Bromer art collection, Roggwil, Switzerland (n)on site, Km Temporaer, Berlin 2012 La Jeunesse est un art, 30 ans de Prix Culturel Manor, Aargauer Kunsthaus, Aarau, Switzerland 6ème Biennale d’art contemporain de Bourges, France Véhicules rêvés, FRAC Centre, Orléans, France This &amp; There, Fondation d’entreprise Ricard, Paris 2011 Convergence, Literary Art Exhibitions, Limerick City Gallery of Art, Limerick, Irland 2010 The multicultural in our time, Gyeonggi MOMA, Ansan, Corée du sud/ Le Pavillon, Paris A basic human impulse, Galleria Comunale d’Arte Contemporanea di Monfalcone, Italy A travers un cercle de regards, Cité Internationale des Arts, Paris 2009 L’intermédiaire, Live In Your Head, Espace d’exposition de la Head, Geneva Spacioux, Lambretto Art Project, Milan Swiss Art Awards 2009, Basel Where are you? Pro Helvetia, Cairo Egypt Fragile Monuments, Suzie Q Projects, Zurich Dream and Reality, Zentrum Paul Klee, Bern 2008 Public Improvisation, Advanced Course of Visual Arts, Ratti Foundation, Careof, Milan Rooms look back / Insert III, Kunsthalle Basel Eternal Tour, Istituto Svizzero di Roma, Rome, Italy Swiss Art Awards 2008, Basel Bex &amp; Art, 10ème Triennale de Sculpture Suisse Contemporaine, Bex, Switzerland 2007 Cahiers d’artistes, Fri- Art, Fribourg, Switzerland Plus, Stipendiatinnen und Stipendiaten der Stiftung Vordemberge-Gildewart, Museum Wiesbaden Swiss Art Awards 2007, Basel Collection cahiers d’artistes, Perla-Mode, Zurich 2006 Artissima 13, Ap4-Art Galerie, Turin Piz Gloria, show room 2, k26, Leipzig Mirhajica, I Sotterranei dell’Arte, Monte Carasso, Switzerland Swiss Art Awards 2006, Basel Che c’è di nuovo? Museo Cantonale d’Arte, Lugano 2005 Spazi aperti (with Christian Kathriner), Accademia di Romania, Rome, Italy Trivial pursuit, AP4-Art Galerie, Geneva, Switzerland Kunststipendium Vordemberge-Gildewart, Seedamm-Kulturzentrum, pfaffikon SZ, Switzerland 2004 Swiss Art Awards 2004, BaselFuoco, CCS Centro Culturale Svizzero di Milano, Milan Collections Collection Cantone Ticino, Switzerland Collection Manor, Geneva Collection Kunstsammlung Kanton Zurich Collection Kunstmuseum Thun, Switzerland Collection Credit Suisse, Zurich, Switzerland Collection F. Hoffmann-La Roche, Kunstsammlung Roche, Basel Collection FRAC centre, Orleans, France Collection Von Bartha, Switzerland Bibliography 2017 Cléa, Avec les contributions de : Julien Audebert, Andrea Aversa, Sam Basu, TristanBera, Stéphane Bérard, Patxi Bergé, Gérard Berreby, Roxane Bovet, Diane-SophieGirin, Ann Guillaume, Yannick Langlois &amp; Betsy Lin Seder, Anthony Lanzenberg, Ingrid Luche, Laure Marville, Yoan Mudry, Rometti Costales, Benjamin Rondeau, The Bells Angels (Julien Sirjacq), Delphine Trouche, France Valliccioni, Qi Wang et Pedro Wirz. Ed. Davide Cascio &amp; Michaël Sellam, Paris. 2015 Transposition, Christian Kathriner, Davide Cascio, Textes de Jörg H. Gleiter , Robert Suckale, Birgit Szepanski et Stanislaus von Moos, Ed. Spector Books, Leipzig. (Cat.) 2014 Rocking, Davide Cascio, Jorge Pedro Núñez, Ed. Lafayette Anticipation, Paris 2013 Akefalos, Davide Cascio, Vincent Kohler, Ed. Cabanon, Lausanne Art collection, Europaallee 1-9, Zurich, Ed. Crédit Suisse, Zurich2012 Davide Cascio &amp; Peter Stämpfli: James Bond &amp; Pin-Ups, Textes de Helene Hirsch, Tobias Lander, Guido&nbsp;Magnaguagno, Marie Theres Stauffer, Ed. Kunst Museum Thun /Moderne Kunst Nürnberg, 2012 (Cat.) Davide Cascio, Quand les dômes étaient blancs, voyage au pays des timides, apresmidilab, Paris 2011 E. N., Davide Cascio, Curated by Egija Inzule, Annette Amberg, Vita Banga, Luigi Fassi,&nbsp;Antje von Graevenitz, Francesco Pedraglio, Hans Rudolph Reust. Ed. Spector Books, Leipzig (Cat.) 2009 Marco Tagliafierro, Davide Cascio, Il fascino del fallimento, Flash Art, n° 278 Anna Bürkli, “Generation Kairo”, Du 793Hans Rudolf Reust, Fragile Monuments, Suzie Q Projects, Galerie Bob Van Orsouv, Artforum, May 2009 Davide Cascio, A site specific story for an anti-monument, www.pianomagazine.orgAnnette Amberg, The Stage, the curtain, the Light, Rooms Look Back, Kunsthalle Basel 2008 Hans Rudolf Reust, Davide Cascio - Schnitte und Brechungen im modo geometrico, Kunstbulletin 10/2008 Luigi Fassi, Ecotopias and social spaces, Mousse Magazine, 15 Davide Cascio, Rooms, Roses, polyhedrons, Christa-Maria Lerm Hayes, Mounira Khemir, Elio Schenini,&nbsp;Premio Culturale Manor Ticino, Ed. Fink, Zurich (Cat.)2007 Patrick Gosatti, Davide Cascio: Premio Culturale Manor Ticino, Kunstbulletin 12/2007 2006 Boris Magrini, Davide Cascio, Collection Cahiers d’Artistes 2006, Pro Helvetia, Zurich https://davidecascio.com/Polyhedra Mon, 15 Jul 2019 10:30:35 +0000 davidecascio.com https://davidecascio.com/Polyhedra Polyhedra (a room in which to read Joyce's Ulysses) <img width="4256" height="2848" width_o="4256" height_o="2848" data-src="https://freight.cargo.site/t/original/i/7d144c101ff26c262d7245875c33d92a127323bc0454a6e08cacce14f5c4b79c/02.jpg" data-mid="46656235" border="0" src="https://freight.cargo.site/w/1000/i/7d144c101ff26c262d7245875c33d92a127323bc0454a6e08cacce14f5c4b79c/02.jpg" />Polyhedra (a room in which to read Joyce's Ulysses) Cardboard, wood, neon, plastic flowers300 x 300 x 300 cmCollection Museo Cantonale d'Arte Lugano <img width="4256" height="2848" width_o="4256" height_o="2848" data-src="https://freight.cargo.site/t/original/i/cc704a618516a826d3df0dcfd47fb6e78b9454c75ce9c4d0fca617546935ecf2/retro-01.JPG" data-mid="46658648" border="0" src="https://freight.cargo.site/w/1000/i/cc704a618516a826d3df0dcfd47fb6e78b9454c75ce9c4d0fca617546935ecf2/retro-01.JPG" /> <img width="2848" height="4256" width_o="2848" height_o="4256" data-src="https://freight.cargo.site/t/original/i/875a727230e9d90a4c95488f160d2370bb5f3602e9aa210e3ea8b3d4cdbaf581/scorcio-persona-01.JPG" data-mid="46655936" border="0" src="https://freight.cargo.site/w/1000/i/875a727230e9d90a4c95488f160d2370bb5f3602e9aa210e3ea8b3d4cdbaf581/scorcio-persona-01.JPG" /> <img width="2848" height="4256" width_o="2848" height_o="4256" data-src="https://freight.cargo.site/t/original/i/c060390daacf26100eaa02b7b1af2f3bf928c920c2a92d772f60b4f5c88971fd/dettaglio-est-02.JPG" data-mid="46655931" border="0" src="https://freight.cargo.site/w/1000/i/c060390daacf26100eaa02b7b1af2f3bf928c920c2a92d772f60b4f5c88971fd/dettaglio-est-02.JPG" /> <img width="2560" height="1920" width_o="2560" height_o="1920" data-src="https://freight.cargo.site/t/original/i/b572df84cf6c5a0adf012552a0db68536b4ceb681a5326d69e965dbebebc32c9/dettaglio-int-01.JPG" data-mid="46655932" border="0" src="https://freight.cargo.site/w/1000/i/b572df84cf6c5a0adf012552a0db68536b4ceb681a5326d69e965dbebebc32c9/dettaglio-int-01.JPG" /> Polyhedra (a room in which to read Joyce's Ulysses)Cardboard, wood, neon, plastic flowers300 x 300 x 300 cmSwiss art awards 2004 <img width="170" height="227" width_o="170" height_o="227" data-src="https://freight.cargo.site/t/original/i/6ab851f099dd0a31ebdf51eb81303f6c34c73229ada12e87af1ee1674466ab91/3160.JPG" data-mid="50884319" border="0" src="https://freight.cargo.site/w/170/i/6ab851f099dd0a31ebdf51eb81303f6c34c73229ada12e87af1ee1674466ab91/3160.JPG" /> <img width="2560" height="1920" width_o="2560" height_o="1920" data-src="https://freight.cargo.site/t/original/i/c5962d2db2baea9244f731c3975c7dc1910ed2e7157dc781716551aaa65667a7/3157.JPG" data-mid="50884344" border="0" src="https://freight.cargo.site/w/1000/i/c5962d2db2baea9244f731c3975c7dc1910ed2e7157dc781716551aaa65667a7/3157.JPG" /><img width="1920" height="2560" width_o="1920" height_o="2560" data-src="https://freight.cargo.site/t/original/i/6ecf6e77b53dea6d943fdb51e2bbab2fd08793c3e8daf35d33dde7681d77746d/3137.JPG" data-mid="50884369" border="0" src="https://freight.cargo.site/w/1000/i/6ecf6e77b53dea6d943fdb51e2bbab2fd08793c3e8daf35d33dde7681d77746d/3137.JPG" /> <img width="2560" height="1920" width_o="2560" height_o="1920" data-src="https://freight.cargo.site/t/original/i/59367e2ee18a27f47c62c120cd210fd56f0f0f4e3b372464f1b55886c0f794e8/3136.JPG" data-mid="50885062" border="0" src="https://freight.cargo.site/w/1000/i/59367e2ee18a27f47c62c120cd210fd56f0f0f4e3b372464f1b55886c0f794e8/3136.JPG" /> Polyhedra (a room in which to read Joyce's Ulysses)Cardboard, wood, neon, plastic flowers300 x 300 x 300 cm borgovico33, Como-I2005 <img width="567" height="426" width_o="567" height_o="426" data-src="https://freight.cargo.site/t/original/i/c3d0e8d0c7b7c0da684f1284c95b1b801e5b7eb0be7b83a7264057435292e466/01b.jpg" data-mid="50958762" border="0" src="https://freight.cargo.site/w/567/i/c3d0e8d0c7b7c0da684f1284c95b1b801e5b7eb0be7b83a7264057435292e466/01b.jpg" /> <img width="425" height="567" width_o="425" height_o="567" data-src="https://freight.cargo.site/t/original/i/b447e7ec840032efa2e00d23da50da4500682423710a455bbc9ceaf77b592ff5/05b.jpg" data-mid="50958765" border="0" src="https://freight.cargo.site/w/425/i/b447e7ec840032efa2e00d23da50da4500682423710a455bbc9ceaf77b592ff5/05b.jpg" /> <img width="567" height="425" width_o="567" height_o="425" data-src="https://freight.cargo.site/t/original/i/a19685f194ccd2169cda49edf8a6916cfc20726cdd784271a8babaa4984e5e4a/06b.jpg" data-mid="50958768" border="0" src="https://freight.cargo.site/w/567/i/a19685f194ccd2169cda49edf8a6916cfc20726cdd784271a8babaa4984e5e4a/06b.jpg" /><img width="393" height="567" width_o="393" height_o="567" data-src="https://freight.cargo.site/t/original/i/bd4cf2a9d76f8b160a91f9369379ef9c787113171acda392f152a74080d582cd/09b.jpg" data-mid="50958777" border="0" src="https://freight.cargo.site/w/393/i/bd4cf2a9d76f8b160a91f9369379ef9c787113171acda392f152a74080d582cd/09b.jpg" /><img width="428" height="567" width_o="428" height_o="567" data-src="https://freight.cargo.site/t/original/i/891626c32074410bc425f4857aea40df3ca55a51b71e27a131bc545499ac1c2c/11b.jpg" data-mid="50958783" border="0" src="https://freight.cargo.site/w/428/i/891626c32074410bc425f4857aea40df3ca55a51b71e27a131bc545499ac1c2c/11b.jpg" /><img width="567" height="425" width_o="567" height_o="425" data-src="https://freight.cargo.site/t/original/i/4fbaad96daffe1e3aafe8048f3c2d8157ae0a39e8f9b9c6a97c74c0d19ba0691/14b.jpg" data-mid="50958790" border="0" src="https://freight.cargo.site/w/567/i/4fbaad96daffe1e3aafe8048f3c2d8157ae0a39e8f9b9c6a97c74c0d19ba0691/14b.jpg" />Convergence: Literary Art ExhibitionsCurated By Christa-Maria Lerm Hayeswith Julie Bacon, Ecke Bonk, Pavel Buchler, Tacita Dean, Cerith Wyn Evans,&nbsp;Maria Fusco, Rodney Graham, Joanna Karolini, Sean Lynch, Simon Morris, Brian O'Doherty, Tim Rollins, Andrea Theis. Golden Thread Gallery, Belfast, Ireland2011 andLimerick City Gallery of Art, Limerick, Ireland2011 <img width="886" height="591" width_o="886" height_o="591" data-src="https://freight.cargo.site/t/original/i/07c2f68cf9b54731e5ff555412e82939cd0a67fae9dcf20bc0233917e69d759b/Convergence.jpg" data-mid="50960193" border="0" src="https://freight.cargo.site/w/886/i/07c2f68cf9b54731e5ff555412e82939cd0a67fae9dcf20bc0233917e69d759b/Convergence.jpg" /><img width="4288" height="2848" width_o="4288" height_o="2848" data-src="https://freight.cargo.site/t/original/i/9bbf30ded670d5a7ecbe235abd5d3719667aad0aa9ca69e47a0af4adbc2d1064/DSC_4906_493.JPG" data-mid="50960353" border="0" src="https://freight.cargo.site/w/1000/i/9bbf30ded670d5a7ecbe235abd5d3719667aad0aa9ca69e47a0af4adbc2d1064/DSC_4906_493.JPG" /> <img width="640" height="427" width_o="640" height_o="427" data-src="https://freight.cargo.site/t/original/i/2c61a5f711f4c55004d6c649ab60c6ce170036ab71df880daf5f13e5c8ad42ce/Convergence_Literary_Exhibition_LCGA_Ormston_Cascio_detail_A.jpg" data-mid="50960380" border="0" src="https://freight.cargo.site/w/640/i/2c61a5f711f4c55004d6c649ab60c6ce170036ab71df880daf5f13e5c8ad42ce/Convergence_Literary_Exhibition_LCGA_Ormston_Cascio_detail_A.jpg" />Christa-Maria Lerm Hayes Polyhedra and Joyce a room for thought Davide Cascio’s Polyhedra (A Room in Which to Read Joyce’s Ulysses) is a complex work, even without its title. In the following, I will sketch a number of the references that present themselves, before embarking on a Joycean reading. The work, despite the complexity just claimed, is formally simple, clearly geometric. It sits perfectly well both with a constructivist use of scaffolding (Tatlin) and minimalist art’s obsession with geometry (Sol LeWitt, Tony Smith et al). Dan Flavin’s use of neon lights is echoed, as well as customized space a la Kurt Schwitters’ Merzbau, including much of the legacy of such Modernist work in more recent installations by Bruce Nauman, Dan Graham and even Liam &nbsp;Gillick. The poster publication that has previously accompanied Davide Cascio’s work, however, points to the Renaissance, thus also including Classical Antiquity: Leonardo’s Vitruvian Man is thus a particularly apt case in point, as human anatomy has lent Cascio’s work its scale, if not more: as a study for Polyhedra, one is, of course, presented with a Le Corbusier-like drawing of a man with outstretched arm measuring the space inside. In Renaissance geometrical studies of intricate polyhedra, space recedes and protrudes in very Modernist, indeterminate ways, revealing the very Medieval uncertainty that one had set out to eradicate. Alchemy comes to mind as much as Chemistry’s own “sculptural” output in the guise of neatly constructed atom structures. Most certainly, the similarities between micro- and macrocosm are reflected, when the viewer is led to consider Polyhedra&nbsp;as just one atom in an indefinite series of more such structures, where the “scaffolding” can easily provide support to the next polyhedron on all sides – or we find our thoughts traveling to the universe’s holes (or self-similar Mandelbrot functions), where inside- and outside views become confused. As in a Gothic cathedral, here we see the light shining inwards and outwards, while the space itself is characterized by clarity in form and concept (a Heavenly Jerusalem perhaps?), while the supports (buttresses) are outside. Flowers mark the summit of the vaults. On the other hand, the artist reflects on floral motifs in Arabic de- sign, where again an infinite series of the individual elements can be found. The cubic clarity of The Kaaba at Mecca gives a meaningful counterpoint to what one was for long used to consider as purely formal play with geometry in minimalist art – until Georges Didi-Huberman unearthed the other aspects of the minimalist cubes of artists like Tony Smith: deepest meaning about life – or more precisely: death – in the inextricable associations of that work with coffins. He did so by retaining the formal(ist) gaze as valid also, speaking of oscillation – and linking that inclusion of heretofore incompatible opposites (through a lengthy introductory quotation) with none other than James Joyce. 1 One could also speak of influence – if that was not such a difficult concept: Tony Smith is among the minimalist artists, who particularly admired Joyce.2 The writer was no stranger to geometry: The first page of Dubliners contains the word gnomon, an image of both cosmic meanings (the sundial), as well as about the best illustration of the space between the micro- and macro-cosmos. Finnegans Wake then, Joyce’s last, difficult work is also a geometric “machine”: one to square the circle, since the square book contains the “round”, re-cycling text, which begins and ends in the middle of a sentence. External and internal views also play a role, as this “night-book” may be set inside a body or inside a “museomound”, a space like that inside a megalithic passage tomb that contains all of history. Already, Cascio’s far-reaching references seem slightly less confusing and their breadth more motivated. And still: I have not even mentioned the title of the book that Cascio specifically quotes: Ulysses. Cascio himself refers to the contracted and expanded narrated time in Joyce’s most celebrated work: a novel that is set in a single day, but takes over 600 pages to do this day justice, most certainly adopts a microscopic perspective. If it then also repeatedly links the minutest every-day detail (in the Dublin of 1904) with cosmic events and Antique mythology (Homer’s Odyssey), a picture emerges, where Cascio’s proliferation of allusions and coincidents appear entirely in keeping with Joyce’s procedure. In fact, the artist has literally taken up Joyce’s claim to have used the Odyssey as scaffolding for his Ulysses. That pronouncement may betray an allegiance with the constructivist tendencies of his time, but it nevertheless seems almost uncharacteristically bereft of the multiplicities of meaning that other metaphors about his writing display. To call his practice not trivial but “quadruvial”, or the squaring of the circle image are far more replete with meaning and thus closer to the work. Scaffolding to me so far only related to Dublin life in 1904. Now, however, I am inclined to read Joyce’s comment in more complex ways, including consideration of the writer’s possible refection on Renaissance geometry, the framing of Leonardo’s Vitruvian Man and possibly other reference points since.&nbsp;The jury of the Vordemberge-Gildewart-prize, which Cascio re- ceived in 2005, reflected on Polyhedra as a “thought form”. Joyce was a contemporary of Annie Besant and Charles Leadbeater, who drew energy forms and colours at the beginning of the twentieth century. The writer was very skeptical about such esoteric games. However, it seems to me now that, far from having to con- form to the absence of right angles, thoughts have really found more regular, geometric forms in Joyce’s and Cascio’s universes. Far from losing in impact and diversity of meaning, they clearly gain. They also gain an experiential space. Inside Polyhedrais a room (not merely space), where some would possibly see thoughts literally bouncing off all sides and going in more directions than is the case in most other scenarios. In the first instance, however, Polyhedra’s room is a concentrated space. It could be thought of as a continuation of the line of reading rooms from the British Library’s dome to the ellipse of that of the Warburg Institute in Hamburg. I always thought that Joyce, asWarburg’s contemporary would also be at home in an elliptical, “non-binary” room, rather than one with just one center. Cascio, however, provides the necessary expansion in the space’s multi-directedness, as well as in the continuation into different plateaus and spheres (rhizomes?) that the scaffolding lets one think likely.&nbsp;As a reading room, Polyhedra functions as a time capsule, a room that bridges the 100 years between the “Bloomsday” of Ulysses&nbsp;and its creation with ease. Neon as the quintessential advertising light also refers to Leopold Bloom, Joyce’s Odysseus, who sells ads, while his name and mentioning of the language of flowers (or “flow…”) explains Cascio’s use of flowers in his work. The use of neon may or may not constitute a reference to the fact that Dan Flavin referred in his work to Joyce.3&nbsp; Polyhedra is a capsule also in another way: reading isolates, it takes the reader out of this world and lets him or her develop their own internal pictorial one. Reading Ulysses stretches anyone’s powers of imagination. Joyce worked in the book with several versions of some occurrences, leaving it up to the reader’s (hopefully perfect, but never sufficient) memory to assemble the world and literally to make sense. Cascio does not offend this active Joyce-experienced reader by presenting his interior cinema as illustrations. In fact, he encourages active engagement and the greatest possible variety of interpretations through the simplicity of his work and by offering it as an experiential space. Depending on what the viewer/reader is seeking, the platform or case study is presented for discoveries of a fundamental and personal kind. In this way, Cascio’s Polyhedra has some similarity with Tania Mouraud’s Initiation Room No 4 (1969/89), a high but narrow space for viewers, illuminated from above. There, neither the multi- faceted geometry, nor the reference to a literary world were given. Cascio seems to agree with many of Joyce’s readers that reading Ulysses in particular represents an occasion for a modern-day rite of passage.4 He is unlikely to let any of us leave his Polyhedraunchanged, with intact and un-reflected ideas about the remits of current installation art, the phenomenological and conceptual ambitions for architecture and our built environment, as well as the scope of current art practice.&nbsp;Cable-ties and cardboard may be relatively familiar sights in an exhibition of recent art, but that the latter was the medium, in which Constantin Brancusi chose to create a portrait of James Joyce does not usually become meaningful in post-minimalist work. The oscillation of which Didi-Huberman had written also ex- tends to abstraction and figuration in Joyce’s work that has been claimed by critics and – even more vigorously – by artists on all sides of the various artistic and art historical divides over almost a century. East and West, “high” and “low”, the mind sets of alchemy and chemistry, both historically and in the present: Joyce provides a distinct possibility to creators to combine theoretical rigour and historical interest with a possibility to create an almost indiscriminate universe.&nbsp;As a last question, puzzlement may remain that a structure as simple and geometrically reduced as Cascio’s would refer to James Joyce, rather than, say, to Samuel Beckett’s reductionism. James Joyce, there is no doubt, was an encyclopedically inclined writer, but he used the great variety of detail that he accommodated in his (later) works in a conceptual way. The “scaffolding” metaphor (concerning Homer) is expression of this very fact. Following then what has been outlined about Cascio’s Polyhedra, it is certain that even the formal appearance of the work, showing what is usually hidden and thus foregrounding how something was made – literally and through the title – has to be understood as a correspondence to Joyce’s procedure. The variety of possible interpretations, the interest in activating the viewers etc.: all of this occurs through the simplicity of the geometric shape and the media chosen. It is there in the possibilities for interpretation offered. If the polyhedron itself had taken a more complicated shape, the effect would have been to narrow down meaning, not to enhance it.&nbsp;In this way, Cascio, like so many artists since the 1960s, follows Joyce’s ways of thinking, more than his choice of motifs. He uses the freedom that changing the artform can provide when commenting on cultural traditions. Nicolas Bourriaud’s category of postproduction can both be applied and stretched here: Cascio certainly uses Joyce freely, commenting and extending more than illustrating or idolizing him. He uses him “to probe the contemporary world,”5 but he achieves more. Being deeply knowledgeable, he can take a position that is again (in keeping with the by now familiar move to encompass opposites) entirely of the minute and at the same time a Modernist – as well as a Renaissance artist and a time capsule architect. One can, for example, think of the space as a (“postproduced”) minimalist (or Renaissance?) space that en- ables relational activities – like focusing a squatting “Ulysses” reading group, a new offshoot of such a long-standing international tradition.6 Cascio confidently owns the writer, something that he is not supposed to do in “postproduction” mode, while also showing that Joyce’s work “takes on a script-like value”, enabling ever new thought forms. With “Polyhedron”, he squares the circle. 1 G. Didi-Huberman, Was wir sehen blickt uns an. Zur Metapsychologie des Bildes, Wilhelm Fink, Munich 1999. 2 &nbsp;For this and other references to artists, who have created artworks in response to James Joyce’s writings, please see: C.-M.LermHayes,&nbsp;Joyce in Art.Visual Art Inspired by James Joyce, Lilliput, Dublin 2004. 3 Dan Flavin. A Retrospective, catalogue of the exhibition edited by M. Govan and T. Bell, National Gallery ofArt,Washing- ton/Dia Art Foundation, New York/Yale University Press, London 2005. 4 I thank Antje von Graevenitz, whose research concerns art and rites of passage, for drawing my attention to Davide Cascio’s work. 5 N.Bourriaud,&nbsp;Postproduction.Cultureas Screenplay: How Art Reprograms the World, Lukas &amp; Sternberg, NewYork 2002, p.9. 6 See my forthcoming essay in R. Brown (ed), The Blackwell Joyce Companion, where the institution of the Joyce read- ing group is offered as a form towards which contemporary visual art practice is developing an affinity. <img width="600" height="597" width_o="600" height_o="597" data-src="https://freight.cargo.site/t/original/i/9c8256f9ffd1e04b411aa3d416f754635ba2c29ea3187cd92cec2232b57a9194/large-fig11.png" data-mid="52078997" border="0" src="https://freight.cargo.site/w/600/i/9c8256f9ffd1e04b411aa3d416f754635ba2c29ea3187cd92cec2232b57a9194/large-fig11.png" />Radiating affection,In Thought-Forms,Annie Besant and C.W. Leadbeater, The Theosophical Publishing House Ltd, London, 1901. <img width="600" height="446" width_o="600" height_o="446" data-src="https://freight.cargo.site/t/original/i/fb1be7e4c9f120952f91baed274a65417ce9685821ba86ca9e3168013cbb665c/figure-111.png" data-mid="52078994" border="0" src="https://freight.cargo.site/w/600/i/fb1be7e4c9f120952f91baed274a65417ce9685821ba86ca9e3168013cbb665c/figure-111.png" />The first published picture of the Mandelbrot set, by Robert W. Brooks and Peter Matelski 1978. <img width="600" height="569" width_o="600" height_o="569" data-src="https://freight.cargo.site/t/original/i/a473e0fe7120822416a987205b15a2123ddf6455b216ab4e7028b04ef8ba0414/mom200481a.png" data-mid="52078998" border="0" src="https://freight.cargo.site/w/600/i/a473e0fe7120822416a987205b15a2123ddf6455b216ab4e7028b04ef8ba0414/mom200481a.png" />Constantin Brancusi,Portrait de James Joyce, ca 1928, Cardboard and metal, 76,2 cm, Moderna Museet, Stockholm. <img width="600" height="600" width_o="600" height_o="600" data-src="https://freight.cargo.site/t/original/i/16a97978ac578627ac3b8869e1712ea812066055cd6cdc920bf20196de21e207/islamic-drawing-25.png" data-mid="52078996" border="0" src="https://freight.cargo.site/w/600/i/16a97978ac578627ac3b8869e1712ea812066055cd6cdc920bf20196de21e207/islamic-drawing-25.png" /> Islamic geometric pattern. https://davidecascio.com/James-Bond-Pin-Ups Thu, 17 Oct 2019 12:41:10 +0000 davidecascio.com https://davidecascio.com/James-Bond-Pin-Ups James Bond &amp; Pin-Ups <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/cb7afa5e6dc629c77beee9bc83570ee8e803f0b8d38ad142f56f8c7df526de86/Davide_Cascio_07.jpg" data-mid="52855185" border="0" src="https://freight.cargo.site/w/1000/i/cb7afa5e6dc629c77beee9bc83570ee8e803f0b8d38ad142f56f8c7df526de86/Davide_Cascio_07.jpg" /> <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/adecc8153c09d886d8b6c0acd19beff17a608ec4130d78aa5687c7ebde3821b0/Davide_Cascio_08.jpg" data-mid="52855254" border="0" src="https://freight.cargo.site/w/1000/i/adecc8153c09d886d8b6c0acd19beff17a608ec4130d78aa5687c7ebde3821b0/Davide_Cascio_08.jpg" /> <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/d4236a9154b3b17f6ee01cc9690793a5816986e5949c66caaad191c92a3366f2/Davide_Cascio_04.jpg" data-mid="52855322" border="0" src="https://freight.cargo.site/w/1000/i/d4236a9154b3b17f6ee01cc9690793a5816986e5949c66caaad191c92a3366f2/Davide_Cascio_04.jpg" /> <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/7c2bfbf5ace101d49f195bd6ab02781b5ad627e50c52b516677064cbc4f22dec/Cascio_Staempfli_03.jpg" data-mid="52855355" border="0" src="https://freight.cargo.site/w/1000/i/7c2bfbf5ace101d49f195bd6ab02781b5ad627e50c52b516677064cbc4f22dec/Cascio_Staempfli_03.jpg" /> <img width="3839" height="4724" width_o="3839" height_o="4724" data-src="https://freight.cargo.site/t/original/i/cbe9239b09c5f3efde0e01d463211f4fc572b9e7874781d05e55db357d792c98/1.jpg" data-mid="52855647" border="0" src="https://freight.cargo.site/w/1000/i/cbe9239b09c5f3efde0e01d463211f4fc572b9e7874781d05e55db357d792c98/1.jpg" /> <img width="3839" height="4724" width_o="3839" height_o="4724" data-src="https://freight.cargo.site/t/original/i/6bacd650ca62d7cfbb695f4a85159bd7bc80b0e3652eba79dc7f6e1480a23ca9/2.jpg" data-mid="52855648" border="0" src="https://freight.cargo.site/w/1000/i/6bacd650ca62d7cfbb695f4a85159bd7bc80b0e3652eba79dc7f6e1480a23ca9/2.jpg" /> <img width="3839" height="4724" width_o="3839" height_o="4724" data-src="https://freight.cargo.site/t/original/i/eb514429af502e57ba29cabe6c20dbf305765b04f93453be3e4fc55ff1af3270/4.jpg" data-mid="52855652" border="0" src="https://freight.cargo.site/w/1000/i/eb514429af502e57ba29cabe6c20dbf305765b04f93453be3e4fc55ff1af3270/4.jpg" /> <img width="3839" height="4724" width_o="3839" height_o="4724" data-src="https://freight.cargo.site/t/original/i/1d078de5982963d9b0818dae65214ffe22ea08a6f98984bd726eeb18a66f4bc1/3.jpg" data-mid="52855649" border="0" src="https://freight.cargo.site/w/1000/i/1d078de5982963d9b0818dae65214ffe22ea08a6f98984bd726eeb18a66f4bc1/3.jpg" /> <img width="3839" height="4724" width_o="3839" height_o="4724" data-src="https://freight.cargo.site/t/original/i/655b6cc91db99d3a670398bc39a34c9856b2b42c67cdb00eb080fdc15a88745b/5.jpg" data-mid="52855655" border="0" src="https://freight.cargo.site/w/1000/i/655b6cc91db99d3a670398bc39a34c9856b2b42c67cdb00eb080fdc15a88745b/5.jpg" /> Mira 2011MDF, wood, metal lamps, acrylic colour, collage on paper 520 x 420 x 226 cm Kunstmusem Thun, Switzerland Photo : Dominique Uldry <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/eb1a0fee784baaff42751561298842ddea3944a4c1b1d33656e9f3acd51c1d9b/Davide_Cascio_03.jpg" data-mid="52855389" border="0" src="https://freight.cargo.site/w/1000/i/eb1a0fee784baaff42751561298842ddea3944a4c1b1d33656e9f3acd51c1d9b/Davide_Cascio_03.jpg" /> Wall / Floor carpet&nbsp; #1-3 2011 Fitted carpet Variable dimensions <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/50572e892508c8ae1c2703157778c176d3676d183a2bfc486e45f24490f307a3/Cascio_Staempfli_02.jpg" data-mid="52855421" border="0" src="https://freight.cargo.site/w/1000/i/50572e892508c8ae1c2703157778c176d3676d183a2bfc486e45f24490f307a3/Cascio_Staempfli_02.jpg" /><img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/fd0c15a55fcbaa01cc343f207de284d5a3c8f3c528f07528a0fc10e68862dd67/Davide_Cascio_02.jpg" data-mid="52855426" border="0" src="https://freight.cargo.site/w/1000/i/fd0c15a55fcbaa01cc343f207de284d5a3c8f3c528f07528a0fc10e68862dd67/Davide_Cascio_02.jpg" /> Interiors 2010Collages on paper, MDF, textile,&nbsp;polyurethaneVariable dimensions <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/7e3b63150c08a00171ca967e70ee8a450a42e5d4fccbac262c71d03fa3670065/Ausstellungsansicht_Cascio_Stampfli_01.jpg" data-mid="52855435" border="0" src="https://freight.cargo.site/w/1000/i/7e3b63150c08a00171ca967e70ee8a450a42e5d4fccbac262c71d03fa3670065/Ausstellungsansicht_Cascio_Stampfli_01.jpg" /><img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/6f85dbc7946ea4e59f07e34b8ed1b698bc5742b03470e8e0998fb2ae7310741d/Davide_Cascio_01.jpg" data-mid="52855468" border="0" src="https://freight.cargo.site/w/1000/i/6f85dbc7946ea4e59f07e34b8ed1b698bc5742b03470e8e0998fb2ae7310741d/Davide_Cascio_01.jpg" />A pin-ups cosmogony 2007 Collage on paper, Forex,&nbsp;Acrylic paint, ink, gouache, pencil Variable dimensions Collection Museo Cantonale d'Arte Lugano <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/a58fe1554375daa76a52dcec42dbd269616b36690c3042ef9fbf0ad0d794e574/Davide_Cascio_05.jpg" data-mid="52855469" border="0" src="https://freight.cargo.site/w/1000/i/a58fe1554375daa76a52dcec42dbd269616b36690c3042ef9fbf0ad0d794e574/Davide_Cascio_05.jpg" /> <img width="7312" height="5474" width_o="7312" height_o="5474" data-src="https://freight.cargo.site/t/original/i/c2b8c26db3834fb1e0559e27caafbedd00c6f84a7c407e7591c71f2f56100c29/Davide_Cascio_06.jpg" data-mid="52855482" border="0" src="https://freight.cargo.site/w/1000/i/c2b8c26db3834fb1e0559e27caafbedd00c6f84a7c407e7591c71f2f56100c29/Davide_Cascio_06.jpg" />Be-building2009Wood, MDF, Plexiglass, collageVariable dimensionsCourtesy Nicolas Krupp Contemporary Art <img width="2835" height="3875" width_o="2835" height_o="3875" data-src="https://freight.cargo.site/t/original/i/9700ffa93dfb1b0a1af4bb7afde78b6b58e7cdf34d7ce1f9fd6e90674fce3799/collage1.jpg" data-mid="52857201" border="0" src="https://freight.cargo.site/w/1000/i/9700ffa93dfb1b0a1af4bb7afde78b6b58e7cdf34d7ce1f9fd6e90674fce3799/collage1.jpg" /><img width="2835" height="3917" width_o="2835" height_o="3917" data-src="https://freight.cargo.site/t/original/i/34998d133649998f5eff51dba5cf38bce7c12c74f29e3d57cc244b40c2015b40/collage2.jpg" data-mid="52857299" border="0" src="https://freight.cargo.site/w/1000/i/34998d133649998f5eff51dba5cf38bce7c12c74f29e3d57cc244b40c2015b40/collage2.jpg" /><img width="1764" height="2518" width_o="1764" height_o="2518" data-src="https://freight.cargo.site/t/original/i/3b0369641b9b13f9cf90b81e2c9c62fc03b8f24505496671cb899ae7ab732a23/22.jpg" data-mid="52855963" border="0" src="https://freight.cargo.site/w/1000/i/3b0369641b9b13f9cf90b81e2c9c62fc03b8f24505496671cb899ae7ab732a23/22.jpg" /> <img width="3898" height="2715" width_o="3898" height_o="2715" data-src="https://freight.cargo.site/t/original/i/c5ef2baa5c49c34ba474dcbeefb3701de332d0f7625b5770c00b391e3143a54b/collage3.jpg" data-mid="52857455" border="0" src="https://freight.cargo.site/w/1000/i/c5ef2baa5c49c34ba474dcbeefb3701de332d0f7625b5770c00b391e3143a54b/collage3.jpg" /><img width="3898" height="2771" width_o="3898" height_o="2771" data-src="https://freight.cargo.site/t/original/i/be53ab20daad9f75d2ddd45adbbf8f9a5e0a7de209619f765ab5e055c65c2bec/collage4.jpg" data-mid="52857464" border="0" src="https://freight.cargo.site/w/1000/i/be53ab20daad9f75d2ddd45adbbf8f9a5e0a7de209619f765ab5e055c65c2bec/collage4.jpg" /> be-building2009collage on paper33 x 24 cm and 24 x 33 cm(1-9 collages) James Bond &amp; Pin-Ups&nbsp;with Peter StaempfliKunstmusem Thun&nbsp; 2011 Prof. Dr. Marie Theres Stauffer The present and future of the past At first glance, everything seems obvious. The troughs in the hilly, pastel-coloured object in Davide Cascio’s installation Interiors (2010) are perfect to sit on. At second glance you begin to doubt whether you really want to make use of it. It is not just the institutional context of the museum that causes one to hesitate. Even memories of works of art such as Sol LeWitt’s Eisberg (Iceberg) (Complex Form # 24) seem unwelcoming. Insofar as Cascio’s object already has the rounded shapes that evolve in the process of the cast, it is also reminiscent of melting ice cream. Another reason to refrain from sitting. This brings us from the shielded world of sublime works of art into the overwhelming realm of commodities. This shift from high to low, in the special context of Cascio’s furniture objects, recalls memories of pop art, including those from the Architettura Radicale movement of around 1970. At that time, young Italians created, in the overlapping areas of architecture and art, provocative design objects, that is, mass-produced commodities, which seemed decidedly unwieldy compared to the “design of good taste”, for which Italy had becom well known in the 20th century . The creative energies of Archizoom, Superstudio, Gaetano Pesce, Mario Bellini or Alessandro Mendini were much more focused on the challenges that were to be found in the field of the popular, of kitsch and bad taste. In their attitude, they picked up a lot – though not everything – from Pop Art.1 Why Cascio dealt with such a context will be discussed in more detail. First, however, it may be stated that when dealing with Cascio’s works, one can make connections with different genres (art, design, architecture), with space (USA, polar regions, deep freezers in grocery stores, Italy) and with time (from the present back to the 1960s) over and over again. Working with back references and cross- references has become a central strategy in contemporary art. So what Cascio creates is not new. But it is surprising because of its density and complexity of references. The great interest in the architecture of the 20th century and the manner in which architectural approaches are transferred to objects, installations and collages are also unusual. The fact that Italian inspiration particularly plays a role in Cascio’s work is apparent from his biography. The artist is from the Ticino region and has studied at various institutes, including the Accademia di Belle Arti in Rome. That some of his works benefit from the aesthetics of the Architettura Radicale is a specific choice of the artist in the immense cultural history of Italy.2 Cascio, however, seems to be interested not only in the aesthetics of such works between design and installation, but also in their utopian dimension. In his work, the Ticinese artist deals time and again with the visionary aspects in architecture, design or literature, in terms of the models of society associated with it. About forty years earlier the group, Archizoom, visualised reflections on the social potential of product design in their trashy Dream Beds (1967). These bed designs are meant to be serious reflections on the production cycles of the capitalist consumer society as well as an ironic commentary on the lifestyle of open-minded people around 1970.3 Architettura Radicale, however, questioned not only design but also the function of architectural utopia – another important theme in the Ticinese artist’s works. With the photo montages of Il monumento continuo (1969–1971), Superstudio developed a poetic visual discourse that gave an impetus to Cascio’s representational strategies.4 There exists more than an atmospheric similarity between Cascio’s collages and Superstudio’s photo montages. Also striking is the handling of grid structures and associated with it, geometrisation as an ordering moment. In Italy geometry has been understood for centuries as the central foundation of architecture. The predilection of Italian Renaissance architects for perfect geometrical figures seems to be reactivated not only in Cascio’s early works such as Polyhedra (a room in which to read Joyce‘s Ulysses) (2004), Geometrical long-awaited apparitions (2005), or Tabula/Octaedron (2005), but also in the titles of his Pin-Ups series (pp. 22–35): figures have been given names such as Icosahedron, Dodecahedron, Hexagon or Square. Especially the square is encountered in Cascio’s projects time and again: joined to a cube, it spreads out in space in modular fashion. The Ticinese artist has undertaken research on the potential of the space lattice not only in the Italian Radicals. Flexible structures that spread uniformly over the territory and can be continuously adjusted to human needs was a topic that had been gaining significance in architecture since the mid-1950s. The urban utopia Ville spatiale, continuously developed by Yona Friedman since 1958, is one of the projects referred to by Cascio time and time again. The artist transfers the subject of structure, flexibility, construction and reconstruction into the context of art to create something new that nonetheless retains its utopian function. The “source material” here experiences not only a transformation and reinterpretation, it is also overlaid with forms and content that come from different visual worlds. Translucent surfaces in primary colours, for example, which are indeed customary in architecture, but which in Cascio’s installations also create diverse cross-references to other works of art. An example of this is the version of Be-building shown in Thun: an expansive structure that has an aesthetic autonomy, without being amnesic. The pun in the title of this installation, which can be rendered only circuitously and roughly in German as “Be-bauung, sei ein Bau”, was transformed by Cascio into a tapered shape in a 2008 version, revealing itself as a small, almost frail-looking pavilion. This pavilion was temporarily installed somewhere in a green setting. Its freedom from location, as well as the fact that it can be transported, reveal signs of the dream of mobile architecture from the 1950s and 1960s. At the same time, the subject of the original human habitation echoes in the hut-like appearance. Myths about the primitive hut have been recorded in the architectural-theoretical discourse since ancient times. As “retroactive” utopias, they belong to a territory that Cascio explores repeatedly. It is no coincidence that the artist refers elsewhere to one of the most well-known primitive huts of the 20th century: to Le Corbusier’s wooden Cabanon, a single-room holiday house on Cap Martin.5 In Cascio’s collages, one encounters on the other hand a variation of the utopian, where the focus is on “reactivating” moments. In Thun, collages are part of both the installation Interiors and the Pin-Ups Cosmogony. For the Interiors the Ticinese artist has used the images of the 1960s as a basis. These photographs printed in magazines on the one hand convey aesthetic ideals of a particular time, and on the other they are evidence of the timeless search (because it never stops) for a habitat in harmony with human needs. As is known, the staged quality of such model furnishings is characterised by their appearing to be too much “from a single cast”. Cascio creates disruptions through his mounted elements and enriches the harmonised installations through foreign elements from other contexts. Such enrichments in this sense act as disruptive factors, insofar as it is usually not quite clear what their purpose is. So how should you interpret these cropped images of living spaces, which are pasted over with bits and pieces of images of things? Not least, these partially legible or illegible elements are a means to engage the viewer, to encourage him to participate intellectually in these engineered living environments. Similarly, one can see in it a quaint gesture: a compositional measure by which the spatiality of the carrier medium is transferred onto the flatness of the painting. So if the focus here is on residential ideals that are not only historically significant but are also among the preferred furniture of today’s creative class, the various possibilities of painting and architecture are also dealt with simultaneously in the process. An unmistakable trace of melancholy emanates from these “disturbed” residential worlds. A feature that is also peculiar to the Pin-Ups collages. In Thun the twelve images are placed at an angle to a geometricised “Lipstick Monument” and brought together under the metaphysical concept of cosmogony. So, if this can be seen as an explanatory model for the world of Pin-Ups, one must also assume that it is an ironic meta-comment of the artist. With this work, Cascio basically circumvents the conventional type of Pin-Up in that its cheerful innocuousness tilts towards the already mentioned melancholic atmosphere. Not only the historical distance to the used graphical material from the 1960s is responsible for this, but also the predominantly restrained countenances of Cascio’s women. The collage titled Melancolia I gets to the heart of the dominant mood. Such an atmospheric character has often been noted in British Pop Art, as in Richard Hamilton’s interiors, as well as in montages of the group Superstudio. A further irony can be seen in the fact that Cascio used mostly fashion images in which women’s bodies are wrapped in clothes, instead of suggesting disclosure. Not only that, Cascio pasted over the bodies of his fashionably styled models with cut-outs from fabrics, furs, feathers, fruits, plants, crystals or monochromatic colour fields. These materials also form the backdrop to the carefully orchestrated figures. Such a setting accumulates an overflowing amount of material textures that exhibit a wide variety of haptic properties. If this evokes not only visual stimuli, but also the association of tactile stimuli, then the sensory dimension in such Pin-Ups is ultimately not hidden, but is actually quite radicalised. Cascio’s multifaceted works open visual worlds that on the one hand reactivate time-bound aesthetic ideals. On the other hand, the creative energy in the works that was used earlier on the creation of living environments is transformed into the present and made accessible in a multi-layered manner to the contemporaries who want to see. “What you see is what you see.”6 1 See inter alia Ambasz, Emilio (Hrsg.). Italy. The new domestic landscape, exhibition catalogue in the Museum of Modern Art, New York, Greenwich Connecticut: New York Graphic Society; Florence: Centro Di, 1972; Pettena, Gianni (editor). Radicals. Architettura e design 1960/75, Catalogue of the Venice Architecture Biennale, Florence: Il Ventilabro; Venice: Edizioni La Biennale di Venezia, 1996; Stauffer, Marie Theres. Figurationen des Utopischen. Theoretische Projekte von Archizoom und Superstudio. Munich/Berlin: Deutscher Kunstverlag, 2008.2 However, it is certainly not the only reference context within the history of Italian art. Cascio’s references have a wide historical horizon.3 See inter alia Pettena 1996, Stauffer 2008.4 Superstudio. Discorso per immagini, in: Domus, No. 481, 1969, pp. 44-45; Ibid “Deserti naturali e artificiali. Il monumento continuo. Storyboard per un film”, in: Casabella, No. 358, 1971, pp. 18-22. 5 Most recently in the work Where the apprentice is a master-craftsman (2010), exhibited at the Palais de Tokyo, Paris. On Cascio‘s website the installation is accom- panied by Le Corbusier‘s comment on the cabanon: “I have a château on the French Riviera that measures 3.66 m x 3.66 m” 6 This statement is originally from Frank Stella, made in 1964 regarding his own works. <img width="2000" height="1332" width_o="2000" height_o="1332" data-src="https://freight.cargo.site/t/original/i/e5d06777f507bfd82193d1a95503f4a3420dd7ba284fa37150b6712d5410b236/kmt1-w2000.jpg" data-mid="52865575" border="0" src="https://freight.cargo.site/w/1000/i/e5d06777f507bfd82193d1a95503f4a3420dd7ba284fa37150b6712d5410b236/kmt1-w2000.jpg" /><img width="368" height="500" width_o="368" height_o="500" data-src="https://freight.cargo.site/t/original/i/ce0e09644c11a3a24308b9302a71f15c656fa4c4c22e8b8bf50fbffb5e474641/stampfli.jpg" data-mid="52856108" border="0" src="https://freight.cargo.site/w/368/i/ce0e09644c11a3a24308b9302a71f15c656fa4c4c22e8b8bf50fbffb5e474641/stampfli.jpg" />link to catalog https://davidecascio.com/Utah-Jazz Tue, 24 Sep 2019 08:08:18 +0000 davidecascio.com https://davidecascio.com/Utah-Jazz Utah Jazz <img width="700" height="1050" width_o="700" height_o="1050" data-src="https://freight.cargo.site/t/original/i/25dfd9fff0d94918a61b269ab1c44d47123c6f2c57906e5dbc5347fad9961c1f/backboard_white_page6.jpg" data-mid="52635772" border="0" src="https://freight.cargo.site/w/700/i/25dfd9fff0d94918a61b269ab1c44d47123c6f2c57906e5dbc5347fad9961c1f/backboard_white_page6.jpg" /><img width="709" height="945" width_o="709" height_o="945" data-src="https://freight.cargo.site/t/original/i/7ca908c448dac30d02966a4636954b05f0fa7e28d03b4dd762906c1c76b794af/b.jpg" data-mid="52695461" border="0" src="https://freight.cargo.site/w/709/i/7ca908c448dac30d02966a4636954b05f0fa7e28d03b4dd762906c1c76b794af/b.jpg" /> Utah Jazz Collage on paper, textiles 115 x 145 cm2014installation view <img width="945" height="709" width_o="945" height_o="709" data-src="https://freight.cargo.site/t/original/i/99cd57663cd79b3d8c1ba0263db1b8bae81f95f9bb75c804701169be626bad9e/c.jpg" data-mid="52634904" border="0" src="https://freight.cargo.site/w/945/i/99cd57663cd79b3d8c1ba0263db1b8bae81f95f9bb75c804701169be626bad9e/c.jpg" /> <img width="945" height="709" width_o="945" height_o="709" data-src="https://freight.cargo.site/t/original/i/804a2a452a1fa012b37bc6e5b4d7d9d444cb621f60776c017b69d6dbf01b390b/f.jpg" data-mid="52634915" border="0" src="https://freight.cargo.site/w/945/i/804a2a452a1fa012b37bc6e5b4d7d9d444cb621f60776c017b69d6dbf01b390b/f.jpg" /> <img width="708" height="945" width_o="708" height_o="945" data-src="https://freight.cargo.site/t/original/i/6b9f0c782efd1d4600823081d881018ad1493ffc6ef2b5f7054b7dc78f005c8e/e.jpg" data-mid="52634910" border="0" src="https://freight.cargo.site/w/708/i/6b9f0c782efd1d4600823081d881018ad1493ffc6ef2b5f7054b7dc78f005c8e/e.jpg" /> <img width="709" height="945" width_o="709" height_o="945" data-src="https://freight.cargo.site/t/original/i/0bc2afb74bc2fca4fad34fb6180903ee35a3e6f14c7d5fe7e7562f45d9696080/d.jpg" data-mid="52634907" border="0" src="https://freight.cargo.site/w/709/i/0bc2afb74bc2fca4fad34fb6180903ee35a3e6f14c7d5fe7e7562f45d9696080/d.jpg" /> <img width="945" height="709" width_o="945" height_o="709" data-src="https://freight.cargo.site/t/original/i/8d4b5a9310fd0ddf55629c6ed4dbb5b35a9cb2ea36590684deb3ed21a43e1f8d/g.jpg" data-mid="52634978" border="0" src="https://freight.cargo.site/w/945/i/8d4b5a9310fd0ddf55629c6ed4dbb5b35a9cb2ea36590684deb3ed21a43e1f8d/g.jpg" /> Utah JazzCollage on paper, textiles, fur Variable dimansions2013Sonntag Parisphoto: Adrian Schiesser Sonntag is a social sculpture that invites artists to collaborate and share their work in a domestic space. The monthly project is realized by public invitation to the Sunday matinee where the invited artist‘s favorite cake and coffee/tea is shared. Sonntag was started in Berlin, Germany in September 2012 by Adrian Schiesser and April Gertler. Utah Jazz In Blackboard - White Page Wenn Künstler Schule machen - Internationale Gruppenausstellung 2014 Ausstellungsraum und Erdgeschoss, Kantonsschule Zürich Nord With Annette Amberg, Nino Baumgartner, Seline Baumgartner, Vanessa Billy, Stefan Burger, Valentin Carron, Maud Châtelet, Claudia Comte, Anne-Lise Coste, Quynh Dong, Latifa Echakhch, Athene Galiciadis, David Hominal, Esther Kempf, Quinn Latimer &amp; Paolo Thorsen-Nagel, Marie Lusa, Fabian Marti, Fabio Marco Pirovino, Falke Pisano, Elodie Pong, Sam Porritt, Ana Roldán, Vanessa Safavi, Lena Maria Thüring Curated by Maud Châtelet &amp; Ana Roldán, with the assistance of Nicolas Vionnet.&nbsp;Curatorial assistance: Sarah Wiesendanger &amp; Christina Kovarik. <img width="900" height="1280" width_o="900" height_o="1280" data-src="https://freight.cargo.site/t/original/i/9054785565d196aeaa1c21cffa406c7461f27f2e7f175b941f4b24a6cf9f0d0d/Flyer_Blackboard_WhitePage.gif" data-mid="52636038" border="0" src="https://freight.cargo.site/w/900/i/9054785565d196aeaa1c21cffa406c7461f27f2e7f175b941f4b24a6cf9f0d0d/Flyer_Blackboard_WhitePage.gif" /> <img width="435" height="617" width_o="435" height_o="617" data-src="https://freight.cargo.site/t/original/i/8c1bb017b8efdbaf2de5da65ed9e8d7ce92636dd8467b45c0805aca5a926932d/sito-pic1.jpg" data-mid="58001474" border="0" src="https://freight.cargo.site/w/435/i/8c1bb017b8efdbaf2de5da65ed9e8d7ce92636dd8467b45c0805aca5a926932d/sito-pic1.jpg" /> The Monster World I 2013 collages sur papier 42 x 32 cm https://davidecascio.com/Riverrun-II Mon, 21 Oct 2019 12:54:26 +0000 davidecascio.com https://davidecascio.com/Riverrun-II Riverrun II <img width="2679" height="1901" width_o="2679" height_o="1901" data-src="https://freight.cargo.site/t/original/i/2ca71518edcc276573c50d7735b7d27574e792d49d3fd40d80f5c3825b078027/cascio-riverrun-2.jpg" data-mid="53092746" border="0" src="https://freight.cargo.site/w/1000/i/2ca71518edcc276573c50d7735b7d27574e792d49d3fd40d80f5c3825b078027/cascio-riverrun-2.jpg" />Riverrun II2018Livres, impression typographique sur papier, bois contreplaqué, feutre, peinture acryliqueInstallation dimensions variables Ekaterinburg, Russie <img width="2784" height="1856" width_o="2784" height_o="1856" data-src="https://freight.cargo.site/t/original/i/229f78ce6fbd558b77e39f2a4637250c011877d48e1eebfeee1ce244deafcf2a/IMG_0913.JPG" data-mid="53093095" border="0" src="https://freight.cargo.site/w/1000/i/229f78ce6fbd558b77e39f2a4637250c011877d48e1eebfeee1ce244deafcf2a/IMG_0913.JPG" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/73fb8612da086b6dfccb104b31890b1a91168c373c5ea8411899d11e6e6cc4c4/IMG_0899.JPG" data-mid="53093094" border="0" src="https://freight.cargo.site/w/1000/i/73fb8612da086b6dfccb104b31890b1a91168c373c5ea8411899d11e6e6cc4c4/IMG_0899.JPG" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/87d9a413b1bf19318fc97d32d1f9b46fa3eb84a50be1cb850331bfe30223ea25/IMG_0969.JPG" data-mid="53093093" border="0" src="https://freight.cargo.site/w/1000/i/87d9a413b1bf19318fc97d32d1f9b46fa3eb84a50be1cb850331bfe30223ea25/IMG_0969.JPG" /> <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/2763d9fac4f6dc9b557790f0de0b11cffdb4af6ee7cb80b698215e91a1f0a206/IMG_0863.JPG" data-mid="53093004" border="0" src="https://freight.cargo.site/w/1000/i/2763d9fac4f6dc9b557790f0de0b11cffdb4af6ee7cb80b698215e91a1f0a206/IMG_0863.JPG" /> <img width="2773" height="1841" width_o="2773" height_o="1841" data-src="https://freight.cargo.site/t/original/i/69787c7e54f35b6aaa50ea5c35c8eefd75d3075a5e101130713f7f1b5565162a/cascio-riverrun-4.jpg" data-mid="53092771" border="0" src="https://freight.cargo.site/w/1000/i/69787c7e54f35b6aaa50ea5c35c8eefd75d3075a5e101130713f7f1b5565162a/cascio-riverrun-4.jpg" /> <img width="2784" height="1856" width_o="2784" height_o="1856" data-src="https://freight.cargo.site/t/original/i/527157ba100569331bfbd0062dab2c0a16fb806f4e2baa3213c8d9f2458a0672/IMG_0926.JPG" data-mid="53093007" border="0" src="https://freight.cargo.site/w/1000/i/527157ba100569331bfbd0062dab2c0a16fb806f4e2baa3213c8d9f2458a0672/IMG_0926.JPG" /><img width="2759" height="1797" width_o="2759" height_o="1797" data-src="https://freight.cargo.site/t/original/i/34ed1b72f6dea51d98e611de33159b5db50fb2984b3887979982bf1f9df4fe96/cascio-riverrun-1.jpg" data-mid="53092751" border="0" src="https://freight.cargo.site/w/1000/i/34ed1b72f6dea51d98e611de33159b5db50fb2984b3887979982bf1f9df4fe96/cascio-riverrun-1.jpg" /><img width="2784" height="1856" width_o="2784" height_o="1856" data-src="https://freight.cargo.site/t/original/i/459e327417cb4f944e8d6665880d33d85cacb1cb69582a8d1c549d0c383f9c44/cascio-riverrun-3.JPG" data-mid="53092758" border="0" src="https://freight.cargo.site/w/1000/i/459e327417cb4f944e8d6665880d33d85cacb1cb69582a8d1c549d0c383f9c44/cascio-riverrun-3.JPG" /> <img width="2784" height="1856" width_o="2784" height_o="1856" data-src="https://freight.cargo.site/t/original/i/f973822a5c2ed5d31f08d1a73653c269b712adda42654ff704d6d5be95e48509/IMG_0960.JPG" data-mid="53093035" border="0" src="https://freight.cargo.site/w/1000/i/f973822a5c2ed5d31f08d1a73653c269b712adda42654ff704d6d5be95e48509/IMG_0960.JPG" /> <img width="1856" height="2784" width_o="1856" height_o="2784" data-src="https://freight.cargo.site/t/original/i/29c40bf1fffedce92451f7ce80013b62a710f4f7401497f775ed98ed3024f433/IMG_0962.jpg" data-mid="53093043" border="0" src="https://freight.cargo.site/w/1000/i/29c40bf1fffedce92451f7ce80013b62a710f4f7401497f775ed98ed3024f433/IMG_0962.jpg" /> Working Archive19.10 – 25.11.2018Centre National d’Art ContemporainEkaterinburg, RU In Ekaterinburg, Ural branch of the National Center for Contemporary Arts will present the archive from Cahiers d’Artistes collection, a project by Pro Helvetia devoted to the first publications of works by contemporary Swiss artists since 1980s. Original installation and exposition of the archive was designed by Swiss artist Davide Cascio. A video program based on the archive completes the presentation of the сollection.Screening video with : collectif-fact, Elodie Pong, Gabriela Löffel, Augustin Rebetez, Dominique Koch et Adrien Missika. Curated by Patrick Gosatti (Pro Helvetia Moscou / Cahiers d’Artistes) and Zhenya Chaika (NCCA Oural ) In support of the exhibition, swiss experts Yann Chateigné (professor at HEAD School, Geneva), Elise Lammer (art-critic, curator), Patrick Gosatti (curator of Cahiers d’Artistes) and artist Davide Cascio, will run workshops, lectures and discussions. <img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/5409c08189b8b0f2fcbf3484674857f9544dfb4d7393d93c32a44937c66ee858/IMG_9005.jpg" data-mid="53100831" border="0" src="https://freight.cargo.site/w/1000/i/5409c08189b8b0f2fcbf3484674857f9544dfb4d7393d93c32a44937c66ee858/IMG_9005.jpg" /><img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/37aa833d20cb3dc12e0509fa7761203cdd39296b52d477e03418a620d0e6854f/IMG_8950.jpg" data-mid="53100847" border="0" src="https://freight.cargo.site/w/1000/i/37aa833d20cb3dc12e0509fa7761203cdd39296b52d477e03418a620d0e6854f/IMG_8950.jpg" /><img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/2e8d5f2bb41d7d497b1f2ded7a46134308efb23f95385738927a8052a1fd506a/IMG_8982.jpg" data-mid="53100854" border="0" src="https://freight.cargo.site/w/1000/i/2e8d5f2bb41d7d497b1f2ded7a46134308efb23f95385738927a8052a1fd506a/IMG_8982.jpg" /><img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/7ce4f10908cbc390056154cd083523ad772ae95feea80c228586322e7465195f/IMG_8975.jpg" data-mid="53100865" border="0" src="https://freight.cargo.site/w/1000/i/7ce4f10908cbc390056154cd083523ad772ae95feea80c228586322e7465195f/IMG_8975.jpg" /> Riverrun Dust jacket letterpress printing on paper 60, 5 x 46 cm (unfolded) and variable dimensions 2016 Courtesy 13er Kunsttreff, Werkstatt Martin Wallimann (WMW) Alpnach, CH. https://davidecascio.com/Acephale Sat, 19 Oct 2019 13:56:42 +0000 davidecascio.com https://davidecascio.com/Acephale Acéphale <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/069222f316ee5ab79dfc9af062567dc6b02d46f9fa7782e21c7b982975322bc1/chapelle1.jpg" data-mid="52976783" border="0" src="https://freight.cargo.site/w/1000/i/069222f316ee5ab79dfc9af062567dc6b02d46f9fa7782e21c7b982975322bc1/chapelle1.jpg" />AcéphalePeinture acrylique sur contreplaqué, aluminium, bois et monument équestre550 x 300 x 400 cm2019Eglise des Petits-Augustins, ENSBA, Paris <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/b6e5deaf8ef0777ef954cc0fdd78e6d7dad5f4c537690adbb38690a091f993d6/chapelle3.jpg" data-mid="52976787" border="0" src="https://freight.cargo.site/w/1000/i/b6e5deaf8ef0777ef954cc0fdd78e6d7dad5f4c537690adbb38690a091f993d6/chapelle3.jpg" /> <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/662bf4f38db610233d19906938dfa8e6e6264fcc3170f21a412d6661e870edaf/chapelle2.jpg" data-mid="52976785" border="0" src="https://freight.cargo.site/w/1000/i/662bf4f38db610233d19906938dfa8e6e6264fcc3170f21a412d6661e870edaf/chapelle2.jpg" /> <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/051838e3c8d7aa1025465b177c79fc1971cae45efdf30528e93d91f5ca925249/chapelle6.jpg" data-mid="52976804" border="0" src="https://freight.cargo.site/w/1000/i/051838e3c8d7aa1025465b177c79fc1971cae45efdf30528e93d91f5ca925249/chapelle6.jpg" /> <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/cd2c6e0528b6bc912fc6f2bbdb0a374c403cc94509c113d61274b9f3355f81ef/chapelle4.jpg" data-mid="52976789" border="0" src="https://freight.cargo.site/w/1000/i/cd2c6e0528b6bc912fc6f2bbdb0a374c403cc94509c113d61274b9f3355f81ef/chapelle4.jpg" /> <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/a228aec6b19e10a7f42fdcb74f2140e869b46d3901fca73123421375ee435f69/chapelle5.jpg" data-mid="52976790" border="0" src="https://freight.cargo.site/w/1000/i/a228aec6b19e10a7f42fdcb74f2140e869b46d3901fca73123421375ee435f69/chapelle5.jpg" /> <img width="7773" height="4941" width_o="7773" height_o="4941" data-src="https://freight.cargo.site/t/original/i/07e39cae618b13e1c25f8ed451d2aa984dd804598407caecf79b5054c06e36fa/vermiculaire1.jpg" data-mid="52976972" border="0" src="https://freight.cargo.site/w/1000/i/07e39cae618b13e1c25f8ed451d2aa984dd804598407caecf79b5054c06e36fa/vermiculaire1.jpg" /> <img width="7952" height="5278" width_o="7952" height_o="5278" data-src="https://freight.cargo.site/t/original/i/ac2e4d2b2379771e5f028e338cfd54158a6ceb4262257968d4a99c2eab7b7267/vermiculaire2.jpg" data-mid="52976977" border="0" src="https://freight.cargo.site/w/1000/i/ac2e4d2b2379771e5f028e338cfd54158a6ceb4262257968d4a99c2eab7b7267/vermiculaire2.jpg" /><img width="7952" height="5203" width_o="7952" height_o="5203" data-src="https://freight.cargo.site/t/original/i/9822cfc71c09bd2702cebd2c61ae88809a561aa023216dd996a880c0e75a51a5/vermiculaire3.jpg" data-mid="52976991" border="0" src="https://freight.cargo.site/w/1000/i/9822cfc71c09bd2702cebd2c61ae88809a561aa023216dd996a880c0e75a51a5/vermiculaire3.jpg" /><img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/138cfe2a00e955e0ba59e0ea6dbe95a3fea9a1447d59817afa56e5ab51b4e417/vermiculaire4.jpg" data-mid="52976993" border="0" src="https://freight.cargo.site/w/1000/i/138cfe2a00e955e0ba59e0ea6dbe95a3fea9a1447d59817afa56e5ab51b4e417/vermiculaire4.jpg" />Peinture vermiculaire I Peinture acrylique sur polyamide et coton 230 x 360 cm 2019 Eglise des Petits-Augustins, ENSBA, Paris Peinture vermiculaire II Peinture acrylique sur polyamide et coton 289 x 310 cm 2019 Eglise des Petits-Augustins, ENSBA, Paris Peinture vermiculaire III Peinture acrylique sur polyamide et coton 278 x 130 cm 2019 Eglise des Petits-Augustins, ENSBA, Paris Peinture vermiculaire IV Peinture acrylique sur polyamide et coton* 330 x 174 cm 2019 Eglise des Petits-Augustins, ENSBA, Paris Acéphale 2019 La Chapelle des Petits-Augustins Beaux - Arts de Paris La nécessité de se confronter au monde formel de valeurs expressives préexistantes – qu’elles soient présentes ou passées – constitue, pour tout artiste désireux d’imposer sa manière propre, une crise décisive. Aby Warburg, L’Atlas Mnémosyne, trad. Sacha Zilberfarb, Paris, Éditions de l’écarquillé/INHA, 2012, p. 56. L’ancienne église des Petits-Augustins, un espace mnémotechnique1&nbsp;. En rentrant dans l’Ancienne église des Petits-Augustins, on se retrouve face à un dispositif qui a aussi été conçu comme un outil. L’église déchristianisée abrite des moulages et des copies de tableaux, parmi les œuvres les plus remarquables du Moyen Âge et de la Renaissance. On pourrait parler d’une histoire de l’art composée de fragments hétéroclites, qui s’articulent grace à un système de convergences2, de forme rhizomatique plutôt que linéaire. Cet espace kaléidoscopique, qui se présente comme un vaste atlas déployé sur les nefs, a été un lieu d’exercice et d’étude pour la pratique de la copie3. Il s’agit d’un lieu de monstration exceptionnel qui réunit dans un seul volume des œuvres d’art, des copies et des fragments archéologiques. Des moulages d’après Michel-Ange4 aux fragments provenant de la cathédrale de Rouen, de Saint-Denis ou de la cour carrée du Louvre, des vestiges de la façade du châteaux d’Anet aux moulages provenant du cimetière de Kirk-Braddan sur l’Île de Man, tous semblent, dans leur monstration, vouloir brouiller la vision et exploser une possible lecture linéaire pour proposer une vision simultanée. Cette espace nous force à une lecture de l’histoire par récits multiples. On est toujours dans le goût pour la ruine et le postiche, le collage y survient d’une façon décontractée. Par moments, comme s’il agissait des morceaux entreposés d’une fouille pas trop intéressante, une fouille qui descend par strates dans le sol, on a l’impression de voir résumer toute une série d’objets de provenance hétéroclite. On a l’impression de participer à un exposé d’Aby Warburg, les reproductions photographiques prennent volume sur le mur et le fond noir devient ici le rouge pompéien de la chapelle. On peut faire un effort et regarder le vide entre les fragments, penser ces interstices comme le lieu de passage d’un réseau qui les interconnecte. Les potentiels récits (qui naissent du tissage des relations entre les fragments) saturent encore d’avantage cette espace chargé. L’hypothèse que cette monumentale boîte mnémotechnique puisse renverser sa fonction et mettre en place un processus d’oubli5 (art oblivionalis) (et d’effacement par palimpseste par superposition), ouvre un nouveau potentiel dialogue. 1 Voir Umberto Eco et Marilyn Migiel, An Ars Oblivionalis? Forget It! PMLA, Vol. 103, No. 3 (Mai, 1988), p. 254-261. 2 « L’histoire de l’art officielle n’est certes pas habituée à considérer conjointement les différentes conceptions – orientale et astrologique, nordique et courtoise, italienne et humaniste – de l’antiquité comme des composantes convergentes de ce processus de formation du nouveau style. » Aby Warburg, L’Atlas Mnémosyne, Écarquillé – INHA, 2012, p. 57. 3 Art à part entière, la copie, surtout de peintures, est enseignée depuis le 17ème siècle. 4 Thiers créa dans l’École des beaux-arts un sanctuaire de moulages dédié à Michel-Ange. Cette collection révéla les affinités entre la terribilità de Michel-Ange et le romantisme politique et irréligieux de Stendhal et Michelet. Emmanuel Schwartz, « Du plâtre et de la poésie. Les moulages d’après Michel-Ange à l’École des beaux-arts de Paris », In Situ [En ligne], 28 | 2016. 5 « (...) Klaus Herding en a proposé une typologie, distinguant le remplacement des signes ou des inscriptions sur les monuments, leur changement d’appellation ou de dédicace, la transformation ou le remplacement d’œuvres entières, l’inhumation, la décapitation ou le bannissement des statues, traitées comme si elle étaient des per- sonnes réelles, le déplacements des monuments, quittant la place publique pour investir des lieux spécifiques –tels les musées, qui possédaient leur propre aura- et enfin l’anéantissement. (...) Richard Wrigley a légitimement insisté sur l’importance des transformations et réutilisations, proposant d’appliquer à cette catégorie le concept de « rature » de Jacques Deridda. (*Wrighley Breaking the code art.cit. p. 185.) » Dario Gamboni, La destruction de l’art, Iconoclasme et vandalisme depuis la Révolution française, Les presses du réel, Paris, 2015, p. 50-52. <img width="750" height="849" width_o="750" height_o="849" data-src="https://freight.cargo.site/t/original/i/c96ee462fc5d059d579d01749780a30a925af867f6b627af66cf437997a93721/-1.jpg" data-mid="53018390" border="0" src="https://freight.cargo.site/w/750/i/c96ee462fc5d059d579d01749780a30a925af867f6b627af66cf437997a93721/-1.jpg" /> Sir John Soane’s Museum,The sarcophagus of Seti I in the Sepulchral Chamber in the centre of the “Museum” at the back of the house,as shown in the Illustrated London News in 1864* <img width="1180" height="1290" width_o="1180" height_o="1290" data-src="https://freight.cargo.site/t/original/i/7182189b9bbbd53d548aed67ce00263b7aef49cb6c6c1379045147d03c19be0d/3005203_Scarpas-use-of-colour--plinths-and-light-at-Museo-Civico-di-Castelvecchio.jpg" data-mid="53018396" border="0" src="https://freight.cargo.site/w/1000/i/7182189b9bbbd53d548aed67ce00263b7aef49cb6c6c1379045147d03c19be0d/3005203_Scarpas-use-of-colour--plinths-and-light-at-Museo-Civico-di-Castelvecchio.jpg" /> Carlo Scarpa Musée de Castelvecchio réaménagement du musée 1957-1974 Vérone, Italie <img width="463" height="370" width_o="463" height_o="370" data-src="https://freight.cargo.site/t/original/i/2feab204f472aced28011ac5d91a66ad1d6c9b4fc2aaff4f5e50cd9225dc0a89/ph08378-12989.JPG" data-mid="53018408" border="0" src="https://freight.cargo.site/w/463/i/2feab204f472aced28011ac5d91a66ad1d6c9b4fc2aaff4f5e50cd9225dc0a89/ph08378-12989.JPG" /> Funérailles de M. Albert Lenoir 1891 École nationale supérieure des beaux-arts, Paris <img width="1000" height="842" width_o="1000" height_o="842" data-src="https://freight.cargo.site/t/original/i/2f2f3943705f280448b42e9655a3779a10e64b54a4810f0ec221f6b48eb37946/violation_des_tombeaux_retouchee_bd.jpg" data-mid="53018411" border="0" src="https://freight.cargo.site/w/1000/i/2f2f3943705f280448b42e9655a3779a10e64b54a4810f0ec221f6b48eb37946/violation_des_tombeaux_retouchee_bd.jpg" /> Hubert Robert La Violation des caveaux des rois dans la basilique de Saint-Denis, en octobre 1793, Vers 1793, Musée Carnavalet <img width="4960" height="3507" width_o="4960" height_o="3507" data-src="https://freight.cargo.site/t/original/i/df80ea591cbe2e1919b418e5eaea6d5c25e87335aa5566c0d2403a743e8e514c/SKM_C30818121118030.jpg" data-mid="53018410" border="0" src="https://freight.cargo.site/w/1000/i/df80ea591cbe2e1919b418e5eaea6d5c25e87335aa5566c0d2403a743e8e514c/SKM_C30818121118030.jpg" />Dario Gamboni, La destruction de l’art, Iconoclasme et vandalisme depuis la Révolution française, Les presses du réel, Paris, 2015 <img width="300" height="418" width_o="300" height_o="418" data-src="https://freight.cargo.site/t/original/i/4ab549514f8401922de85c928bacad6340e3134779827e264fd44f3e7592bdff/13.jpg" data-mid="53075732" border="0" src="https://freight.cargo.site/w/300/i/4ab549514f8401922de85c928bacad6340e3134779827e264fd44f3e7592bdff/13.jpg" /> Marcel Duchamp Rotative, plaques, verre 1920 <img width="1069" height="704" width_o="1069" height_o="704" data-src="https://freight.cargo.site/t/original/i/6e7acc41becbbd603b91644898a9ec75e066e942891af9b354dce01390c5f8b1/guernica-alla-cariatidi-rene-burri-1.jpg" data-mid="53018407" border="0" src="https://freight.cargo.site/w/1000/i/6e7acc41becbbd603b91644898a9ec75e066e942891af9b354dce01390c5f8b1/guernica-alla-cariatidi-rene-burri-1.jpg" /> Pablo Picasso, Guernica, Salle des Cariatides, Palazzo Reale Milan, 1953, Photo René Burri, Installation de Gian Carlo Menichetti et Attilio Rossi<img width="527" height="682" width_o="527" height_o="682" data-src="https://freight.cargo.site/t/original/i/4f3c0f8ef9faede4f1f011e5bd0a047f5f7715abee876487c251f13c5e68fa23/09d58f1661be25ee7f94017d9a75a10b.jpg" data-mid="53075844" border="0" src="https://freight.cargo.site/w/527/i/4f3c0f8ef9faede4f1f011e5bd0a047f5f7715abee876487c251f13c5e68fa23/09d58f1661be25ee7f94017d9a75a10b.jpg" />EUR, Palazzo della Civiltà e del Lavoro, travaux de construction, 1938, Rome <img width="1000" height="1279" width_o="1000" height_o="1279" data-src="https://freight.cargo.site/t/original/i/1998dc17dbccd2eda7a50a48caad945e15ffcf34e0025c3d0a0cf2997512eaee/anni-albers-drawing-for-rug-1959.jpg" data-mid="53075992" border="0" src="https://freight.cargo.site/w/1000/i/1998dc17dbccd2eda7a50a48caad945e15ffcf34e0025c3d0a0cf2997512eaee/anni-albers-drawing-for-rug-1959.jpg" />Anni Albers Dessin pour tapis 1959 incre et crayon sur papier <img width="2098" height="3047" width_o="2098" height_o="3047" data-src="https://freight.cargo.site/t/original/i/9ef32d2955a52fc806dfb7f1454ef9e52abe7e78f8602f1efd6e5d1671c58610/poster.jpg" data-mid="53016131" border="0" src="https://freight.cargo.site/w/1000/i/9ef32d2955a52fc806dfb7f1454ef9e52abe7e78f8602f1efd6e5d1671c58610/poster.jpg" /> https://davidecascio.com/Rooms-Roses-Polyhedrons Sat, 05 Oct 2019 13:28:37 +0000 davidecascio.com https://davidecascio.com/Rooms-Roses-Polyhedrons Rooms, Roses, Polyhedrons <img src="https://files.cargocollective.com/c89790/cerchio-low.jpg" alt="https://files.cargocollective.com/c89790/cerchio-low.jpg" border="10px" solid="10"> <img width="2953" height="1976" width_o="2953" height_o="1976" data-src="https://freight.cargo.site/t/original/i/67a48c9747550ec34068a0e2ec2cb1760405ee97b4f45fe7bf86a7aaacd41a43/flayin-cellular-unit.jpg" data-mid="52696577" border="0" src="https://freight.cargo.site/w/1000/i/67a48c9747550ec34068a0e2ec2cb1760405ee97b4f45fe7bf86a7aaacd41a43/flayin-cellular-unit.jpg" /> <img width="640" height="490" width_o="640" height_o="490" data-src="https://freight.cargo.site/t/original/i/4a4bc1f32533512a5fdb3ffbc20ecfca458ad3df442168d9ba016a029ed024f0/foto.jpg" data-mid="52856572" border="0" src="https://freight.cargo.site/w/640/i/4a4bc1f32533512a5fdb3ffbc20ecfca458ad3df442168d9ba016a029ed024f0/foto.jpg" /> Flying cellular unit 2007 Digital print on plastic grid mesh 200 x 1200 cm Museo Cantonale d’Arte Lugano 2007 <img width="1772" height="1218" width_o="1772" height_o="1218" data-src="https://freight.cargo.site/t/original/i/625168599f342d228fa7e29f32673470914a64e55e8a11330fc127f50f654824/01.jpg" data-mid="52713422" border="0" src="https://freight.cargo.site/w/1000/i/625168599f342d228fa7e29f32673470914a64e55e8a11330fc127f50f654824/01.jpg" />Flying cellular unit 1 2006 Collage on MDF 70 x 100 cm <img width="2953" height="1976" width_o="2953" height_o="1976" data-src="https://freight.cargo.site/t/original/i/f1f59b8d2db1d0598e3d045d40faa002190e2495ae24ead3346a60d7396c260a/flying-cellular-unit-detail.jpg" data-mid="52696677" border="0" src="https://freight.cargo.site/w/1000/i/f1f59b8d2db1d0598e3d045d40faa002190e2495ae24ead3346a60d7396c260a/flying-cellular-unit-detail.jpg" /> <img width="2362" height="1574" width_o="2362" height_o="1574" data-src="https://freight.cargo.site/t/original/i/ab841b47c74b79d5def616d8eebe553378d4e18f5865a06afdd04efbc030b5ef/pin-ups-detail.JPG" data-mid="52713092" border="0" src="https://freight.cargo.site/w/1000/i/ab841b47c74b79d5def616d8eebe553378d4e18f5865a06afdd04efbc030b5ef/pin-ups-detail.JPG" /> <img width="2362" height="1575" width_o="2362" height_o="1575" data-src="https://freight.cargo.site/t/original/i/0c8b005dbb7376b268ac158bae901926b1c389101029721cfbea149e39e0892c/-pin-ups-cosmogony-JPG.JPG" data-mid="52712862" border="0" src="https://freight.cargo.site/w/1000/i/0c8b005dbb7376b268ac158bae901926b1c389101029721cfbea149e39e0892c/-pin-ups-cosmogony-JPG.JPG" /> <img width="709" height="474" width_o="709" height_o="474" data-src="https://freight.cargo.site/t/original/i/a826912e1dca6130f0606192ffa82e7568097fdf72fef4e9310c4d7a1af57065/flying.jpg" data-mid="52696885" border="0" src="https://freight.cargo.site/w/709/i/a826912e1dca6130f0606192ffa82e7568097fdf72fef4e9310c4d7a1af57065/flying.jpg" /> <img width="4252" height="4256" width_o="4252" height_o="4256" data-src="https://freight.cargo.site/t/original/i/860340649d6966267a0ecf457b9ac9c33b72bab16e9d2b6e0df83034713760ef/011.jpg" data-mid="52713240" border="0" src="https://freight.cargo.site/w/1000/i/860340649d6966267a0ecf457b9ac9c33b72bab16e9d2b6e0df83034713760ef/011.jpg" /> <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/d700983670972242c9da3651d608cd82f3c7e444c6ca248ca4d84e4a6e96e657/cerchio.jpg" data-mid="52697505" border="0" src="https://freight.cargo.site/w/394/i/d700983670972242c9da3651d608cd82f3c7e444c6ca248ca4d84e4a6e96e657/cerchio.jpg" /> cerchio febbraio skifahren a saturday afternoon from piz gloria has the same velocità di un lavoro di duchamp, my bloomsday ohne blume, no tits anymore. sant’agata forever. l’emozione viene dal midollo dell’ essere, mica dai coglioni o dalle ovaie. mito, modernità e un kir a duemila metri. kir vin blanc crème de cassis de dijon quand tu est parti je t’ai laissé un cerchio fait avec mon rouge à lèvres. paint it’s to love again. tomorrow in the battle think on me and call me just to say you love me. tomorrow tomorrow tomorrow.&nbsp; i have the same colour as molly bloom, rousse abour-ne, but not the allure of audrey hepburn, ich weiss ich weiss. sparire in un pianosequenza nella neve. giulietta muore. <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/8c51b711003fad43c9ca4e92c0da5bf033364417eecc249513e007f5af5d2521/triangolo.jpg" data-mid="52697534" border="0" src="https://freight.cargo.site/w/394/i/8c51b711003fad43c9ca4e92c0da5bf033364417eecc249513e007f5af5d2521/triangolo.jpg" /> triangolo giugno il mio mistero è chiuso in me, il nome mio nessun saprà è inutile che continui a guardarmi. il mio dramma non ha mai avuto luo-go. call me aganemmone, moana, mabel, lucrezia, ofelia, heidi. kiss my ass to get famous, ma leggimi shakespeare before. montenapoleone duomo missori crocetti porta romana: i’m a model on a metro and i need a mojito. mojito ( cuba, 1910-1920 ca.) white rum lime zucchero di canna menta a lot of ice la mia ora è fuggita. love will tear us apart. love is a yorkshire sold on ebay. besame mucho. quei baci più non scorderò e allora mambo, dancing cheek to cheek, chihuahua, chica chica boom. morire un po’ per poter vivere. <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/41905a4f19ea91849b832e51e1bd001ecf73fcf75cbc7d89279dc2cbe78421dd/tetraedro.jpg" data-mid="52697532" border="0" src="https://freight.cargo.site/w/394/i/41905a4f19ea91849b832e51e1bd001ecf73fcf75cbc7d89279dc2cbe78421dd/tetraedro.jpg" /> tetraedro agosto la postura è spina dorsale e visione. posizionarsi nel mondo con grazia, voilà. my chakra è sempre lì dove sai tu. ma chatte it’s a yoga’s book: basta con i monologhi, lo spettacolo vero it’s on the beaches, that’s entertainment! to play mangiando una pastèque, spezzare il ritmo, decalare l’audio. Mmhh, aahh, oh sì, ancora. il colore dei colori è la porpora di tiro, i will kill for vederlo même pour une minute, mais maintenant dammi da bere i baci della tua bocca. mauresque pastis water syrop d’orzata i don't wanna be kissed (by anyone but you). i want to be adored. J’adore shostacovic. j’adore. nei film una volta si fumava di più, si beveva di più, kisses also, molto tanto più. fox trot, rumba, cha cha. Aahhh, mmh, sei mio, mai. Miao miao mon cheri le cinéma, sai, oggi, è di un didascalico. Voilà quoi, jamais de ma vie, così. j’adore lo mot jamais, ma how many tramonti j’ai perdu long du nil ? <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/3fc84a6ce1da37aeeb202691c3ad6022c17c9c3af5ba9ee91d93ad6a78b4f47c/sfera.jpg" data-mid="52697530" border="0" src="https://freight.cargo.site/w/394/i/3fc84a6ce1da37aeeb202691c3ad6022c17c9c3af5ba9ee91d93ad6a78b4f47c/sfera.jpg" /> sfera novembre la bellezza delle orecchie è sottovalutata, the price of number five è regolare, il tartufo c’est fou. ma l’importante è trovare in life almeno une douzaines de times the position of angel in the annunciazione. se fate la cristallografia de ma pensé troverete &nbsp; questo nome: mimosa champagne &amp; jusdorange se fate la perizia balistica delle mie passeggiate con il mio dalmata romeo you will find something cosìbello like the map of the metrò of paris. no bullshit anymore, only mantra. je party en vacances. ma chi se ne va che male fa ? <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/f0c3cd4350d94f25d41458e6dc2e36e2072334cceb00234ed208366626297177/quadrato.jpg" data-mid="52697528" border="0" src="https://freight.cargo.site/w/394/i/f0c3cd4350d94f25d41458e6dc2e36e2072334cceb00234ed208366626297177/quadrato.jpg" /> &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; quadrato aprile no more clyde, no more party, no more partenze arrivi. ridatemi i miei 12 anni con l’hula hoop. ridatemi i miei 14 anni con sophie marceau e il walkman messo da mathieu: dreams are my reality. ridatemi i miei sedicianni con il mal di pancia per amore, in the morning, at school. latte, liquirice, rever d’ être un star. shine on you crazy diamond. it’s fantastic beacuse i ‘ve been living thou-sand of lives, not only my life: claudia cardinale, only capri, splash, and a cold negroni. negroni (hotel baglioni, firenze, 1920) campari martini rosso gin soda servire con una fetta di arancia a lot of ice i have been on a calendar, but never on time. now only il mestiere di essere sirena. sirena di ulisse. lusso it’s nice. limoni also. qui tocca anche a noi poveri la nostra parte di ricchezza, ed è l’odore dei limoni. to be, only to be, baciami, stupido. <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/485c3462981d0056bd41b70a05c9ad53934647ac0c5c8ca3f6f22f282397de57/pentagono.jpg" data-mid="52697523" border="0" src="https://freight.cargo.site/w/394/i/485c3462981d0056bd41b70a05c9ad53934647ac0c5c8ca3f6f22f282397de57/pentagono.jpg" /> pentagono maggio lunghi pomeriggi di pioggia, lingerie, parliament fumate nella vasca da bagno, film in bianco e nero. liz taylor. abbiamo sempre impiegato i nostri momenti più belli a dirci addio. bang bang, baciami come se fosse l’ultima volta. i’m too beauty to be an artist, to sexy to play violoncello. distributions of the work in episodes or parts of the body. ma se non è un percorso d’amore non si possono combinare gli elementi. a martini dry, please: shaken, not stirren. martini dry gin vermouth noilly prat rapporto 5:1 tra i due spruzzare dalla scorza di limone delle goccioline sulla superficie far tuffare dentro nel bicchiere per i martini un’oliva you know, per buñuel&nbsp; la ricetta ideale c’entra con l’immacolata concezione: come un raggio di sole trapassa una finestra, la-sciando intatto l’imene della vergine, un raggio di sole deve tra-passare una bottiglia di&nbsp; noilly prat prima che si scontri con il gin. non cerco un&nbsp; posto al sole né il peggior motel, ma la posa di un’ ulteriore grazia. lo stile è tutto. i’m a party girl, mi piace schubert. j’adore ton parfum, ta peau, il tuo pensiero:&nbsp; fuck me. <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/9e60fff1d8c08f6bb0b80a0eb2b602da64541efb3e8c3501e252cf0c42b37727/ottaedro.jpg" data-mid="52697518" border="0" src="https://freight.cargo.site/w/394/i/9e60fff1d8c08f6bb0b80a0eb2b602da64541efb3e8c3501e252cf0c42b37727/ottaedro.jpg" /> esagono dicembre buonanotte menrei. addio niagara. ognuno si faccia i suoi du-sciamp. e all’inferno una stagione. i don’t give interwiew, né dico monologhi normally, je chante puccini dans mon jacuzzi. gintonic gin tonic and all that i want to say you can put it on a biglietto baci peru-gina o al limite, on a post it. ci eravamo tanto amati, anyway. <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/d5f5eb83855c1be2aafbfdeef4b89eb26fd5af4782c5d3ba1e7a61d88f632997/melancolia-1.jpg" data-mid="52697517" border="0" src="https://freight.cargo.site/w/394/i/d5f5eb83855c1be2aafbfdeef4b89eb26fd5af4782c5d3ba1e7a61d88f632997/melancolia-1.jpg" /> Melancolia 1 ottobre i’m not what you think i am ma je ne sais même pas qui je suis, scheissegal. sono apparsa a una rosa, ottobre mon cu, no non ho mai letto l’ulisse di joyce et alors ? never in my life never never, scheissegal, samarcanda, artemide, deserto rosso, ostuni, nizza, xerotan, shivaleika, dalek, strählende, lux, mimì, puccini, bellini bellini (giuseppe cipriani, harry’s bar, venezia, 1948) prosecco succo di pesche bianche chez moi où chez toi ? sherazade, diafalgan, hermitage, alpecin, pigalle, lexotan, melì melò, yves montand, zahir, kirin, rasho-mon, moonlight shadow, aki kaurismaki, kurfunstendamm, &nbsp; venedig, garni, garni: there is someone in this room che sa cosa vuol dire garni ? garni hotel, hotel garni, garni? C’est fou, garni, was soll es sein ? garni hotel ça va, mais garni tout seul, garni, it’s nothink, nichts, eine andere welt ohne sprache ohne ohne, garni, garni c’est quoi ? garni, garni, garni: another galaxy <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/1b627f0150f414b50770ecc531e0a66fe0fbad2073fc4f30bc2bea74d5f5497e/icosaedro.jpg" data-mid="52697516" border="0" src="https://freight.cargo.site/w/394/i/1b627f0150f414b50770ecc531e0a66fe0fbad2073fc4f30bc2bea74d5f5497e/icosaedro.jpg" /> icosaedro settembre les frites prendile da burgerking, no caro non è uguale, les frites prendile chez burger, pas mecdò, non è la mêmechose, no, pas du tout, du tout du tout è come il nome di una rosa, c’est importante. una rosa non è una rosa non è una rosa ma preferée c’est renata tebaldi et puis c’est pour toi les frites io frites mangio max 5. ah l’artista dice che non sono frites mais stalagtiti, chissà perchè avevo in testa le frites, bon, tanto mangio solo moules, mai thai pleeease mai tai 3 dashes of orange curaçao 1 teaspoonful sciroppo zuccero di canna 1 ounce white rum 1 ounce dark rum succo di limone succo di lime garnish with fruit &nbsp; i like mae west, clark gable, onrnitology, and santorini. ma stasera i just want to fall in a american swimmingpool with a dress of chanel, late in the night. è come la tristezza di un cane: monica vitti, la notte di antonioni. arrivederci amore ciao, ma perchè non hanno pregato per noi ? <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/41a9acb67c7440669716489898144703d1a9a50471498818638ccd3ffcc0e810/esagono.jpg" data-mid="52697510" border="0" src="https://freight.cargo.site/w/394/i/41a9acb67c7440669716489898144703d1a9a50471498818638ccd3ffcc0e810/esagono.jpg" /> esagono dicembre &nbsp; buonanotte menrei. addio niagara. ognuno si faccia i suoi du-sciamp. e all’inferno una stagione. i don’t give interwiew, né dico monologhi normally, je chante puccini dans mon jacuzzi. gintonic gin tonic and all that i want to say you can put it on a biglietto baci peru-gina o al limite, on a post it. ci eravamo tanto amati, anyway. <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/506769cac4907d92bc12971ab493585accd42fa1342099dca6cb6477efb00dda/esaedro.jpg" data-mid="52697508" border="0" src="https://freight.cargo.site/w/394/i/506769cac4907d92bc12971ab493585accd42fa1342099dca6cb6477efb00dda/esaedro.jpg" /> esaedro gennaio ciao good morning jag aelskar dig, aimez vous brahms ? sono colpi di cannone o è il mio cuore che batte, io in casabalanca. hey, there’s no way to say goodbye, but i remember: addio rick, god bless you, su su…buona fortuna, bambina. così continuiamo a remare, barche controcorrente, risospinti, senza posa, nel pas-sato. sì sì il solito grazie. dom pérignon 1962 portare avanti your own vangelo con la spada. Take care di un’ esile creep in do core finché it’s not a tropic of cancer colour corallo, but verticale, yes. fight for your own cosmogony. stromboli, terra di dio. skol, viaggioinitalia. io scriverò il tuo no-me sugli specchi degli hotel malfamati downt at the harbour. i will be la venere dei porti: l’attesa. make a list dei nomi delle na-vi, make up, e poi restarmene in disparte come vera principessa prigioniera del suo film. &nbsp; <img width="394" height="557" width_o="394" height_o="557" data-src="https://freight.cargo.site/t/original/i/f4b44de0330604249c06e7b5b18a08ea7b189a43565c19a64609534ec99d59ce/dodecaedro.jpg" data-mid="52697506" border="0" src="https://freight.cargo.site/w/394/i/f4b44de0330604249c06e7b5b18a08ea7b189a43565c19a64609534ec99d59ce/dodecaedro.jpg" /> dodecaedro marzo feeling sometimes, not always, però sì spesso, like ingrid ber-gman in europa 51 by roberto rossellini. fuggire il mondo in una porsche 911 toute blanche del 68, entrare uno dei primi giorni di primavera in a charming bar of paris and take a bloody mary c’est quelquechose niveau buddhisme, i mean. leave them all be-hind. bloody mary ( pete petiot, paris, 1921) vodka jus de tomate worcester tabasco sale e pepe zazà, zouzou, zénith: celebro le mie nozze alchemiche. Non sanguino più, dentro. una rosa sboccia dietro il mio seno sinistro. I dont’ like diamonds, perché porsche are better for cadeau. diamonds are a direction inside us. potevamo stupirvi con effetti speciali, ma c’est un jour comme un autre. et tu t’en va sans me dire un mot. Il ne reste que moi mais pourquoi mais pourquoi. Pin-Ups Cosmogony 2007 12 collage on paper each 42 x 29,7 cm 12 c-print text by Oliver Scharpf Rooms, Roses, Polyhedrons Museo Cantonale d’Arte Lugano 2007 Mounira Khemir The Eye of the Heart in the Aesthetic Paradigmof Davide Cascio “Some part of the motif will always be hidden from us, and there will always be some overlap”Ernst H. Gombrich, Art and Illusion Today, the proliferation of images plunges us more than ever into the cosmogony of immediate visual pleasure, but the essence of things may just pass us by. By way of counterpoint, the subtle works of Davide Cascio originate in the dialectic between pre- sence and absence, in their clever and astute ordering.They are produced by a unique creative process which usually results in a very particular intensity. In fact, the world of image and appearance is more than ever ob- sessed by versatility. Their flow is always becoming more confused with the real world, giving an indistinct quality to all life’s domains. However, as the Jewish wise men remind us, too many images may result in overkill. Guided by the eye of the heart, our artist receives coincidences and gets down to the essentials with splendid composure. Far from using fashionable stereotypes, he opens a way through the invisible and sets out to search for new founding experiences. He does not work in a mono-cultural manner. He creates using relationship-bonds and the eye of the heart, mapping out its creation, is just below the surface. The other is to him a fount of memory where he searches for the spirit of a place, the intuition of the moment, even if this should take some time. In these captured moments, the history of art falls short before the instant and art: the art of encounter. Did you know that in translating from Greek, the Arab philosophers had added a chapter about the inseparable intention of each action? But that was some centuries ago... It would be a pity if knowledge did not make us more caring and that is how Davide Cascio sometimes takes silence as his sole companion. He interrogates forms, as well as the void as breathing, in order to come closer to symbolism. As a proper mathematician, he sets off in pursuit of a dividing up of time and space, of the visible and invisible, the sound of words and of silence which restore the spirit of a place. Living other per- ceptible adventures is often his way as an artist open to the world. That is how, in the year 2001, during a long stay in Egypt, inspired by the May sunlight of Cairo, he had a sudden desire, seized by the golden lettering upon an indigo-blue background, to fly to Kairouan, not bothering about the viaticum, to contemplate this unique manuscript, which is the blue Koran. In his practice, utopia is not a non-place: it is a proposition, at the same time, of a good and beautiful place which may offer an opportunity of sharing sensory experience. Quite apart from the role assigned to it by a doctrine such as Sufism, the eye of the heart held an important place throughout the ancient world, in theWest as well as in the East: the eye being the center of the soul and the heart being intellectus. The knowledge of the heart is that which refers to the senses. It also has to do with savour. It is principally this mechanism which lies behind his work. In Islamic mysticism, there are four gardens, one of which is the garden of the heart. Corbin separates creative imagination from fantasy, affirming that the first is realisation of the being in an Image and a position of the Image in the being. The evocation of a memory of the sensory cannot be done in an isolated way. To Davide Cascio, imagining, sketching, inventing is done in relation to other languages, to other cultures — among which theArab culture — perhaps with this little intuitive predilection, as in an excavation, a movement of the plastic imagination going back in time. This involves a deeper, relational aesthetic; it certainly does not find its source in the reeking traces of relational aesthetics in fashion after the 1990s, the position of which is sometimes fos- tered by its own vacuity. As in the search for an initiatory time which might include other times, far from the current collapse of time. A lot of work therefore is required so that the density of time may become more transparent to some of us. This is the privilege of a true creation like the one we are given to contemplate here. It is an act against the desert of reality and against the ruin of our age.&nbsp;Here, nothing finishes and nothing actually begins. Mathematical abstraction unfolds upon the very rare delight of a time without memory and a space without frontiers. The labyrinth draws the individual into its sinuous meanderings, into its melodious curves, bringing him into contact with an unmoving matter, a reconciled time, a fertile meditation and self-abnegation leading to serenity. On crossing this wide-ranging alchemy, whose secret is to be found in the Arabic language, one sets off again with a teaching. This visual poem, opposite, is in itself a song about the crossing. In Arabic, the declension of words from the three letter root is like a song, a poem or semantic split. Without fear of dissonance, it combines here the crossing of the desert or of a book in the same interior movement, eluding the invisible frontiers without fear of the harmony of opposites. It is through this relationship created with other cultures that the form becomes countenance. It is by living new encounters that Davide Cascio invents new forms. As though every form were a face looking at us! Allegory, abstraction and geometric shapes, in a slow elaboration and with a spiritual awareness, he maps the outline of a work built up of other outlines. Images, like melodies, need time to exist and to make this leap into space and time from ......... to ....... . In short, from crossing to acknowledging. His projects of urban utopia are based on the human being, an ordinary human being, but reconciled with nature as well as with others. Attracted by this fraternal attitude, he confided to me one day that man is not made to live alone and that he quite naturally found a fraternal relationship during his stays at Cairo. From his poetics, one will notice that the method is an art which is not a product either of daydream or illusion, but is a way to conceive and express the relationship to oneself and to the other. As Edouard Glissant recounts, all poetics is a network. Then, the young artist progresses in his humanist creation. He also arrives at the concept through contact, not in an abstract manner, constantly wandering in other scriptural spaces. Far from relationships which are becoming more and more virtual every day in our super-cybernetic, technological era, we have yet to explore identity put to the test by otherness always in a poetics of movement.Thus, he takes his stand as a poet of perspective in search of the imaginary. According to relational aesthetics, to create a form is to invent possible encounters and to generate conditions for exchange: the sphere of human relationships as the place for art work. It is based upon interaction and reminds us that the practice of art is always relationship with the other, constituting at the same time a rela- tionship with the world. Remote experiences which teach us to decentralize our gaze. In an over-modernized and time-accelerated world, have we learned to look at ourselves? Does this world correspond to that which we believe we live in?We must learn to think out space again, conse- quently to think out time. The artist approaches a culture in which figurative art has long been prohibited, but without failing to give a committed look. He enters into a desert of abstraction without forgetting that the desert has the gift of source. In this way, he never stops discovering that abstraction is not simply the absence of figures, but a different way of seeing. Therefore, Davide Cascio’s creation is important also for other cultures outside Western countries. His materialized images can become a vehicle for relationship, particularly in an Arab-Islamic world shifting between globalization and a more retiring identity. Much more than from the Arab past of Sambuca-Zabuth, place of origin of the Cascio family, it is through reading at random that Vincenzo Consolo enlightens a concealed tension. He reminds us that so many luminous rays of history converge in Sicily and that in the cellars of some luxurious baroque palaces, the Aleph could be hidden, the place which contains all other places, the story which contains all other stories. <img width="3947" height="1899" width_o="3947" height_o="1899" data-src="https://freight.cargo.site/t/original/i/2f6e29bfee3ac120283c369de3ad32d95205ce91e1b342ed32a38aec0196e150/cat-def_Page_20.jpg" data-mid="52697244" border="0" src="https://freight.cargo.site/w/1000/i/2f6e29bfee3ac120283c369de3ad32d95205ce91e1b342ed32a38aec0196e150/cat-def_Page_20.jpg" /> link to catalog https://davidecascio.com/Dust Sat, 05 Oct 2019 12:50:47 +0000 davidecascio.com https://davidecascio.com/Dust Dust <img width="2661" height="3543" width_o="2661" height_o="3543" data-src="https://freight.cargo.site/t/original/i/f0f62874b456aa1b2fd58c7ee7321d003a97fb2cbad3c8839ab0ac71b262828d/DAVIDE-DELPHINE005.jpg" data-mid="52044124" border="0" src="https://freight.cargo.site/w/1000/i/f0f62874b456aa1b2fd58c7ee7321d003a97fb2cbad3c8839ab0ac71b262828d/DAVIDE-DELPHINE005.jpg" /> Davide Cascio - Delphine Trouche 2014 Unique Prints 30cm x 40cm&nbsp; fiber paper <img width="2656" height="3543" width_o="2656" height_o="3543" data-src="https://freight.cargo.site/t/original/i/1edf89b6fd9bae562266d673ede3981ddb821c4a66f9143acc7536cd5cda04b7/DAVIDE-DELPHINE013.jpg" data-mid="52044125" border="0" src="https://freight.cargo.site/w/1000/i/1edf89b6fd9bae562266d673ede3981ddb821c4a66f9143acc7536cd5cda04b7/DAVIDE-DELPHINE013.jpg" /> <img width="2663" height="3543" width_o="2663" height_o="3543" data-src="https://freight.cargo.site/t/original/i/a4ffe7aa0d246be33e9a35cf7c7c1a65e1a3b7d1c6c0e0489c8c8c3fc7711174/DAVIDE-DELPHINE002.jpg" data-mid="52044145" border="0" src="https://freight.cargo.site/w/1000/i/a4ffe7aa0d246be33e9a35cf7c7c1a65e1a3b7d1c6c0e0489c8c8c3fc7711174/DAVIDE-DELPHINE002.jpg" /> <img width="2662" height="3543" width_o="2662" height_o="3543" data-src="https://freight.cargo.site/t/original/i/ca463d173caca5aabd6db852f8b4d0364932f13265c1609d046e82d52a002a71/DAVIDE-DELPHINE012.jpg" data-mid="52044133" border="0" src="https://freight.cargo.site/w/1000/i/ca463d173caca5aabd6db852f8b4d0364932f13265c1609d046e82d52a002a71/DAVIDE-DELPHINE012.jpg" /> <img width="2666" height="3543" width_o="2666" height_o="3543" data-src="https://freight.cargo.site/t/original/i/1064fe0c781ed489b3beff421d2d6a268bc6d8cce4c61dc6c845626a746a27d8/DAVIDE-DELPHINE008.jpg" data-mid="52044180" border="0" src="https://freight.cargo.site/w/1000/i/1064fe0c781ed489b3beff421d2d6a268bc6d8cce4c61dc6c845626a746a27d8/DAVIDE-DELPHINE008.jpg" /> <img width="2662" height="3543" width_o="2662" height_o="3543" data-src="https://freight.cargo.site/t/original/i/ec15e4b48fef690b4720875c9e4de4ad30d8a478aaf57a8c9cf3ef65ab3ffe4e/DAVIDE-DELPHINE011.jpg" data-mid="52044169" border="0" src="https://freight.cargo.site/w/1000/i/ec15e4b48fef690b4720875c9e4de4ad30d8a478aaf57a8c9cf3ef65ab3ffe4e/DAVIDE-DELPHINE011.jpg" /> <img width="2665" height="3543" width_o="2665" height_o="3543" data-src="https://freight.cargo.site/t/original/i/ac441f6e4fb3c8278884fc3c57deaab9175e234d37611681bb4016cf48652fb2/DAVIDE-DELPHINE007.jpg" data-mid="52044161" border="0" src="https://freight.cargo.site/w/1000/i/ac441f6e4fb3c8278884fc3c57deaab9175e234d37611681bb4016cf48652fb2/DAVIDE-DELPHINE007.jpg" /> <img width="2663" height="3543" width_o="2663" height_o="3543" data-src="https://freight.cargo.site/t/original/i/9f1cfe68de9d9041858305752593933f82327858474aee2cd0839403dc4c154c/DAVIDE-DELPHINE009.jpg" data-mid="52044153" border="0" src="https://freight.cargo.site/w/1000/i/9f1cfe68de9d9041858305752593933f82327858474aee2cd0839403dc4c154c/DAVIDE-DELPHINE009.jpg" /> Dust The plates of the presentParis 2014 Photogram project organized by Thomas Fougeirol and Jo-ey Tang. “The plates of the present work are impressed by the agency of Light alone, without any aid whatever from the artist's pencil. They are the sun-pictures themselves, and not, as some persons have imagined, engravings in imitation.” William Henry Fox Talbot, The Pencil of Nature, the first photographically illustrated book, published in six installments between 1844 and 1846. <img width="500" height="714" width_o="500" height_o="714" data-src="https://freight.cargo.site/t/original/i/63dc9d17e8b2f65b8f1396b3ab568440db39bf57151005f77505adeb048408bb/book.jpg" data-mid="52043971" border="0" src="https://freight.cargo.site/w/500/i/63dc9d17e8b2f65b8f1396b3ab568440db39bf57151005f77505adeb048408bb/book.jpg" /> M.C.Green &amp; B.R.H. Targett Space Age Puppets and Masks Plays, Inc, US, 1969. <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/565cf46a1834e66c20892d5c7dc2bcc66631c15f404aa48ec1990de53f69172c/P1060112.JPG" data-mid="52043978" border="0" src="https://freight.cargo.site/w/1000/i/565cf46a1834e66c20892d5c7dc2bcc66631c15f404aa48ec1990de53f69172c/P1060112.JPG" /> Enrico Baj Lithographie 47,4 x 36 cm 1975 <img width="600" height="471" width_o="600" height_o="471" data-src="https://freight.cargo.site/t/original/i/873dc3a2e48de40c9fe75623cf2b0201b1c8bf0a471d28ae927822ec620f8706/size1_97694_maya1.jpg" data-mid="52043985" border="0" src="https://freight.cargo.site/w/600/i/873dc3a2e48de40c9fe75623cf2b0201b1c8bf0a471d28ae927822ec620f8706/size1_97694_maya1.jpg" /> Photo anonyme Tête sculptée dans la jungle Guatemala 1930 ca. https://davidecascio.com/Welcome-Music Sat, 05 Oct 2019 12:32:23 +0000 davidecascio.com https://davidecascio.com/Welcome-Music Welcome Music <img width="2361" height="1748" width_o="2361" height_o="1748" data-src="https://freight.cargo.site/t/original/i/0bc3bf4479cc7a17273e8fa33a2fc8dad9604fab1e490cc7319143b1055f79cc/DSC_5120cutcolor.jpg" data-mid="52043550" border="0" src="https://freight.cargo.site/w/1000/i/0bc3bf4479cc7a17273e8fa33a2fc8dad9604fab1e490cc7319143b1055f79cc/DSC_5120cutcolor.jpg" /> Welcome music2010dimensions variablemdf, métal, wall lamps, collage on mdf <img width="850" height="816" width_o="850" height_o="816" data-src="https://freight.cargo.site/t/original/i/f1f5c2235d2dc02a708e99ff615b2a86782763e64592389c0baca02fc083e24b/04.jpg" data-mid="52043561" border="0" src="https://freight.cargo.site/w/850/i/f1f5c2235d2dc02a708e99ff615b2a86782763e64592389c0baca02fc083e24b/04.jpg" /> <img width="850" height="585" width_o="850" height_o="585" data-src="https://freight.cargo.site/t/original/i/68bb827ce2684c60f3f4ff8407e299465d00547abe6483d3ac23d035b24d7709/4.jpg" data-mid="52043555" border="0" src="https://freight.cargo.site/w/850/i/68bb827ce2684c60f3f4ff8407e299465d00547abe6483d3ac23d035b24d7709/4.jpg" /> <img width="850" height="596" width_o="850" height_o="596" data-src="https://freight.cargo.site/t/original/i/1f206d77146ccf6503524c4192646eb4de9043769818954cf1dcba6405dad52a/02.jpg" data-mid="52043564" border="0" src="https://freight.cargo.site/w/850/i/1f206d77146ccf6503524c4192646eb4de9043769818954cf1dcba6405dad52a/02.jpg" /> <img width="850" height="549" width_o="850" height_o="549" data-src="https://freight.cargo.site/t/original/i/9e70141e7266c9ebb7dfef478e036e8ee4afff758ee1f1bf6be6140a1a1c8a08/01b.jpg" data-mid="52043560" border="0" src="https://freight.cargo.site/w/850/i/9e70141e7266c9ebb7dfef478e036e8ee4afff758ee1f1bf6be6140a1a1c8a08/01b.jpg" /> <img width="850" height="1276" width_o="850" height_o="1276" data-src="https://freight.cargo.site/t/original/i/3825064d80cfcfed7e03040550ece655ca55c9d50c82605d01c7a467206e328a/_MG_2749cor.jpg" data-mid="52043570" border="0" src="https://freight.cargo.site/w/850/i/3825064d80cfcfed7e03040550ece655ca55c9d50c82605d01c7a467206e328a/_MG_2749cor.jpg" /> <img width="850" height="1263" width_o="850" height_o="1263" data-src="https://freight.cargo.site/t/original/i/ddcde3d8d484e37c3024b74883d87f4825dc62884da96dfb8ac04063fc0055ed/_MG_2764cor.jpg" data-mid="52043573" border="0" src="https://freight.cargo.site/w/850/i/ddcde3d8d484e37c3024b74883d87f4825dc62884da96dfb8ac04063fc0055ed/_MG_2764cor.jpg" /><img width="850" height="592" width_o="850" height_o="592" data-src="https://freight.cargo.site/t/original/i/9c36a0c338bce289ed1c71861550d9e3f2c7cdf867388bef87c91c2f8e14d796/_MG_2759cor.jpg" data-mid="52043575" border="0" src="https://freight.cargo.site/w/850/i/9c36a0c338bce289ed1c71861550d9e3f2c7cdf867388bef87c91c2f8e14d796/_MG_2759cor.jpg" /><img width="850" height="573" width_o="850" height_o="573" data-src="https://freight.cargo.site/t/original/i/7c0c7904ff5419deaad3cd71880581314c02927d3b38f6ca501c5a5b960bbae7/_MG_2763cor.jpg" data-mid="52043585" border="0" src="https://freight.cargo.site/w/850/i/7c0c7904ff5419deaad3cd71880581314c02927d3b38f6ca501c5a5b960bbae7/_MG_2763cor.jpg" /><img width="850" height="623" width_o="850" height_o="623" data-src="https://freight.cargo.site/t/original/i/37937dc7062add860c72ec8504e35a6fb9bd31e5946da517f9dcfcde2fcc3a2b/_MG_2748cor.jpg" data-mid="52043587" border="0" src="https://freight.cargo.site/w/850/i/37937dc7062add860c72ec8504e35a6fb9bd31e5946da517f9dcfcde2fcc3a2b/_MG_2748cor.jpg" /><img width="850" height="591" width_o="850" height_o="591" data-src="https://freight.cargo.site/t/original/i/55e15b2668d716eed7edb1a7a3a6db59e420209df96d0dbb01394c3066b0b9c2/_MG_2745cor.jpg" data-mid="52043584" border="0" src="https://freight.cargo.site/w/850/i/55e15b2668d716eed7edb1a7a3a6db59e420209df96d0dbb01394c3066b0b9c2/_MG_2745cor.jpg" /><img width="850" height="576" width_o="850" height_o="576" data-src="https://freight.cargo.site/t/original/i/f8f9b98f7abc60cc40aded34f778fd802271885d2955161d888789d08d24bbee/_MG_2757cor.jpg" data-mid="52043583" border="0" src="https://freight.cargo.site/w/850/i/f8f9b98f7abc60cc40aded34f778fd802271885d2955161d888789d08d24bbee/_MG_2757cor.jpg" /><img width="850" height="596" width_o="850" height_o="596" data-src="https://freight.cargo.site/t/original/i/da515b135d82882900afe49ebbc4d7693395d06cf01b76622d2b125c4eb47df1/_MG_2758cor.jpg" data-mid="52043581" border="0" src="https://freight.cargo.site/w/850/i/da515b135d82882900afe49ebbc4d7693395d06cf01b76622d2b125c4eb47df1/_MG_2758cor.jpg" /><img width="595" height="842" width_o="595" height_o="842" data-src="https://freight.cargo.site/t/original/i/b8d2c45cef3463bf72d04678ce0530b8c52ed6ca96485b282ddf081e811c74d2/010022b.jpg" data-mid="52043644" border="0" src="https://freight.cargo.site/w/595/i/b8d2c45cef3463bf72d04678ce0530b8c52ed6ca96485b282ddf081e811c74d2/010022b.jpg" /><img width="595" height="824" width_o="595" height_o="824" data-src="https://freight.cargo.site/t/original/i/3fb73e12165493df3057a08652d8b02b9d4e9cc63d8c18d80f91eea8ceeab62e/010011b.jpg" data-mid="52043650" border="0" src="https://freight.cargo.site/w/595/i/3fb73e12165493df3057a08652d8b02b9d4e9cc63d8c18d80f91eea8ceeab62e/010011b.jpg" /><img width="595" height="823" width_o="595" height_o="823" data-src="https://freight.cargo.site/t/original/i/a729e5b346d655b37a10e5fd6247d17a96a41ae1d7915b73f374b9864b341161/010044.jpg" data-mid="52043649" border="0" src="https://freight.cargo.site/w/595/i/a729e5b346d655b37a10e5fd6247d17a96a41ae1d7915b73f374b9864b341161/010044.jpg" /> <img width="595" height="823" width_o="595" height_o="823" data-src="https://freight.cargo.site/t/original/i/f32688e2938aa070d58d8c1b2297f7a206e817970aed431c39e5e69e59825afe/010066.jpg" data-mid="52043648" border="0" src="https://freight.cargo.site/w/595/i/f32688e2938aa070d58d8c1b2297f7a206e817970aed431c39e5e69e59825afe/010066.jpg" /><img width="595" height="823" width_o="595" height_o="823" data-src="https://freight.cargo.site/t/original/i/c0bf646b44c6239f321002e74c53bd84aee0b7f2b2c5b7d25c60bd5c391d5622/010077.jpg" data-mid="52043647" border="0" src="https://freight.cargo.site/w/595/i/c0bf646b44c6239f321002e74c53bd84aee0b7f2b2c5b7d25c60bd5c391d5622/010077.jpg" /><img width="1772" height="2451" width_o="1772" height_o="2451" data-src="https://freight.cargo.site/t/original/i/0f87ae0291d5d40a368e0c961df63c3051484989edd76dd20bf227d6e5682dc1/010055.jpg" data-mid="52043645" border="0" src="https://freight.cargo.site/w/1000/i/0f87ae0291d5d40a368e0c961df63c3051484989edd76dd20bf227d6e5682dc1/010055.jpg" /> Welcome musiccollage on MDF 42 x 30 cm2010 Gyeonggi Museum of Modern Art Ansan, KoreaLe Pavillon, Laboratoire de Création du Palais de Tokyo, ParisCurated by: Manu Park with Florence Ostende and Haizea Bacenilla GarciaWith:Andrea Acosta, Patrick Bock, Ramiro Guerreiro, Anthony Lanzenberg, Jorge Pedro Nùnez, Samir Ramdani, Eunji Cho, Kiungah Ham, Young Min Moon, Jaye Rhee, Christian Merlhiot, Ange Leccia.“William awakens one June morning to find a very changed reality – it is no longer the same place and time as those which he had left behind upon falling asleep, he begins his exploration of the new planet…”Cfr. William Morris, “News from nowhere” The installation "Welcome music" take as a starting point a near identical copy of the book "Korean Retournees from Japan" originally published by foreign Languages Publishing House, Piongyang, North Korea, 1960 and&nbsp; reprinted in 2009 by Martha Rosler Library as a project made by Young Min Moon in occasion of the exhibition "Beyond the Instance of an Ending" Herter Gallery University of Massachusetts Amherst. What happens if you awake up in the morning and you find a very changed reality?you are in a new home, new country, in a new planet... If you are in a non-space between a home-made utopia and a social revolution...«There it is, our country, dear!I like it fine. The appartment is wery confortable as you see, It take about 20 minutes to the iron works. I must admit it is quite a walk. But I’am sure I’ll get used to it, and I know walking is wery healtful. I can hardly wait for the summer, I think it will be just wonderful Here with the sea so near our home. His graying hair at the temples and thin body bespoke the Hard life he had lived as a day-labourer.&nbsp;But he is so happy to know that life of humiliation is gone. On the morning of the third day after they landed.&nbsp;Choi Tai Choon and his wife Yuriko enjoyng a new, happy life. New work and new house.&nbsp;After all, I have come to a country where everyone, young and old, can learn.We love the snow of the fatherland too!How about a little music? »Cfr. Korean Retournees from Japan, Piongyang, North Korea, 1960.<img width="530" height="825" width_o="530" height_o="825" data-src="https://freight.cargo.site/t/original/i/83f6e3f9ea8c54877c6d94a95759b803f404b516ea365eaec600d2ded0819348/corea-doc2.jpg" data-mid="52043546" border="0" src="https://freight.cargo.site/w/530/i/83f6e3f9ea8c54877c6d94a95759b803f404b516ea365eaec600d2ded0819348/corea-doc2.jpg" />Kim Daul&nbsp; model,&nbsp;1989-2009. /Ellis Gene Buettner in front of a Buddha, Korean war, 1950. <img width="530" height="825" width_o="530" height_o="825" data-src="https://freight.cargo.site/t/original/i/7422fbcc8e8869ed29dbcd92ae9a6814bec1a9608312665dfd12d7a1c8787d6a/corea-doc5.jpg" data-mid="52043540" border="0" src="https://freight.cargo.site/w/530/i/7422fbcc8e8869ed29dbcd92ae9a6814bec1a9608312665dfd12d7a1c8787d6a/corea-doc5.jpg" />Rabindranath Tagore, 1886-1941 /Lee Seo-Hyun, leading singer of vocal pop group M.Street, 1978-2008 / Kim Suk-Gyun, Actor, 1977-2009 / Choi Jin-Sil, actress and model, 1968-2008.<img width="530" height="825" width_o="530" height_o="825" data-src="https://freight.cargo.site/t/original/i/5800cd01458c60c5e63a5c000ddc20de1d3589a8d77659ca19a8a472a89ab8ce/corea-doc1.jpg" data-mid="52043541" border="0" src="https://freight.cargo.site/w/530/i/5800cd01458c60c5e63a5c000ddc20de1d3589a8d77659ca19a8a472a89ab8ce/corea-doc1.jpg" />Arnoldus Montanus, Denckwürdige Gesandtschafften der Ost-Indischen Geselschaft in den Vereingten Niederländern an unterschiedliche Keyser von Japan. Ed. Jacob van Meurs, Amsterdam,1669 / Ahn Jae-Hwan, actor, 1972-2008.<img width="530" height="825" width_o="530" height_o="825" data-src="https://freight.cargo.site/t/original/i/1f99f704a8f4938957b5b7b94abeb1d77e10e907057b6b8edd5d5a494604fbde/corea-doc3.jpg" data-mid="52043542" border="0" src="https://freight.cargo.site/w/530/i/1f99f704a8f4938957b5b7b94abeb1d77e10e907057b6b8edd5d5a494604fbde/corea-doc3.jpg" />LP, Legowelt VS Orgue Electronique, 2000 /&nbsp; Jang Chae-won, entretainer, 1982-2008.<img width="530" height="825" width_o="530" height_o="825" data-src="https://freight.cargo.site/t/original/i/d23fd2e751255e1739956b7593454e6a293b4e16f82ea6fb75f9e8591c7586fd/corea-doc4.jpg" data-mid="52043543" border="0" src="https://freight.cargo.site/w/530/i/d23fd2e751255e1739956b7593454e6a293b4e16f82ea6fb75f9e8591c7586fd/corea-doc4.jpg" />Monument au bataillon français de Corée 1950-1953 18 bd. de l'hotel de Ville, Paris / Kim Ji-Hoo, actor and model, 1985-2008. https://davidecascio.com/Flying-cellular-unit-II Fri, 04 Oct 2019 15:31:42 +0000 davidecascio.com https://davidecascio.com/Flying-cellular-unit-II Flying cellular unit II <img width="2576" height="1932" width_o="2576" height_o="1932" data-src="https://freight.cargo.site/t/original/i/397ef9a6e9a7f40cd3166c2f0d7e5dde184855ad906b5f0b6743ad7b3f661096/100_0788.JPG" data-mid="52000961" border="0" src="https://freight.cargo.site/w/1000/i/397ef9a6e9a7f40cd3166c2f0d7e5dde184855ad906b5f0b6743ad7b3f661096/100_0788.JPG" /> Flying cellular unit II 2006 Cardboard, neon, collage variable dimension <img width="1932" height="2576" width_o="1932" height_o="2576" data-src="https://freight.cargo.site/t/original/i/41307b8dc38aa24567e2f3bcc31b844548e8be314c491ed78352e6d988052382/100_0797.JPG" data-mid="52001110" border="0" src="https://freight.cargo.site/w/1000/i/41307b8dc38aa24567e2f3bcc31b844548e8be314c491ed78352e6d988052382/100_0797.JPG" /> <img width="2377" height="1926" width_o="2377" height_o="1926" data-src="https://freight.cargo.site/t/original/i/7e3f56a9673ec6f27737214e8ca033e258daf2a0fe265814b73cf50352e47e00/100_0792.JPG" data-mid="52001101" border="0" src="https://freight.cargo.site/w/1000/i/7e3f56a9673ec6f27737214e8ca033e258daf2a0fe265814b73cf50352e47e00/100_0792.JPG" /> <img width="1932" height="2576" width_o="1932" height_o="2576" data-src="https://freight.cargo.site/t/original/i/5b581baf113f20feb7bcc2e49c14fc44f442fbe66e962a230ca474ac657fc2a0/100_0800.JPG" data-mid="52001117" border="0" src="https://freight.cargo.site/w/1000/i/5b581baf113f20feb7bcc2e49c14fc44f442fbe66e962a230ca474ac657fc2a0/100_0800.JPG" /> <img width="1932" height="2576" width_o="1932" height_o="2576" data-src="https://freight.cargo.site/t/original/i/27eebd12d0e51019423f69110b3c8a46a50142a885f120825e020271690cf988/100_0813.JPG" data-mid="52001128" border="0" src="https://freight.cargo.site/w/1000/i/27eebd12d0e51019423f69110b3c8a46a50142a885f120825e020271690cf988/100_0813.JPG" /> <img width="2576" height="1932" width_o="2576" height_o="1932" data-src="https://freight.cargo.site/t/original/i/feee4b320be361cec6db0074ff882a7d0d983b336bea1e8dc92652260a08fe31/100_0815.JPG" data-mid="52001129" border="0" src="https://freight.cargo.site/w/1000/i/feee4b320be361cec6db0074ff882a7d0d983b336bea1e8dc92652260a08fe31/100_0815.JPG" /> <img width="2559" height="1920" width_o="2559" height_o="1920" data-src="https://freight.cargo.site/t/original/i/3b090a1b1ffcc6641a196d9841a25d9edbff110fca60945a8c4f763bf6791fc2/100_0812.JPG" data-mid="52001127" border="0" src="https://freight.cargo.site/w/1000/i/3b090a1b1ffcc6641a196d9841a25d9edbff110fca60945a8c4f763bf6791fc2/100_0812.JPG" /> Showroom 2 "Piz Gloria" &nbsp; Off-Space K26 Leipzig 2006With Yves Mettler, Peter Stoffel, Matteo Terzaghi &amp; Marco Zürcher Curated by Egija Inzule and Tobias Kaspar <img width="1134" height="769" width_o="1134" height_o="769" data-src="https://freight.cargo.site/t/original/i/05b862ddcee28f6c2ed0b2e0bc8a1867d84c49852024e69c84087dd787ffb5e5/03.jpg" data-mid="52001490" border="0" src="https://freight.cargo.site/w/1000/i/05b862ddcee28f6c2ed0b2e0bc8a1867d84c49852024e69c84087dd787ffb5e5/03.jpg" /> Flying cellular unit collage on mdf 70 x 100 cm 2006 <img width="1614" height="2004" width_o="1614" height_o="2004" data-src="https://freight.cargo.site/t/original/i/95e537267309a90232a0b165f958fa1de0351b28c576bec3f1158964308ad94f/91tJCiusuML.jpg" data-mid="55987700" border="0" src="https://freight.cargo.site/w/1000/i/95e537267309a90232a0b165f958fa1de0351b28c576bec3f1158964308ad94f/91tJCiusuML.jpg" /> <img width="500" height="685" width_o="500" height_o="685" data-src="https://freight.cargo.site/t/original/i/5c58838a859deea4ac337e8abc24ffbcc6a5c43aad1a4cdc4236fe2dc5739053/superstudio-1.jpg" data-mid="55988726" border="0" src="https://freight.cargo.site/w/500/i/5c58838a859deea4ac337e8abc24ffbcc6a5c43aad1a4cdc4236fe2dc5739053/superstudio-1.jpg" /> Superstudio, 1970, "l'architettura riflessa" Una serie di sezioni sulla natura e sull'architettura, lavorando per l'ornamento della terra (Ornamentum Mundi), costruendo con nuvole e acque verticali le strade d'accesso alla saggezza e allo splendore. Come gli specchi, l'architettura è anche riflesso e misura. Casabella n.363 1972.