It was created as a necessary workspace for carrying out both theoretical and practical research activities, based on processes of sampling the material sediments of Corte.
All the activities carried out there structurally follow three phases: exploration, archiving, and transformation.

They are conducted with the diverse galaxies orbiting within the Gellner–Mattei world-system of Borcia as the focal point of the research.
They address the forms of life and resources, both tangible and intangible, present at the Former Villaggio Eni.

More generally, the observations and reflections carried out on the levels of space, object, and subject aim to produce new forms of understanding and translation of these systems, planets orbiting around the host of the Former Villaggio Eni.

Sampling activities and elaborations carried out and/or currently in progress:

_Theoria: archival research, observation and theoretical reflection on spaces, objects and subjects of Corte, through frequent visits;

_Habitare: research, collection, and in vitro observation of the sedentary microorganisms inhabiting the Colony of the Former Villaggio Eni;

_Carbón: production of charcoal for various uses, carried out through the traditional local technique of building and maintaining the Pojat;

_Polveri liquide: production of different types of ink based on charcoal;

_Hermenèia: environmental sound recordings and reworking of audio samples with the aim of amplifying the sound environment of the galaxies studied at Corte.

Images (Laura Syrbe and Studio Campione Archive)

First photo gallery: Habitare:exploration and collection

Second photo gallery: Habitare: microscopic photography

Third photo gallery: Carbón, Polveru Liquide

Fourth photo gallery: Hermenèia

also known in art as Fabio Tallo,

born in Sardinia in October 1988, he holds a Master’s degree in Philosophical Sciences from the University of Milan. He is a multidisciplinary artist, musician, and sound designer.

His artistic research focuses on uncovering the narrative fabrics that envelop his subjects of investigation—whether objects, events, or living beings—and on technological re-domestication.

His process of audio creation favors the capture of environmental sounds, both artificial and natural, and their subsequent re-shaping, from which he derives loops, synthesizers, and rhythmic sections. These are used to develop new languages that allow him to return, in turn, to a collaborative dialogue with his working subjects.

Over the years, Fabio Talloru has had the pleasure of collaborating with various artists and organizations, including Tonino Casula, Fabio Piccioni, Caterina Erica Shanta, Prometheus Lab, Fotoromanzo italiano, Impact Hub Rome, Museo Nivola and Studio Azzurro.

Within Dolomiti Contemporanee and Progettoborca, he has continuously contributed with his work since 2017. In 2020, he launched the project Studio Campione, where he carries out multidisciplinary activities including microscopic photography, organic pigment production, and audio modelling.

Here The Gellner’s Basement Session – IT
Here Studio campione – EN
Here Acusmatopie 1991+2 – IT
Here Acusmatopie 1991+3 – IT
Here Apofenia sedimentaria – IT
Here Sintesi di uno schianto – IT

Federica Fava is member of research team of Roma Tre University, one of the OpenHeritage partner.

Dolomiti Contemporanee takes part in the Nouveau Grand Tour program, a cultural project stemmed from the Quirinal Treaty, signed by Presidents Macron and Draghi in November 2021.

The pact aims to strengthen relations between Italy and France in several areas, in a framework of strengthened bilateral cooperation which includes culture, art, and ecology.

–

The project is developed and managed by the Institut Francais d’Italie
(IFI) / Italian French Embassy.

The program is reserved for under-30 French and German artists, and is developed through a network of artistic residencies scattered throughout the Italian territory.

In Dolomiti Contemporanee’s case, the residency takes form in progettoborca (former eni village of corte di cadore, BL), and will take place in October 2022.

List of participating residencies:

Patrons:
OFAJ (Office Franco Allemand pour la Jeunesse) – Ardian France

Residencies:
Base - Casa degli Artisti - Fondazione Bevilacqua la Masa - Fondazione Pistoletto Cittadellarte - Museo Capodimonte - Palazzo Butera - Palazzo Monti - Accademia Mediterranea dell’Attore - Casa del Circo Contemporanea - Centro Teatrale Umbra - Corte Ospitale - Cross - Palazzo Grenoble - Oriente Occidente – Spazio Fattoria – Artinvita - Dolomiti Contemporanee/Progettoborca - Kulturfactory – Landworks - RAMDOM - Villa Lena – Wonder Grottole

Igenuity is seeing possibility where everyone else sees none. – Enrico Mattei
—
Ever since 2011, Dolomiti Contemporanee has been working for the regeneration of territories, through experimental reactivation of big, abandoned or underutilised sites inside the dolomites, both in the Belluno province and in the Friuli Venezia Giulia region, in which important cultural and functional “construction sites” have been launched, ones which have kindled the national debate on regeneration and re-use.

These sites constitute a resource for the territory, and it is necessary to think of a correct way to use them relative to today’s needs, especially in today’s historical period, in which the concepts of sustainability, and regeneration, soil consumption reduction, seem to be very current.

But are these concepts actually current? Do political agendas take resource management and territory development practices into consideration?

At the moment, much is being said about the Milan-Cortina 2026 Winter Olympics.

What what are, the olympics, actually? They aren’t a mere sports event, but an opportunity.
The olympics can be a great inspiration for growth of large areas, and for the entire country.
Let’s consider the former ENI Village of Corte, in Borca di Cadore, which is, to this day, a symbol of a time during which our country ran as it should, and was a real innovator; a work of art, of architecture and of environmental sensibility; the mass is substantial, it could host thousands of people.

Now, we must ask: would it not be appropriate to carry out an in-depth and accurate evaluation of this unique site and of the potential which it can actually offer in these circumstances?

This operation of re-usage, which is certainly a possible one, would be an ideal ground for the application of sustainability criteria.

It seems obvious that the former Eni Village should be considered as an option in the scope of the post-olympics; it would be able to house a series of activities useful for both the valley and for the whole province, linked to various social services types, big events, and much more. A great, diverse centre which we could call a “school of landscape”.

Will we be able, as a whole, to elaborate a shared strategy, and to tackle this undertaking, which isn’t about a town, but rather about a whole territory? Dolomiti Contemporanee reiterates the opportunity to take part in this kind of reflection, actually invites everyone to think about it, and is committed to continue the action of awareness, and to concretely move the tools of the culture-engine.

Gianluca d’Incà Levis

Pictured, the dig site of Zeus’ Temple in the Greek city of Olympia where, 3.500 years ago, the Games were born. (E. Curtius 1875)

Five sectors, five protagonists, five stories to portray a dynamic, creative and resilient Italy.

The webseries, available at the www.ideasitaly.com website, is composed of five documentary-portraits dedicared to different creative and productive sectors. Its objective: to depict stories, facets and experiences of Italy’s most innovative, virtuous and dynamic aspects to an international public.

The project aims to reflect on the leading themes of contemporary debates, specifically looking at the great ethical challenges of the future: environment, innovation, common goods – all issues today’s Italy has a lot to say about. Each story points the spotlight on Italy’s vast resources when it comes to manufacturing, culture, tourism, and the environment.

Five ideas, all emblematic in their creative, success-oriented and innovative drive to present the excellence of the contemporary Italian scene to a global audience.

Arts and Heritage: Gianluca D’Incà Levis, creator of Dolomiti Contemporanee, carries out an experimental project on the juncture between contemporary art, recovery of industrail spaces and regeneration of mountainous environments.

In the video, Gianluca D’Incà Levis speaks about the vision and approach which characterise DC in its relationship with the themes of cultural responsibility and the regeneration of heritage and landscape, through contemporary art and the experimental hubs activated inside large, crucial sites which must be reconsidered and given new function: among them are the former Eni Village of Corte di Cadore, the Vajont area, the Italia Ski Jump of Cortina d’Ampezzo, linked to the Milan-Cortina Olympics of 2026.

Arts and Heritage: Gianluca D’Incà Levis, creator of Dolomiti Contemporanee, carries out an experimental project on the juncture between contemporary art, recovery of industrail spaces and regeneration of mountainous environments.

Dolomiti Contemporanee takes part in Resilient Communities, the Italian Pavilion of the Venice Biennale of Architecture 2021 at the Arsenal. We will bring our vision, the themes of territorial regeneration and heritage, experimental practices, strategies and networks related to reuse and our idea of ​​a non-trivial and pernicious mountain.

Resilient Communities is the name of the italian pavilion, curated by alessandro melis, at the next Biennale of Architecture 2021. At the center of the exhibition, in all its drama, the issue of climate change and the demanding challenges facing the world of architecture will be addressed.

Review the Press Conference at this link.

press: biennale architettura, il padiglione italia nel segno dell’impatto zero.

Prometheus_lab, experimental laboratory and catalyst centre of the project, was born and developed in Progettoborca during the year 2018. It is based in one of the spaces of the former infirmary, in the innards of the Colonia. Expanding nucleus, it is the centre of operations for the exploration of the surrounding environments. Natural and cultural alike.
Since the first _exploration, it involves a heterogeneous number of _explorers from the various branches of the thinking, able to offer an algorithm as much complex for the decoding of the landscape where the practice take place.

From the space, Prometheus_ orchestrates and structures the activities that constitute the twine of the diverse research and operational lines: the exploration of the wild; the scoping of more or less dormant traditions, custom and knowledge; the establishment of networks in the area and beyond.
These, in turn, are translated into gatherings, panels, collaborations of all sorts, expositions and radical projects which broaden the spectrum and the structure itself of Prometheus_open food lab.
Efforts are now focused on the definition of new spaces inside and outside the Colonia, to house the two large-scale dimension of the project: a thematic library available both to the _explorers and to the public, and the archive which will host the material gathered and processed during the explorations.

Prometheus_open food lab is structured as a project aimed at a widespread practice to be applied to various contexts and landscapes in order to connect the knowledge, strategies and cultures able to foster resilience.
Explorations are currently active in the post Vaia regrowth in the forest surrounding the Colonia and in the complex ecosystem of fading sandbars in the Venice Lagoon.
We explore this planet as it was alien.

Lorenzo Barbasetti di Prun

]]> http://www.progettoborca.net/eng/lorenzo-barbasetti-di-prun-prometheus-open-food-lab/feed/ 0 http://www.progettoborca.net/eng/annalaura-fornasier-the-forest-feast/ http://www.progettoborca.net/eng/annalaura-fornasier-the-forest-feast/#comments Mon, 01 Feb 2021 12:10:34 +0000 http://www.progettoborca.net/eng/?p=3808

The Forest Feast is a research project organized by Annalaura Fornasier, MA Architecture student at the Royal College of Art in London.

The thesis project wishes to use Vaia storm as a trigger of change that could be taking place in the Alpine territory of the Dolomites in the North-East of Italy. The project investigates the role that culture can acquire in the management of the post-Vaia context. If culture is seen as an agent, how can it mediate in a post-disaster landscape? How can food, as a cultural element, become a tool for the interpretation and management of the post-Vaia Dolomites? The design and methodology that stems from this research will aim to evaluate how local culture can approach and re-assess a landscape affected by a disastrous event, and how it can be translated into a place of opportunity.

The Forest Feast aim at investigating the role that culture can acquire in the management of the post-Vaia context. A first instance, that has been identified through which to engage with the post-Vaia context, is by focusing on the culture of food. Food becomes a vessel through which to ask questions about place and explore the site. The thesis identifies different ways of mediating with the landscape, at first through the engagement with food, by foraging, preparing, cooking and eating. This first instance of the project culminated in the preparation of a banquet, a forum where questions on culture, landscape and regeneration were all laid out on the table. A second mediation was done through the use of film and cinematic techniques to record the banquet and the interaction between the guests invited to feast on it. The film explores how the relationship between the banquet and the context, its guests and the themes suggested through the dishes prepared can be portrayed and used to develop a reaction.

The banquet, entitled the Forest Feast, was made possible thanks to the collaboration with chef Lorenzo Barbasetti di Prun, initiator of Prometheus_Open Food Lab. Lorenzo prepared a menu based on his experimental research with foraged edibles gathered from the Cadore forests and paired with exotic elements. Dolomiti Contemporanee hosted the banquet at Progettoborca, Ex-Eni Village (Borca di Cadore, Belluno, Veneto, Italy): an iconic place of encounter between landscape and architectural intervention. The Forest Feast banquet wished to be an opportunity for dialogue, between locals and foresters on Vaia, issues of landscape and ideas of regeneration. Dialogues and opinions emerged from the meal, will contribute to developing the next phase of the thesis project: a strategy for the design of a future post-disaster cultural landscape.

In collaboration with:

Director, editor, set design: Annalaura Fornasier
Chef: Lorenzo Barbasetti di Prun
Guest, set design: Angelica Furlotti
Guest: Elena Maierotti
Guest: Palalo Cargnel
Guest: Gianluca D’Incà Levis
Chef: Lorenzo Barbasetti di Prun
Chef assistant and production support: Camilla Glorioso
Drone and Camera: Alessandro Lana
Photography, Camera, set design: Luca Anzalone
Location: Progettoborca (Borca di Cadore, Belluno, Veneto, Italy)
Sound Design: Tommaso Mosole
Footage from: 1858, 2020, 5:56” – Formafantasma, Cambio – 2020

The first experiment to make string vibration visible and countable through a monochord dates back to the first half of 1600.

The project develops the steps to realize a musical device with strings longer than 20 meters (ideally) inside of the Villaggio Eni, following up to studies done in strict cooperation with my previous luthier and electronics lab named ZED & Venarossa.

There are no manuals, documents or walkthroughs showing and reporting plans and phases to realize a similar instrument – additional challenge – that features content and concept tightly intertwined with the physics of sound, or the main gamechanger.

The surrounding place is not futile frame, empty decoration, spectacular mirage – but turns out to be a necessary greatly interactive element of any singular performance. Strings vibrate, frequencies shake running quickly propagating due to the own texture of the material – glass, wood, CONCRETE.

Concrete > resonance > grains > veins > life. Tired of celebrating and venerating abandon and decay, we make ours the tonal properties of the unique architectures we have the honor and privilege of witnessing.

The space chosen for the installation becomes soundboard, delicate but not less solemn of war drums. The sounds amplified through reverberation and sympathetic resonance of strings can now be sampled and imprinted.

After diving into the interactions with spaces, is finally possible to operate with a structure which allows to preserve and record the voice of the device and its timbrical peculiarities. Immutable presence in the village’s space, the long string instrument is made of durable elements.

Vasa cantici are not only the accompaniment instruments but the accompaniments themselves. The resulting compositional pieces are deconstructed, cards reshuffled, the shape sculpted and refined.

Volumes in space have been morphed into integral part, voices and unique resonances live and last inside of what the dialogue with the instrument shaped. Adapting to the rules and conditions of an ambience becomes mandatory, when you try to interact and move in without altering its build and anatomy.

Giorgio Salmoiraghi, novembre 2020

On Wednesday November 18th, 2020, Dolomiti Contemporanee takes part in the online conference promoted by the Courmayeur Mont Blanc Foundation alpi partecipate. montagne in mostra (Participated alps. Mountains on display).

The speech by G. D’incà Levis, ideator and curator of dolomiti contemporanee, is titled Dolomiti Contemporanee, a creative reactivation strategy for heritage and territories.
the meeting is set for 5:30 PM on wednesday november 18th.

The conference focuses on the mountain environment as a place of cultural involvement. the workshop-like nature of the alps eases the cultural approaches of modernity, and the conference, with a new formula, designed to be enjoyed at a distance, proposes a few examples of them.

Three meetings spread out over three different evenings exploring, respectively, the regenerative actions of artistic installations and temporary exhibits in some symbolic locations inside the Dolomites, a cultural device meant for the civic participation inside a huge fort in the alto adige area and a contemporary art museum at the heart of the grisons.

They are places found in the alpine region, and they are characterised by a strong identity ‒ despite their location relative to major cities ‒ in which architecture takes on the role of an important instrument, useful to create a debate.

The widespread perception, during this complex period of human history, is that the mountain is a safe place from a health standpoint, as it allows for easy distancing.

A different audience ‒ typically used to frequenting other destinations ‒ and demanding from a cultural point of view as well, could then look at the alps as a way to search for new stimulation and enrichment.

__

Click here to watch G. D’Incà Levis‘ speech on YouTube. [ITA]

Clock here to rewatch each lecturer’s speech. [ITA]

The Italia Ski Jump has been the greatest symbol of Cortina D’Ampezzo ever since the 1956 Olympics.
It feels opportune to reflect on the repurposing potential that this structure holds, placed in a such a strategicallu logistical in relation with the access to Cortina.
The ski jump is the natural torchbearer of Cortina 2021 and Milan-Cortina 2026.
It could already have been working for quite some time, as both a beacon and a territory landmark, but most of all it could have become something active and useful for its territory.

DC‘s interest for the Italia ski jump is thus part of a broader cultural policy, which is presented as a praxis itself and a kind of “geography of regeneration” which allows for the temporary or permanent re-activation of the sites inside which we work, by inserting them into a network. For this reason, we have been thinking of a possible repurposing of the structure belonging to the ski jump, as well as the bleachers.
Another sign of interest consists in a graduation theses (2019) based on an idea by two young architects, Gabriele Bee and Mattia Menardi (master’s degree from the IUAV university of Venice – dacc department of architecture, construction, conservation).
The university’s interest, and the collaboration with dc, will lead to the development of a meaningful and sustainable proposal for the repurposing of the ski jump by, thus, analysing its potential, that is to say the value of the structure, its strategic position in relation to the road system, the functions which it will be able to embody during the Milan-Cortina 2026 Olympics through contemporary art and, naturally, the functions which it will be able to carry out in the wake of large sporting events.

On Friday, May 25th, the 16th edition of the Architecture Biennale of Venice, titled “Freespace”, was inaugurated. Federica Galloni (Contemporary and Suburban Art General Director and Superintendent of the Italian Pavillion), Paolo Baratta (President of the Biennale of Venezia), Maria Elisabetta Alberti Casellati (Senate President), and Mario Cucinella (Designated Curator) were all in attendance.

The project for the Italian Pavillion, curated by the Architect Mario Cucinella, is called Arcipelago Italia (Eng.: Italian Archipelago), and finds its home at the Tese delle Vergini at the Arsenale.
The exhibit will remain open until November 25th 2018.

Through Arcipelago Italia, Cucinella has carried out an explorative journey, a reconnaissance of Italy‘s inner areas, placing particular focus on a series of sites and projects, as well as architecture and cultural socialization procedures that involve the territory’s participation, and that are always equipped with a vision in regards to the determination of the future of the Human Landscapes, one that presents itself through good practices, actions based on networking strategies, open regenerative process-oriented approaches, and re-innovative ideas which may prove themselves to be capable of responsibly tackling the theme of enhancement and reclaiming of the environmental, landscape-related, cultural and social Heritage.
The sites aren’t enough in and of themselves, and there is no future for the Heritage if the people don’t operate towards that goal: The future is the product of present actions.

The call for the Italian Pavillion was answered by more than 500 projecs, 67 of which have eventually been selected by the Curator, and find now a home at the tese.

Among them is Dolomiti Contemporanee, inside the Itinerary dedicated to the Eastern Alps.
A great image of Vajont’s Mt. Toc (by Isabella Sassi Farìas), sighted from the Nuovo Spazio di Casso, welcomes visitors at the entrance of the Pavillion.
A significant amount of space on the digital devices inside the exhibit is set aside for Progettoborca, the practice of regeneration for the former Eni Village of Corte di Cadore, that DC kickstarted in 2014 together with Minoter in collaboration with the Borca di Cadore Municipality and together with its own many local, national and international partners which are by now more than 500, and that constitute a large, active network, and the real support system of the project.

DC‘s practice is, moveover, highlighted in a Docufilm, titled “The other Space. A journey in Italy’s inner areas” produced by SOMEONE Srl Milan, directed by Marcello Pastonesi and Carlo Furgeri Gilbert, that will become part of Rai Cultura‘s programming.
In the movie, the Curator Cucinella discovers the extraordinary former Eni Village of Borca, its value and its residual potential, and discusses it at lenght with Gianluca D’Incà Levis, creator of Dolomiti Contemporanee.

—

Arcipelago Italia is the theme of the Italian Pavilion at the Biennale of Architecture 2018. It is an idea that shifts architecture’s attention away from the major cities and over to the physical space of our country where, even in the most distant past, communities have historically expressed themselves in a different relationship between urban dimension and territory. These territories are spatially and temporally distant from the large urban areas, but they possess a priceless cultural heritage, with unique features that differentiate Italy from the European urban structure, making it possible to identify it as an “urban space in the Mediterranean,” as Fernand Braudel described it. The heterogeneous cultural identity of these territories, reflected in the diversification of their landscape, together with a vast territorial width and their distance from essential services, has encouraged us to consider their revival as a strategic theme for Italy as a whole.

Arcipelago Italia. Projects for the future of the Country’s inner territories is the title of the project by curator Mario Cucinella for the Italian Pavillion of the 16th International Architecture Exhibit of Venice (May 26th – November 25th 2018) promoted by Contemporary Art and Architecture and suburbs General Direction, MiBACT

Prometheus- Open Food Lab is a project whose aim is to generate, recover and redistribute knowledge relating to food.
The eventulal goal is to support resilience in remote areas, starting from the secluded spaces of our mind.
Food isn’t just nourishment, a mere survival too. What interests us is, first and foremost, its function of social catalyst and cultural “supplement”. It is able to change the perpective with which we look at the world, it is capable of flipping over the frameworks of meaning that relegate places to remoteness. Remoteness as a mental state. We will explore these locations of the mind and culture as if they were another planet entirely. We’re transdimentional explorers in this space that is both virginal and yet already violated in the most intimate meaning of the word. We look for intelligent life forms that may be able to generate intelligent forms of life.
Intermittent memories of ancient civilizations tell us that there was life here, before ski resorts and tourism of intermittent people with no memory at all. The space was emptied by the heap of clichés which drags itself along the plains below its own tedious bulk, then crumbles and flattens like an avalanche. It presents itself naked, and ready to be filled, once more, in this vacation. There, where rock, lighter, soars towards the sky.
The question is, rather: are we ourselves ready or could be still be, when the only sensible thing to do will be to give a meaning, once more, to these remote places, which are actually close to us, because they are only remote in our mind? Will we still have ourselves meaning at that point, or will we be able to only rely on our senses? Too late, then, to be explorers?
Explorers, revolutionaries and spirits of times long gone refuse the plains and sense the weight of those places where gravity loses its intensity without making the steps of people wishing to climb on them lighter.
We will make these locations our base of operations, a launch pad of future, and plenty in number, explorations, thanks to Dolomiti Contemporanee, which has agreed to lend us the structures of Progettoborca to undertake our training.

Lorenzo Barbasetti di Prun, January 2018

–

Expedition #1, February 3rd – 6th 2018

The first team of explorers includes:

Lorenzo Barbasetti di Prun, creator of the project.

Angelica Stimpfl, presswoman and engraver with great cognizance of food. She tells stories that seem to come from a different time, and cooks fatty dishes of the Trentino Region tradition, with a little something added to them.
She builds tree houses and plans to repopulate her birth village in the Non Valley.

Giulia Fassina
Brilliant photographer and videomaker. Friend and travel companion, I could not think of a better person to document this endeavour. Not least of all because she probably would have held a grudge if I hadn’t asked her. Very picky and wary in the dietary field: it will be a lot of fun to have her taste whatever we’re going to concoct.

Matteo Ghigino
Young chef from Sardinia (more specifically Carloforte) with a great talent. He has taught me the majority of what I know, and most of all to eat leaves. Colleague and companion in adventures tethering on the edge of food poisoning. He has a blog about wild and forgotten foods. We work together on the AmiDO project, which gathers chef and producers of local delicacies..

Prometheus- Open Food Lab is a project whose aim is to generate, recover and redistribute knowledge relating to food.
The eventulal goal is to support resilience in remote areas, starting from the secluded spaces of our mind.
Food isn’t just nourishment, a mere survival too. What interests us is, first and foremost, its function of social catalyst and cultural “supplement”. It is able to change the perpective with which we look at the world, it is capable of flipping over the frameworks of meaning that relegate places to remoteness. Remoteness as a mental state. We will explore these locations of the mind and culture as if they were another planet entirely. We’re transdimentional explorers in this space that is both virginal and yet already violated in the most intimate meaning of the word. We look for intelligent life forms that may be able to generate intelligent forms of life.
Intermittent memories of ancient civilizations tell us that there was life here, before ski resorts and tourism of intermittent people with no memory at all. The space was emptied by the heap of clichés which drags itself along the plains below its own tedious bulk, then crumbles and flattens like an avalanche. It presents itself naked, and ready to be filled, once more, in this vacation. There, where rock, lighter, soars towards the sky.
The question is, rather: are we ourselves ready or could be still be, when the only sensible thing to do will be to give a meaning, once more, to these remote places, which are actually close to us, because they are only remote in our mind? Will we still have ourselves meaning at that point, or will we be able to only rely on our senses? Too late, then, to be explorers?
Explorers, revolutionaries and spirits of times long gone refuse the plains and sense the weight of those places where gravity loses its intensity without making the steps of people wishing to climb on them lighter.
We will make these locations our base of operations, a launch pad of future, and plenty in number, explorations, thanks to Dolomiti Contemporanee, which has agreed to lend us the structures of Progettoborca to undertake our training.

Lorenzo Barbasetti di Prun, January 2018

–

Expedition #1, February 3rd – 6th 2018

The first team of explorers includes:

Lorenzo Barbasetti di Prun, creator of the project.

Angelica Stimpfl, presswoman and engraver with great cognizance of food. She tells stories that seem to come from a different time, and cooks fatty dishes of the Trentino Region tradition, with a little something added to them.
She builds tree houses and plans to repopulate her birth village in the Non Valley.

Giulia Fassina
Brilliant photographer and videomaker. Friend and travel companion, I could not think of a better person to document this endeavour. Not least of all because she probably would have held a grudge if I hadn’t asked her. Very picky and wary in the dietary field: it will be a lot of fun to have her taste whatever we’re going to concoct.

Matteo Ghigino
Young chef from Sardinia (more specifically Carloforte) with a great talent. He has taught me the majority of what I know, and most of all to eat leaves. Colleague and companion in adventures tethering on the edge of food poisoning. He has a blog about wild and forgotten foods. We work together on the AmiDO project, which gathers chef and producers of local delicacies..

Born in Padua in 1991
Graduated in Visual Arts from Venice’s IUAV di Venezia, and obtained a Master’s Degree in Eco-Social Design from the Libera Università of Bolzano
Lives and works between Bolzano and London
Media: food
Here Prometheus

Born in Rovigo in 1982
Graduated in Design and Art from the University of Bolzano, MA in Research Architecture at Goldsmith’s College in London
Lives and works in Milan
Media: photography, video, performance

Fuocopaesaggio has been the concept for the 2017 edition of Dolomiti Contemporanee, which this year, too, has produced sparks and flames all around, between Borca, Casso, and Monte Ricco.
Progettoborca, the first site of this spread-out fire, hosted, between April and September, hundreds between artists, architects, and cultural innovation designers, giving new light to the Colonia (Eng.: summer camp building), flaring it up.

The Open-studio on October 20th, 21st and 22nd is a long celebration, during which we plan to present the work carried out during the summer, a lot of artistic and cultural production, ideas and objects, projects and work-in-progress processes: ideas are concrete objects here, products of the spirit: stoneworks lapped by fire.

[icoloridelfuoco 480/1400°C]

Characteristics of the motion

Colour of fire: three days of meetings and exchanges, in the Colonia-hub-lab, with many of the artists that have, in the past few months, taken part in the kindling of the regenerative practice launched inside the Village and the Colonia ever since 2014 by Dolomiti Contemporanee, with Minoter‘s support.

The artists return to present the pieces they developed in the part few months, pieces that are part of the whole, and a whole that is a responsible practice that re-thinks the usage and destiny of the Colonia, today and in contemporaneity.
And the other artists are coming too: many of those who have nourished the project since the very beginning: the pioneers, the second-comers, the veterans, and the students of the Fine Arts Academies, and the architects, and the scientists of the forest, and so on.
All these sensitive, active and capable people together, working on the reprocessing of the space (the meaning) of the sleeping giant (and of the peaks and the woods that go along with it), to never do, here, the cenotaph of Gellner, Mattei, and something that isn not anymore.

Because, on the contrary, ithat thing – the residual, extraordinary potential of the Colonia and of the Village, which had been waiting for a long time to be risen again; a rise that is accomplished through a stubborn regenerative practice, that is the nourishment of relationships; a rise that cannot naturally coincide with mere theory from head-in-the-clouds economists, nor with a pathetic restoration without any ideas about the future usage, and set above it – that thing, we were saying, is still there, most definitely, and it’s a process, which thinks and re-thinks, and figures out and transforms, and pushes and widens.

During these three days, thus, as it is usual in this great, exceptional stirring accelerator (which is not a blender) of ideative, productive, building, experimental, re-innovative experiences, we will meet and observe many things, all of us present and active, a population of woken and attentive people, never just facsimiles, where guests never become a so-called audience, but instead morph into additional sensibilities as they are put into relation in open networks, and so forth.

Programme

FRIDAY, OCTOBER 20TH

Cinema of the Colonia
(all day)

Radioborcia, Fire Session Sessione del Fuoco
(all day)

Thaumàzein – The threshold
by Sandra Hauser, Higher Cabin.
(2 PM – 10 PM)

Rìcèrcati
(8:30 PM – 10 PM)

–

SATURDAY, OCTOBER 21ST

Cinema of the Colonia
(all day)

Radioborcia, Fire Session Sessione del Fuoco
(all day)

Thaumàzein – The threshold
by Sandra Hauser, Higher Cabin.
(2 PM – 10 PM)

Risulta di dislivello
by Stefano Comensoli and Nicolò Colciago.
(2:30 PM – 4:30 PM)

EPL – Experimental Photography Lab

Fiorio sounds
Auditorium
(7 PM – 9 PM)

Rìcèrcati
by Andreas Zampella
(8:30 PM – 10 PM)

–

SUNDAY OCTOBER 22ND

Laundry Print Lab
with Giuseppe Vigolo and Fine Arts Academy of Venice students, Marcello Cualbu and Anna Poletti
info and booking enquiries: info@progettoborca.net.
(10 AM – 6 PM)

Cinema of the Colonia
(all day)

Radioborcia, Fire Session Sessione del Fuoco
(all day)

Thaumàzein – The threshold
by Sandra Hauser, Higher Cabin.
(2 PM – 10 PM)

Lunch/Studiovisit at Cametti’s place
by Simone Cametti and his family, invite only.
(12 AM – 2 PM)

Guided Tour of the Colonia
(2 PM – 4 PM)

INTHEMOUNTAINS
by Giogio Orbi, Lower Cabin.
(2 PM – 4:30 PM)

Artist round table in the Auditorium
With: Marta Allegri, Elisa Bertaglia, olmo g. stuppia, Stefano Moras, Stefania Mazzola, Sandra Hauser, Marco Andrighetto, Gino Blanc, Simone Cametti, Stefano Comensoli, Nicolò Colciago, Andreas Zampella, Marco Rossetti, Bruno Amplatz, Stefano Cagol, Fabiano De Martin Topranin, Luca Chiesura, Andrra Visentini.
(4:30 PM – 6:30 PM)

Franz Rosati and Marco Cinque
video and sound performance at the Cinema.
(5:30 PM – 7 PM)

Rìcèrcati
by Andreas Zampella
(8:30 PM – 10 PM)

—

Click here to get directions to reach the Village. The access points for the Colonia, where the activities take place, are the offices of Progettoborca, former Eni VIllage, Via Mattei 5, Borca di Cadore.
From the offices, DC’s staff will lead the guests to the different locations of the events inside the structure.
We ask that guests try and adhere to the times indicated in the programme: because of the site’s size, it is not possible to reach the various locations without a guide.

Visitors, while accompained by members of Progettoborca‘s staff, will be able to walk through the main spaces of the enormous Colonia, built on a project by Edoardo Gellner, understand the site’s project of regeneration, and discover the artworks realized inside the Colonia itself by the artists currently availing themselves of the Residency program.

Starting from July the 13^th, the public will be able to access the site every Thursday afternoon, in the months of July and August. The visits will begin at 3 PM sharp, starting from the Progettoborca offices (at the former reception of the Colonia, on Via Mattei 5: please follow the road signs inside the Village to find it. Here you may find additional directions), and they have a duration of about 90 minutes.
Booking in advance is not required (with the exception of large groups).
The tour is free of charge, but a small donation is encuraged.

The Colonia will also be open to the public in conjunction with the periodic open-studio during which new artworks are presented.
The open-studio dates will be listed both on the home-page and on the showcase section of this website each time a new one is set.

Every Thursday, between 10 AM and 6 PM, it will furthermore be possible to indipendently visit the Church of Our Lady of the Cadore.

We’d like to also remind that, between May and September, the Boite Hotel and the Corte Residence, both located inside the Village, and just like it designed by Edoardo Gellner, are open for business.

It is possible to sign up for the Progettoborca newsletter to be regularly updated on its activities.
Just send your request at: info@progettoborca.net.

Dolomiti Contemporanee will take part in it with a speech by Gianluca D’Incà Levis, curator of Progettoborca.

The study day puts the focus on one of Edoardo Gellner’s most renown architectural creations. The Eni Village in Borca di Cadore is definitely the most important work that Gellner had the good fortune of realizing as per the unyielding will of Enrico Mattei, president of Eni and essential figure for the understanding of the Village’s design, and for Italy as a whole on the tail end of the 50s and the first half of the 60s. The Village represents, because of its huge scope, an exceptional field of architectural and landscape experimentation in a period of time in which architecture approaches the theme of the mountain as a wole, and interprets the elements of tradition building.

The study day will be developed in two sessions:
the first one aims to investigate the characteristics of the former Eni Village, giving it historical context and documenting its planning richness;
the second one means to tackle the theme of the Colonia’s (Eng.: summer camp building) reusage from different perspectives. The biggest structure of the village deserves a specific reflection for the relaunching of possible future outlines.

Programme of the day:

9.30 AM
Ilaria Valente, headmistress of the AUIC (Architecture, City Planning, and Construction Engineering School), Milan Polytechnic.
Gabriele Pasqui, director of Architecture and Urban Studies DASTU, Milan Polytechnic.

opening remarks:
Rossana Gabaglio, Milan Polytechnic.
Stefania Varvaro, Milan Polytechnic.

morning session:

Edoardo Gellner’s Eni Village, Stories, landscapes and architecture
chairman: Mariacristina Giambruno, Milan Polytechnic.

10.00 AM
Edoardo Gellner’s role in the history of architecture, Marco Biraghi, Milan Polytechnic.

10.25 AM
Edoardo Gellner’s landscape, Antonio Longo, Milan Polytechnic.

10.50 AM
The architect and his archive, Riccardo Domenichini, IUAV Project Archive.

11.35 AM
The social ENI village of Corte di Cadore at the VII National INU Congress “the face of the city”, Lecce 1959, Michele Merlo, Edoardo Gellner Cultural Association.

12.00 PM
From hundreds of meters to centimeters. The measure of actions, Amanzio Farris, La Sapienza University of Rome.

12.25 PM
The experience of recounting the Village, Davide Maffei, director

12.45 PM
projection of the documentary-movie Eni Village. A pleasant stay in the future by Davide Maffei, Imago Orbis distributions.

afternoon session:

The Mountain Colonia in the former Eni Village. I deas, studies and opportunities
chairman Michele Ugolini, Milan Polytechnic.

2:15 PM
The Colonia of the Eni Village, a heritage to discover, Rossana Gabaglio, Milan Polytechnic.

2:40 PM
New identities for Edoardo Gellner’s Colonia, Stefania Varvaro, Milan Polytechnic.

3:05 PM
Guests at Gellner’s, Enrico Scaramellini, Milan Polytechnic.

3:30 PM
Tutelage: tools and issues, Luigi Girardini, MiBACT regional secretary for the Veneto Region.

3:55 PM
The enhancement and tutelage of the 20th century’s architecture through a regional territorial and landscape vision, Franco Alberti, Veneto Region – Strategic Territorial Planning – Cartography

4:20 PM
Progettoborca, a cultural architecture and a platform of regeneration in Corte di Cadore, Gianluca D’Incà Levis, Dolomiti Contemporanee, Progettoborca.

4:45 PM
Gellner and after Gellner: activities and projects of the Edoardo Gellner Cultural Association, Michele Merlo, Edoardo Gellner Cultural Association.

5:15 PM
Round Table, with remarks from:
Maurizio Boriani, Milan Polytechnic.
Francesca Bonfante, Milan Polytechnic.
Laura Montedoro, Milan Polytechnic.
Lorenza Petrini, Milan Polytechnic.

We will meet those interested in taking part in the guided visit at the offices of Dolomiti Contemporanee, in Via Mattei 5, Corte di Cadore Village, at 3 PM sharp.
Find more detailed directions to find the location here.

The visit will last about two hours, and will allow those taking part in it to discover the artworks realized inside the Colonia by the artists involved in the artist’s residency programme by Dolomiti Conteamporanee.
The Progettoborca Archive will also be presented to the public in this occasion.

That same day, the Our Lady of the Cadore Church will be open for visits from 10 AM to 6 PM, indipendently from the tour itself.

Pictured blow (photo credit: Giacomo De Donà), the cups decorated with the six-legged dog, ENI‘s historic logo.
The cups were produced in the 60s by Richard Ginori, one of the numerous and important companies that contributed in the transformation of the Corte di Cadore experience into a one-of-a-kind, great and innovative active hub of production and modernization.

Programme of the day:
Speech and guided tour by Gianluca D’Incà Levis | saturday June 10th
3:30 PM | Casa Giorgione Museum, Castelfranco Veneto
5:30 PM | Brion Tomb, San Vito di Altivole

–

It’s very beautiful in the summer; the swallows fly by…This is the only work of mine I’m always happy to go see, because I feel like I have conquered the meaning of the countryside, just like the Brions wanted. Everyone goes there with plenty of fondness; the children play, the dogs run about: all cemeteries should be like this [...]
Carlo Scarpa, “A Thousand Cypresses” – lectio magistralis, Madrid 1978.

The San Vito di Altivole Mausuleum, one of the most well-known works by architect Carlo Scarpa, offers itself to the visitor as a modern “grief-processing machine”, a fundamental mechanism of which is the relationship with the local countryside, whose “meaning” the Venetian architect felt like he’d managed to capture.

The landscape represents a fundamental point of confrontation for Scarpa, whose design experiences place him in the same ballpark of the Veneto Reinassance artists – Bellini, Giorgione, Tiziano – who entrusted the landscape with a new and modern role.
We’d like to remind the reader about the important collaboration between Scarpa and Edoardo Gellner that realized itself inside the former Eni VIllage of Corte di Cadore (BL) in the Our Lady of the Cadore Church, another astounding experience of landscape design through architecture.

The Castelfranco altarpiece by Giorgione, found inside the funeral chapel of Matteo Costanzo, is among the works that best show this innovative landscape direction that Carlo Scarpa took to heart and developed inside the Brion Tomb.

Here the full programme of the events.

We have no interest for so-called inaugurations (the monument-moment is directly opposed to the spinning of the vector-moment: that is what interests us, as well as its twisting): we do care about a space that is projected forward, twisted on itself but also utterly straight while it faces, without towering over them, the other masses of meaning, the other propelling spaces, hooking them to it: in that, we are still invested, and we invest in it (believing and thinking is doing, if you know how to climb – the space).

Here, now, we gather thus the first pictures from the opening, and the day’s video.
While we’re all here, putting together the pieces of DC’s 2017 season, which takes (fiery) shape in the relationship between thoughts and (corresponding) actions, between accessed spaces scattered around the landscape that we want to see being built, and between us and the others, those who come here bringing themselves, active and ready, and between us and the local authorities, which aren’t things, but sparks.
We thank all of the people who have assisted our team, who helped managing the effort: DC’s staff (Alice, Giovanna, Elena, Anna, Romina, Paolo, and Giacomo), and then Elsa and Aurora, Ivan and Nadia, Nicola, Marta and the students of the Fine Arts Academy of Venice, and the many artists taking part in the weekend survey between Borca, Montericco in Pieve and Casso. And thus, the sites touch one another: here is the Landscape.

Photos: Giacomo De Donà

Photos:
1/6 Peak
7/12 INTHEMOUNTAINS
8/… Opening April 1st 2017

 
Born in Bolzano, in 1985
Graduated in Languages and economic and juridical institutions of East Asia  the Ca’ Foscari University of Venice.
Professor of Artistic Photography a the Art and Design faculty of the Bolzano University.
Lives and works in Bolzano
Media: photography, artist’s book

On Saturday, April 1st 2017, Dolomiti Contemporanee proposes an Open-studio at the Colonia (Eng.: summer camp building) of the former Eni Village of Borca di Cadore.
During the course of the afternoon, two works in particular will be showcased: Peak, by Nicolò Degiorgis, and INTHEMOUNTAINS, by Giorgio Orbi.

The collaboration between Museion and DC icludes the presentation of the Peak artist in Borca.
The magazine will be installed onto a structure inside the woods around the Colonia.

The pictures of the peaks follow one another, brought together two by two – from the absolute blackness of the night views to the blinding brightness of the snowy summits – recounting the principle of cyclicality that governs the lives of the mountains.

INTHEMOUNTAINS is a project with a wide scope, which gathers many of Giogio Orbi‘s experiences in regards to alpinism, and brings them to Borca.

It’s a series of operations that take part in the Dolomites of the Cadore area, and inside the neighbouring territories through different mediums, and which give shape to an organic kind of reflection.

INTHEMOUNTAINS ponders over the role of the artist and of the evolutionary dialogue that they intend to prompt with the mountain and its landscape. An essential role to depict and welcome the transformations and mutations of the contemporary mountain.

Mountains look so beautiful that once you start looking at them you can’t stop. A glance lasts only a moment but it takes part of the whole metamorphosis.

The title of the project comes from a section of the poem The Waste Land, by T. S. Eliot, written in 1922.

On Saturday, April 1st 2017, Dolomiti Contemporanee proposes an Open-studio at the Colonia (Eng.: summer camp building) of the former Eni Village of Borca di Cadore.
During the course of the afternoon, two works in particular will be showcased: Peak, by Nicolò Degiorgis, and INTHEMOUNTAINS, by Giorgio Orbi.

The collaboration between Museion and DC icludes the presentation of the Peak artist in Borca.
The magazine will be installed onto a structure inside the woods around the Colonia.

The pictures of the peaks follow one another, brought together two by two – from the absolute blackness of the night views to the blinding brightness of the snowy summits – recounting the principle of  cyclicality that governs the lives of the mountains.

INTHEMOUNTAINS is a project with a wide scope, which gathers many of Giogio Orbi‘s experiences in regards to alpinism, and brings them to Borca.

It’s a series of operations that take part in the Dolomites of the Cadore area, and inside the neighbouring territories through different mediums, and which give shape to an organic kind of reflection.

INTHEMOUNTAINS ponders over the role of the artist and of the evolutionary dialogue that they intend to prompt with the mountain and its landscape. An essential role to depict and welcome the transformations and mutations of the contemporary mountain.

Mountains look so beautiful that once you start looking at them you can’t stop. A glance lasts only a moment but it takes part of the whole metamorphosis.

The title of the project comes from a section of the poem The Waste Land, by T. S. Eliot, written in 1922.

In December 2016, Dolomiti Contemporanee took part in the Eurupean Council Landscape Prize. The Application was presented thanks to the Borca di Cadore Municipality, who has been supporting Progettoborca ever since its inception.

Taking part in the Award is an integral part of DC’s design, which always works towards the expansion of its action, of the reflection which, ever since 2011, is conducted in the scope of regeneration and upkeep of Lanscape and Heritage through the tools of contemporary art, of innovation culture, and of involved networks, always keeping at the core of its practice a re-innovative and regenerative vision for the territory, and for its praxis itself.

The 2016/2017 edition of the Award.

The Commission established by the Ministry, chaired by Fabio De Chirico, General Director for Contemporary Art and Architecture and Urban Outskirts, of MiBACT is comprised of individuals known for their efforts in cultural and landscape-related areas: Paolo Pejrone, Bartolomeo Pietromarchi, Marino Sinibaldi, Andrea Sisti, Carlo Tosco, Pietro Valentino.
On the basis of the actions deployed, and with regards to the objectives reached in the requalification of locations through the promotion of all historical and cultural materials and non-materials which characterise them, and considering the results obtained in terms of sustainable economic development and civil, as well as cultural, growth of local communities, the Commission has pinpointed 38 projects of particular interest.
The winning project was Agri Gentium: Iandscape regeneration.
17 other projects have received a Mention, and among them is Progettoborca, with a thematic Mention.

Following is the Mention by MiBACT, which was granted to Dolomiti Contemporanee during a Ceremony which  took place in Rome, at the Ministry, on March 14th, 2017, at the presence of President Mattarella and of Minister Franceschini:

Dolomiti Contemporanee – Progettoborca
Mention: Landscape promotion through contemporary art and architecture

It is our great pleasure, as well as thank you for having taken part in the Call being discussed, to let you know that the Commission established for the purposes of evaluating the projects selected in light of the Italian applications to the 2016-2017 Europen Council Landscape Award, has unanimously manifested a keen interest for the “Landscape promotion through contemporary art and culture”, thought to be worthy of Mention for the Promotion of landscape through contemporary and and culture.

In particular, it was found exemplary for the strategy it implemented in the recovery efforts directed towards the former Eni Village of Borca di Cadore, an extraordinary example of architecture and company welfare built in the 1950s, open to the public and transformed into a cultural superhub: a centre for cultural, conceptual, creative and productive research and experimentation.

]]> http://www.progettoborca.net/eng/dc-mention-in-mibact-for-progettoborca/feed/ 0 http://www.progettoborca.net/eng/the-night-of-the-space-eaters/ http://www.progettoborca.net/eng/the-night-of-the-space-eaters/#comments Wed, 25 Jan 2017 10:05:34 +0000 http://www.progettoborca.net/eng/?p=3412 January 23th 2017, 11.00 pm, Cinema room Colonia former Eni Village, Borca di Cadore / VOID

a 11-hour projection set
no humans allowed
troubles with cold?

A project by Mattia Pajè
A production by Progettoborca / Dolomiti Contemporanee

—

Movie youtube sci-fi/horror selection by Gianluca D’Incà Levis:

- The Snow Creature, W. Lee Wilder, 1954

- The Brain Eaters, Bruno Vesota, 1958

- Battle Beyond the Sun, 1959, T. Colchart (a.p. F. F. Coppola)

- Battle of the Worlds, Claude Rains, 1961

- The Brain That Wouldn’t Die, Joseph Green, 1964

- The Day Of The Triffids, Steve Sekely, 1963

- The Earth Dies Screaming, Terence Fisher , 1964

- Space: 1999, Another Time, Another Place, David Tomblin, 1974

- Erinnerungen an die Zukunft, Gli Extraterrestri Torneranno, Harald Reinl, 1979

- Frogs, George McCowan, 1972

—

Thanks to Nathan H. Juran, The Brain from Planet Arous, 1957

a 11-hour projection set
no humans allowed
troubles with cold?

A project by Mattia Pajè
A production by Progettoborca / Dolomiti Contemporanee

—

Movie youtube sci-fi/horror selection by Gianluca D’Incà Levis:

- The Snow Creature, W. Lee Wilder, 1954

- The Brain Eaters, Bruno Vesota, 1958

- Battle Beyond the Sun, 1959, T. Colchart (a.p. F. F. Coppola)

- Battle of the Worlds, Claude Rains, 1961

- The Brain That Wouldn’t Die, Joseph Green, 1964

- The Day Of The Triffids, Steve Sekely, 1963

- The Earth Dies Screaming, Terence Fisher , 1964

- Space: 1999, Another Time, Another Place, David Tomblin, 1974

- Erinnerungen an die Zukunft, Gli Extraterrestri Torneranno, Harald Reinl, 1979

- Frogs, George McCowan, 1972

—

Thanks to Nathan H. Juran, The Brain from Planet Arous, 1957