Progetto Borca » Projects

Lorenzo Barbasetti / Prometheus open food lab

admin — Mon, 01 Feb 2021 14:18:49 +0000

Prometheus_open food lab is a research project using food to explore the remote environments of this planet (and potentially others), the thousands it encloses. It is method and practice, hinged on the concepts of edible and remote, which it repeatedly tears off their seat in a petrified culture. Dumbfounded. In a tradition died young, unable to translate outside itself. It operates on a linguistic level and therefore on perception. Because food is, first of all, a language: key for the interpretation and narration of the world. If edible is anything that could potentially be introduced into the body, food is a narrow selection applied by culture over time. Food is not natural. Likely, remote is not a status but rather a perception of the space determined by the possibility to access it and settle in. Remote is a state of mind.

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

Giorgio Salmoiraghi / Vasa Cantici, Retta

admin — Thu, 03 Dec 2020 09:12:26 +0000

The long string instrument of Villaggio Eni in Borca di Cadore.

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

Prometheus – Open Food Lab – Expedition #1

admin — Thu, 01 Feb 2018 07:48:12 +0000

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..

Progettocoperta – PBLab #2 / PBblanketproject

admin — Thu, 08 Dec 2016 10:45:05 +0000

During the summer of 2016, a new project took shape in Borca, pne that creates the umpteenth new bridge between the former Eni Village of Borca di Cadore‘s exceptional history and the active present of Progettoborca, in which we’re working on the transformation and pushing forward of the huge potential available here.
PBLab is the acronym with which, in 2014, we’ve begun to mark several specific, experimental, and lab-oriented projects launched inside the Colonia (Eng.: summer camp building) together with artists and designers.
The “pilot” Lab was PBLab#0, a rebranding project focused on the blankets that the Lanerossi company custom-made, back then, for the Village itself. They were personalized by the artists Anna Poletti and Giorgio Tollot, who have morphed them into wearable items of clothing, and they have come back to life, proving once again how art and intelligent creativity may be tools able to kickstart efficient methods of enhancement.
Another important regenerative project, developed inside the Colonia by Sofia Bonato and Matteo Valerio with the Print Lab experiment, has allowed for action to be taken on the blankets once again, through printing, this time.

The Progettocoperta/BlanketProject comes after, and was almost born in jest.
In July 2016, we’ve entrusted to a few artists taking part in the residency project a (Lanerossi) blanket and a (Richard Ginori), asking them to personalize these original objects, botn with the Village. It’s not a commercial endeavour: there is no need to sell the blankets. And, in this case, to give a precise curatorial connotation to the initiative, either.
The artists have accepted to move in such loose manner, simply obtaining an image from a blanket or mug from back then, an image that, once more, generates a re-innovative communication opportunity linked to the concept of rebranding. Each of them has decorated, transformed, painted their blanket, which, therefore, became the support for an additional action, which ended up bringing to the table, in addition to formal elements, several cultural or critical lines of thinking linking to the history of the Colonia, of ENI, of Lanerossi.

The first revisited blanketmugs have been presented to the public during the Open studio of Saturday, December 10th.

1.    PBLab#0. Anna Poletti and Giorgio Tollot wear two of the pieces, in the woods of the Colonia. Photo: Giacomo De Donà
2/3. Lanerossi blanket and Richard Ginori mug, as interpreted by Andrea Visentini. Photo Brando Prizzo
4.      The blanket printed in the Print Lab experiment by Sofia Bonato and Matteo Valeri. Photo DC Archive
5/6. Details of the blanket as interpreted by Gianni De Val.
7/8. Details of the blanket as interpreted by Michelangelo Penso. Photo Brando Prizzon
9/11. Details of the blanket as interpreted by Marta Allegri. Photo Brando Prizzon
12.    Cristopher rests: silence. #CristopherDeer

In regard to De Val’s blanket, we wrote, one day: […] which has accepted to play with this blanket. The six-legged cur is as stupid as it can become. An “x” closes its eyes: is the dog blind? The human being is? Or there’s something up in ENI? Who’s throwing up what? The assassin is wearing a leash, says Gianni? Maybe the blind dog keeps on eating men and women, whole and in entire platoons, to then dribble or spit out what remains of them, a corresponding icon, depersonalized, a red stain of bloody meat, mained body stark against the red flickers and flashes, in the suspended space of the industrail cultural, social and existential skinning? This black dog, as if made out of rags and opposed to the other; this theory of the mutilated fighters-witnesses that come out of the maw of the divoratorExpeller (the cur’s physiology is round; more than devouring, it transforms, in the neverending cycle. It’s the dog itself that produces, before it consumes, the rare meats. To produce them in stock, to produce them always, making a thread of them go by, keeping the bank humid. It’s not hunger. It’s ferocity, blind, and organized traffic).

Sofia Bonato, Matteo Valerio/Print lab experiment

admin — Fri, 01 Jan 2016 08:16:21 +0000

During the first days of January 2016, a new spark for the experimental printing Lab that is being activated in the Colonia di Borca was lit.
The Print Lab project has begun in September 2015, during the “Riparare, prendersi cura” workshop, realized with Marta Allegri and the Fine Arts Academy of Venice.
The workshop had the aim of developing a transformative capacity in regards of the territory, through care and maintenance (riparare, prendersi cura) of objects and spaces.
In this context, Sofia Bonato, a student at the Academy, proposed to create an experimental printing and carving lab in the spaces of the Ironing Room of the Colonia, with machinery and objects recovered there, which were going to be regenetared through new functions connected, of course, to the printing process.
During the first residency period, some old pizza baking trays (used back then by the Eni children of the Colonia) found in the wardrobes became the first carving slates. The section of a concrete pillar found outside the Colonia was used for the pressing.
Now, on the other hand, they want to utilize the big laundry press, unused for years (see picture below) as a printing press, giving thus mechanic life back to the machnery. They wish to recover and transfer the original movement of the engine to the machine with a branching wheel, built in recovered wood, which, when moved manually, will produce the rotation of the reel.
This idea is evidently perfectly in line with the operative practice of Dolomiti Contemporanee and with the platform Progettoborca, which operates to the regeneration of the great Corte di Cadore site: the laundry press is reactivated, and morphed into something new, a creative tool.
The destiny of inertia of the object is refused, as is refused the destiny of oblivion of the extraordinary Borca site.
Together with the printing press, the project involves the idea of printing the tracks left by the wildlife that animates the Colonia at night, following the hard engraving techniques
This will be made possible thanks to the recovery of the cyclostyle machines found in the Colonia, whose system of mechanic printing, now obsolete, was replaced by photocopy machines in the ’80s.
In this Winterlab, Sofia Bonato and Matteo Valerio turn their attention to the process of (re)construction and operation of the object, to the evolution of its role in terms of interrelation with those who utilize it and the environment in which it can be found.
The aim isn’t to recover it as it were, but to rethink it, renovated in its function.
This practice of care goes against the exclusively economic utility, and finds in maintenance the method with which to bring action back to an inert location.
To think of a new function for an object is synonym with the revival of its relationship with the environment of the Colonia, which is changing in nature, and with its new “regulars”.

Photo: Giacomo De Donà, Stefano Moras

Silvia Hell/Cleanland

admin — Sun, 19 Jul 2015 14:01:41 +0000

Cleanland is an operation of reduction, it appears minimal, at the limit of what is visible and what is not, and it is inspired for its title by the Edwin A. Abbott book “Flatland“, a tale of a bidimensional world and its social structure.
A strategy is activated, through reduction; if an inhabitant of the three-dimensional world of Spaceland, identifies itself with an inhabitant of the two-dimensional kind, will easily understand that the univers it inhabits isn’t limited to the two dimensions of its world (as happens with the two-dimensional inhabitant when it encounters a sphere, a three-dimensional citizen), and, turning the reduction into extension, will easily be capable of imagining a different universal structure.
Notes on the Village, premises:
– the Village, planned to the tinies detail to be lived, today clearly shows its skeleton.
– the organic architecture of the Colonia is characterised by an articulate distributive system.
– all the buildings are connected through ramps-corridors.
– all the spaces were assiged to specific functions.
– every building has different openings and the antipanic doors lead directly to the woods.
– there are areas outside where the corridors and huge spaces, dwelled inside, disappear in the landscape.
Cleanland appears and disappears as it crosses space; it’s an organism immersed in the environment, taking up room while following its morphology. Cleanland is the visibile and invisible part at the same time.
The crossing morphology is architecture, a stratified one: Mattei, Gellner, Dolomiti Contemporanee.
The layout is a reduction, and like any reduction it shows privileges: the view from above, the planning and organising of the spaces. Crossing over from paper, design, to building and fruition, the dimensions increase.
After I walked through the spaces of the Colonia I’ve identified in the female showers and in parts of the rooms destined to the distribution of clothes my workspace.
In the first phase of my study nothing is going to be touched, I’ll take measurements, I’ll re-design space and objects on the inside, making them a layout and 3D model in scale. I’ll redraw the layout of the Colonia following the edge line.
I’ve decided to utilise a single line to define the Colonia as an individual shape, thus, if there are separate spaces, they won’t be included in the drawing.
I will, then, superimpose the layout of the Colonia to the one of the shower-changing rooms, taking up all the space with the Colonia‘s, until I find the correct orientation. This choice will depend on how the various elements will be handled.

Silvia Hell

PBLab #0

admin — Sun, 03 May 2015 09:17:57 +0000

#pblab0 – Six-Legged Dog, rebranding

Almost every object, inside the Village, is branded: the famous six-legged dog, Eni‘s historic logo, is present on every plate, mug, knife.
And on the woolen blankets that were, back then, produced by Lanerossi, and that we still use in the Residency of Dolomiti Contemporanee in Borca.
Today, two young artists and fashion designers, Anna Poletti and Giorgio Tollot, have taken these original blankets, and made them into vintage coats.
Rebranding, regeneration, and innovative nourishing of the historical heritage, through ideas and arts.
Thus us one of the first experimental projects launched by PBLab (Progettoborca‘s Lab).

Photos: Giacomo De Donà, DC Archive

First Borca Boulder Dolomiti Contest (#1BBDC)

admin — Tue, 03 Mar 2015 10:10:08 +0000

Contest
The 1BBDC (First Borca Boulder Dolomiti Contest) is a bouldering-in-environment contest which Dolomiti Contemporanee plans on carrying out during the course of 2016 inside the former eni Village of Borca di Cadore, “cultural climbing hub” launched in 2014 through Progettoborca.

It’s a cultural project, developed inside PBLab. The Party Block Association (Belluno) will curate the sporting event.

Dolomiti Contemporanee and Progettoborca
In 2014, the current owner of the site (Minoter-Cualbu Group) has entrusted Dolomiti Contemporanee with the task of launching a cultural enchancement and functional re-thinking program regarding the structures inside the site.
Thus, Progettoborca came into being, as a regenerative platform, operating through contemporary art and culture of vertical action, trying to pinpoint concrete measures and practices for the relaunching of this extraordinary site.
What is, then, a program of cultural enhancement?
It is, quite simply, the will and ability to climb the residual potential of the site, which is tremendous, huge, intact. And which needs to be revived.
The aim, here is to trace new paths, and to close down solid blocks.

Why a bouldering contest?
The DC project as a whole, with its practice of refunctionalization in regards to sites, structures, and abandoned compounds in the Dolomiti-Unesco area, is exactly that: a cultural climb.
Brain tooling. Metaphotical fingers inside one’s mind, mixing and matching.
DC is, thus, a concrete idea. The goal is to go to the mountain, to climb it, observe it, enter it, to explore its most powerful resources, and to reactivate the dormant ones, which maintain their great value.
The Eni Village of Borca is one of these extraordinary sites.
Climbing it means showing off its streght.
Gellner’s architecture isn’t contemplated from below, as if it were a motionless Museum, anymore, since contemplating it doesn’t help its enhancement.
Instead, it’s climbed, and that way it is shown, touched, declared living, real.
There are people moving now, in these magical woods, which have become a jungle, blanketing Gellner’s colorful volumes, and even making its way inside them, and this crowd is finding its footing, in the walls and their history, in the present, and, just two leaps away, in the future.
Around forty Blocks will be traced, and a few climbing paths will be set up on easy walls.
A large internal hall with a moquette-like paving, will be used for the grounded sackline, while a few highlines will be stretched between the pavilions in the woods.

Photo: Giacomo De Donà

Autumnal Residences in Borca

admin — Thu, 18 Sep 2014 21:24:11 +0000

DC, Casso and Borca: the series of autumnal residences has been launched.

After a double opening on Friday September the 12th (Meteorite in Giardino/Paths: the two exhibits are viewable in Casso until November the 2nd, every day, except for Monday), the autumnal session of DC’s residences was launched.
Starting from Tuesday September the 16h, a new series of artists has started to arrive in the sites of Casso and Borca.

After Jeremy Laffon and Elvia Teotsky, still through the exchange French-Italian platform of exchange PIANO (Pianoproject), Lise Lacombe arrived yesterday.
Sandra Hauser, Gino Blanc, Marco Andrighetto, are in Borca starting from today, and they’ll soon be joined by other artists, among which Stefano Moras and Serena Vestrucci.

The residence remains one of the features of the DC project and progettoborca: through it come new people, new overlooks, new contact with the territory and the landscape, to work in the active sites on the re-thinking of their meaning, their identity, their function.

(17/09/14)

“and now, something completely different”, Jeremy Laffon, studio for a performance, Eni Village – Borca di Cadore, august 2014. photo C.H. Andersen

Marta Allegri/Disabitate

admin — Wed, 27 Aug 2014 08:12:07 +0000

I feel my throat tightening at the sight of the landscape’s beauty.
In Borca di Cadore, amongst gorgeous mountains, stands the Eni Village, an abandoned place, a great, empty architecture.
During one of the visits to the Colonia (Eng.: Summer Camp Building), I’d seen some iron inside a recycling bin, a metallic net still in good conditions; it had only been pressed down to diminish its volume.
A few weeks later, I came back, happy to be able to recover those nets, I’ve spread them down and rolled them back up, then, wandering through the corridors and floors of the building, I’ve found a small private room, I’ve cleaned it up and I’ve deposited the reels there.
Now, there are some shapes made of net, by that place, small “doilies” which develop slightly in height, and look like small constructions. Randomly laid down on the white floor, they contrast the geometric web created by the spaces between the tiles. A layout of a floor, but also an astral field, made out of empty, abandoned, “unhabited” ( i.e. “disabitate”) houses which, similarly to the example of our territory, get scattered and are almost invisible to the eye.
The rotation is the principal movement of this action, in what we do, in what we un-do, re-do, and in the production of circular shapes. I was looking for a small and luminous space, I found this room, which used to be the private quarters of one of the nuns living in the Colonia. The spiritual life here doesn’t get separated from the positive, creative imagination which generates shapes, the caring for things as well, however difficult to see it might be, can transform and give new life to matter.
In this installation I’m talking about the dream and desire of regenerating the small and great memories of architecture.

This project will be continued in Spring.

Marta Allegri

Disabitate
work in progress installation, metallic net, 2014-2015
Colonia, Nuns’ quarters.

Photo: Marta Allegri, Giacomo De Donà

Giovanni De Donà/Electric sushi

admin — Sun, 10 Aug 2014 08:51:45 +0000

Site specific installation-performance, for the toy library-space (auditorium) of the Eni Village of Borca.

Concept:

The project involves the installation at the centre of the hall a transparent tank containing one or more electric eels.

The electrophorus, or electric eel, is able to emit electric charges up to 500v, the most powerful produced by a living being – we don’t like half measures.
It is, other than a way of communicating and engaging with the environment, also a feared defense and offense weapon against preys, which thus stunned are more easily devoured, raw, obviously.

through two electrodes, it will be possible, as it has been largely documented, to engage the electric potential flowing out of the eel to turn on six lighting points opportunely placed in the hall in question, which isn’t currently provided with a workable electrical system.

Almost a ritual set up, purposefully evocative: we’re in the belly of the six-legged dog, we’re almost like living fossils in its stomach.
The produced charges will be amplified, creating variations of sound in the environment together with those of brightness. We could therefore witness the manifestation of a single auditory and luminous vibration corresponding to the trend of variation in potential produced by the animal through its electricity-generating organs.

This irregular intermittence will evoke, akin to a mountain storm, the pulsating life of the eel. Almost an allegory of Tesla’s experiments.

A further amplification of the phenomenon will develop through the Internet, by the remote transmission of the signal produced by the eel. Thus, it will be possible to utilize the coded and streamed signal to control to one’s liking a few synthesizers and lights in an exhibitive space in Berlin, giving life, this way, to a strategic and performative resonance of what’s happening in the Eni Village of Borca.

This aspect is aesthetically closer to the most recent scientific perspectives, which consist of experiments in the transmission of electrical signals between human brains.

In a broader meaning we’d like to instead refer to the production of energy by a living element, as opposed to the one derived by fossil elements like gas or petroleum.
Scientific documentation:

Electric Eel : Moody Institute of Science. (1954 Educational Film)

Plos one: Conscious Brain-to-Brain Communication in Humans Using Non-Invasive Technologies

This is a project by Giovanni De Donà

Artists in Residence in Borca

admin — Sun, 03 Aug 2014 21:00:10 +0000

After the explorations of the past few months, in which Dolomiti Contemporanee has lead dozens of artists in reconnaissance at the Village, the first step of “ed ultimo venne il bosco” has been made on Tuesday the 5th of August. The artistic project, conduced through artistic Residence with the goal of producing a series of artworks in Borca, artworks which will have the Village itself, the territory and the dolomitic environment, the peaks of Mt.s Antelao and Pelmo as their subjects, since it’s about time, we’d say, to start looking with fresh eyes (a bit tired of the contemplative apathy of those who quietly wander under the mountain: there’s a struggle, in the jungle, now).

The project of Residence, involves the arrival of a few groups of artists, coming from different European countries, whom are going to stop for a few days, or weeks, in Borca.
The artists will be housed in the original cottages designed by Edoardo Gellner and in the permanent tents Camping, thanks to the support of Minoter.

The first to arrive here have been Gino Blanc, Chiara Bergamo, Luka Sirok, whom have attached the site from a pictorial standpoint, and are currently working in the first atelier-cabin of the Colonia (Eng.: summer camp building), specifically geared. With them in Borca, there’s Begona Zubero Apodaca as well, who is a Spanish photographer, arrived in Borca thanks to the partnership between Dolomiti Contemporanee and the Real Academia de Espana en Roma. Also scheduled to arrive, Jeremy Laffon, French artist whose presence is the result of another important partnership, this time with the Institut Francais and with the Fondazione Nuovi Mecenati (Piano network). In the next few days, the photographer Stefano Cerio will begin Residing here too, while the visits of other artists interested in discovering this great site, that will become a “construction site”, continue to be carried out.

The construction site is open, the Village becomes an experimental space, of art and research and thought, a living space, whose activities we’ll continue to document on this website.

Sorgente (Gorgoglio delle Creature)/Gola Hundun

admin — Sat, 26 Jul 2014 11:33:11 +0000

After the first surveys at the Eni Village, here come the first artistic projects.

Inside the exhibit the inner outside (bivouacs), held at the Nuovo Spazio di Casso (Eng.: New Space of Casso, permanent headquarters of Dolomiti Contemporanee), the project for Sorgente (Gorgoglio delle Creature) is presented as well; it is a living installation devised by Gola Hundun.
Here the project:

Sorgente (Gorgoglio delle Creature) – a project for Borca

Gola Hundun presents the sketches of a large installative sculpture that is going to be realised insie the Former Eni Village of Borca di Cadore, new important “construction site” of Dolomiti Contemporanee (www.progettoborca.net). The artwork, two meters tall, is going to be made of an internal structure of terracotta, while the outside is going to be completely covered in plants and plant-related elements. The structure will be placed in a clearing inside the woods of Borca, and is conceived as a house-bivouac of sorts, for insects, birds, animals. A bed to rest, with excellent flowers.
(gdl)

“Gli Impresari” in Borca

admin — Sun, 20 Jul 2014 16:40:19 +0000

The artists whom take part in the Residence project at the former Eni Village confront themselves with a context-forge of stimuli for their artistic works.

That’s what happened for the “Gli Impresari” [ITA], that is to say Edoardo Aruta, Marco di Giuseppe and Rosario Sorbello. Gli Impresari is an artistic projects that works mainly with stagecraft.

Auditory machines in the spaces of the Summer Camp Building: this the suggestion of a member of the group, Edoardo Aruta, whom in 2011 has reflected on the chair as the location of the pause, the standby, the mediation, and of the dialogue, after having visited Corte delle Dolomiti.

Elisa Bertaglia/Plateau project

admin — Thu, 12 Jun 2014 12:18:12 +0000

The idea is to realise a huge charcoal and graphite drawing on the floor of one of the halls of the Village. The drawing, only partially fixed, has to be something mimetic, an intervation that isn’t immediately readable: countless tiny figures traced on the original layout of the original paving of the hall, which will gradually disappear as the new “inhabitants” walk over them. The figures, many, many falling children, call back to the original function of this place (with a symbolic tone, and in harmony with my poetics) and take advantage of the powerful suggestions that this location has given me.The image, present trace of the lives that have inhabited the village, continued to obsessively recour in my thoughts during and after the visit. The obsession is crucial for the understanding of how much a project, an idea, has deeply taken root. One one hand, in the architectural design the attention reiterated to the actual function of the location, that is to say the hosting of children on holiday (the height-adjustable, child-friendly hair dryers, the small beds placed in tiny half-rooms, the light-blue lamps in the shapes of mushrooms outside, the linking system, both labyrinthine and intuitive…), on the other the strong vibe of “lived” that the rooms, even deserted, continue to emanate, have stirred in me the ideas and thoughts pertinent to my research, focused in fact on the themes of childhood, identity, and on the representation of places and visions from a dreamlike perspective.