Progetto Borca » Artworks

Fabio Talloru / Studio campione

admin — Tue, 23 Sep 2025 14:43:42 +0000

Studio campione, Fabio Talloru in Progettoborca, Colonia montana Ex Villaggio Eni, Corte di Cadore.

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

Rob van den Berg/Two steps

admin — Thu, 05 May 2016 07:19:37 +0000

Thanks to an approach of recovery, it occurs important to reflect on space beginning by acknowledging its relational potential. Starting from the intrinsic complexity of these places, it was was decided to focus the attention on the act of seeing, usually the first act in the relationship between the self and the other.
In order to achieve this the vegetation surrounding the building blocking the visitors view was cut and by clearing the actual rooftop the traces of elapsed time recorded in the metal roof plates were subsequently exposed. Adding both a ladder and a set of steps subtly implies human intervention and exemplifies our exceptional relationship with our surroundings. Through the simple act of cleaning, it is suggested that the transition between the act of looking and that of seeing, signifies as founding moment of a conscious perception.

Rob van den Berg

Photo: Giacomo De Donà, Rob van den Berg

Domenico Antonio Mancini/La versione di Misha

admin — Sun, 13 Sep 2015 10:02:04 +0000

La versione di Misha (Eng.: Misha’s version) is a project of writing and interpretation of a “monologue for bears”. The text of the piece will be composed of theatrical passages which take on the concepts of autocracy and freedom, all hailed from several works and subsequently redacted together with abstracts of interviews with Mattei. The material, set up in such a way, wants to try and recount Mattei’s idea of natural resources management and of the developing relationship with the other industrialised countries. The text doesn’t have the pretence of theatrical correctness, but instead presents itself as a fragmented tale to be reunified through my interpretation, as an impromptu actor, and the spectators’, as they will try to pick up the pieces of what is happening in the scenes. An “attempted” interpretation of an “attempted” theatrical text will thus be improvised, one that calls back to the performance’s protagonist’s very own movements: Misha the bear.

Domenico Antonio Mancini

Gifted by Krusciov to Mattei in 1958 to celebrate an oil deal, Misha has entertained audiences for thirty years and, similarly, the artists will read a text relaying the intentions of the founder of the village, while wearing a polygonal bear head, its maximum synthetis. The performer will move on stage in a forest made of television sets, found among the material left behind from the activity of the Colonia, on which images of interviews with Mattei, the only real interpretative tool of the perfomed text, will be shown.

Domenico Antonio Mancini, La versione di Misha part 1
installation, television sets and steel cables, August-September 2015
Colonia, AS Pavilion

Domenico Antonio Mancini, La versione di Misha part 1
work in progress
Colonia, M Pavilion

Photo: DC Archive, Giacomo De Donà, Adriano Zanni

Silvia Hell/Cleanland

admin — Sun, 13 Sep 2015 09:51:09 +0000

The Cleanland project is inspired by Flatlandia, famed fantasy and spatial tale by E.A. Abbott.
Measuring, tracing the base-layout, scaled down in the environment, reflecting on the ontology of the horizontal planes when they cross paths with the vertical ones, and finding a coherent system for their transposition, and then cleaning, cleaning the outside of that re-traced layout, but not its insides, where every fragment and layer and spec of dust remains in its original position, cleaning and maintaining, inside the white suit, like a nuclear plant technician who handles the cadmium and boron bars, to accelerate, still, finally, the neutrons of the core of this unexhausted power reactor, and the fuel today really is this, the energy of ideas, in culture and art, and that is how the nuclear fission is going to be able to take place, is taking place, will take place, again.
The layout of the Colonia (Eng.: summer camp building) adheres to the ground and the walls (crossing the vertical planes, where the layout meets them). What is outside the perimeter remains dirty. All the walking is done on the outside. Silvia Hell works inside the Female Changing and Shower Rooms of the Colonia (male and female showers, everything is finely divided and organised on principles of efficiency, in here, where, when the six-legged dog still wagged its tail – woof – over 600 children and 200 adults lived together in the 30.000 square feet building-burg).

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

Silvia Hell, Cleanland
August-September 2015
Colonia, Female Showers and Changing Rooms

Photos: Giacomo De Donà, Silvia Hell, Stefano Moras

MinJi Kim/We or They

admin — Sat, 18 Jul 2015 06:32:54 +0000

In July 2015 the Korean artist Min Ji Kim has realised a site-specific installation inside some parts of the Colonia (Eng.: summer camp building): We or They.
We or They: not a disjunctive duality, but an interrogation.
The presentation of the smoke-colour in the Colonia puts into relation the structure of the geometric shapes-volumes of Gellner’s architecture and the ephemeral organic volume that, before scattering inside it, redefines space, in that dialectical relation.
Full and empty. Heavy and light. Mobile and still.
Present and alien.
What is alien? What was, and still is? Or what is to come?

Min Ji Kim
We or They
site specific installation, smoke, 2015
Artwork realized in July 2015, inside the Colonia

Sandra Hauser/Thaumàzein

admin — Wed, 10 Dec 2014 10:25:11 +0000

The installation contains 15 single Thaumà and what surrounds them; all together they create the THAUMÀZEIN.
A traumatic wonderland of the rational in which the moment of marvel for the reality and the relation between the human being and its reality is the general theme of the research.

Sandra Hauser

THAUMÀZEIN – About the Wonder, the Reality and the Concrete
MAIN THAUMA: SHE
object trouvé, concrete sculptures, tables, maps (from the 900s), varnish, black pigment, carbon paper, transparent paper, measure: Third Cabin, 2014
Colonia (Eng.: summer camp building), Third Cabin

THAUMA 1: A CONCRETE LITTLE SIP
Goblet 10 cm (from the 900s), concrete, piece of old wood, 2014

THAUMA 2: THE GUARDIANS
Tongs, bucket (objects of the Colonia ENI Village, from around the 1950s), fire, 2014

THAUMA 3: WHEN A MIND BECOMES CONCRETE
Knife, chair and tables (objects of the Colonia ENI Village, from around the 1950s), book of the artist’s family 26,5 x 21,5 cm, concrete, 2014

THAUMA 4: A CONCRETE CRACK
Concrete, 10 x 10 cm, 2014

THAUMA 5: THEY LOOK AS IF BUTTER WOULDN’T MELT IN THEIR MOUTH
Silver lids Coperchi d’argento (objects of the Colonia ENI Village, from around the 1950s) 30 x 15 cm, paraffin, 2014

THAUMA 6: THE PACKING
Silver container, height 25 cm (objects of the Colonia ENI Village, from around the 1950s), concrete, 2014

THAUMA 7: CAOLINO – OVVERO TRE MESI SUL MARE
4 books, (objects of the Colonia ENI Village, from around the 1950s), compass (from around the 1900s), concrete, 2014

THAUMA 8: CONCRETE BELONGING
2 Pillows 50 x 25 cm (objects of the Colonia ENI Village, from around the 1950s), concrete, 2014

THAUMA 9: THROUGH THICK AND THIN
Metal easel 40 cm tall and table (objects of the Colonia ENI Village, from around the 1950s), black and white picture (from about the 1950s), concrete, 2014

THAUMA 10: IT’S NEVER HOPELESS AS LONG AS YOU HAVE A WHEEL ROPE PULLEY AND A DICE
Pulley, small metal door (objects of the Colonia ENI Village, from around the 1950s), wooden dice, concrete, styrofoam, 2014

THAUMA 11: MAPPING FOG
Photocopied maps (from around the 1900s), metal object (objects of the Colonia ENI Village, from around the 1950s),salt, ani-fog thinner, Indian ink, laque, 2014

THAUMA 12: SLEEP TIGHT
Pillow 71 x 37 cm, plastic grating (objects of the Colonia ENI Village, from around the 1950s), 2014

THAUMA 13: CONCRETE DRIPPING
Waxed paper, concrete (Omage to Stefano Moras), 2014

THAUMA 14: ONE UPON THE OTHER UNTIL IT’S HIDDEN
Used carbon paper usata 45 x 25 cm (objects of the Colonia ENI Village, from around the 1950s), wall, 2014

THAUMA 15: THE COLLECTION OF THE USEFUL REMAINS
Various objects (objects of the Colonia ENI Village, from around the 1950s), concrete, black pigment, 2014

Photos: Sergio Casagrande, Giacomo De Donà, Sandra Hauser

Sandra Hauser/La scuola della misura

admin — Wed, 26 Nov 2014 14:03:15 +0000

Sandra HauserLa scuola della misura
(Eng.: the school of measure)
Site specific installation, dirt, rubbish, dust, tables and objects found in the room, fir, chalk, neon light
Colonia, MF Pavilion, September 2014

Photos: Giacomo De Donà, Sandra Hauser

Marco Andrighetto/Jungla

admin — Mon, 24 Nov 2014 10:16:49 +0000

Marco Andrighetto has lived in residence in Borca between August and September 2014.
Wandering for days inside the Colonia (Eng.: summer camp building) and the Village, he pinpointed a series of degraded settings. Time, atmospheric agents, the woods, they all took the Colonia, every day they come inside it, they transform it, they consume it. The woods, in particular, in Borca aren’t gentle: they intrude, wild, almost seemingly to the point of devouring Gellner’s precious architectures, they are devouring them, they are a ravenous Jungle.
The internal surfaces of the Colonia are marked, the plasters are detaching and falling, the colours of organic decay, of the efflorescences and of humidity, come inside Gellner’s clean fields of colour, creating new glimpses and squares: truly nature and architecture seem to merge together, in this contemporary ruin, which now wants to raise again.
The artists captures this metabolism, its transformative aesthetic, and gets inside it, with his action, decisive and mimetic.
The peeling plasters give birth to the flowers of the Jungle: one has to look closesly, sometimes, to locate the wall, or crawl space, gardens, and to make these flowers, which re-organize the entropy of decay into accomplished graphic shapes, bloom.

A water infiltration has seeped through to the Auditorium: the small pools, re-absorbing themselves, have left persistend humid traces on the spectacular linoleum of the hall. From these traces have come to light the already sketched out coils of a large aquatic creature inhabiting Borca’s Jungle: anaconda.

Marco Andrighetto

Primo intervento (Fiore Damascato)
Box cutter, spatula on peeling wall, 32×24 cm, 2014
Colonia, Lower Cabin

Jungla
Box cutter, spatulas, tweezers on peeling wall, 250×180 cm, 2014
Colonia, Auditorium

Anaconda
Water, pais on corroded linoleum, 500×500 cm, 2014
Colonia, Auditorium

Photos: Marco Andrighetto, Giacomo De Donà

Fabiano De Martin Topranin/Imaginary friend+Imagined trip

admin — Mon, 24 Nov 2014 10:07:19 +0000

Two large busts by Fabiano De Martin Topranin dominate, since November the 8th 2014, inside the large building-city-maze of the Colonia (Eng.: summer camp building). The powerful loneliness of the two characters, trapped in unmovable tension, release an echo inside the huge abandoned spaces, which seem to reply to the strong and silent call. In the large hall of the former refectory, stands Imaginary Friend. The introverted psychology of the teenager is reminescent of the back to the forest series‘s sequence of subjects, which were developed by De Martin Topranin back in 2013.
In Imagined Trip, another young man, physically trapped in his own composed shroud, hieratic, seems to emanate a dreamlike wave, which spreads to the structure. Another call, perhaps a quiet sing. The glowing chromatism of the sculpture works off Gellner’s colours on the walls of the ramp.

Fabiano De Martin Topranin

Imaginary Friend
poplar, 160x90x70 cm, 2014
Colonia, Dining Hall

Imagined trip
cedar, acrilic, 130x50x45 cm, 2014
Colonia, corridor

Photos: Giacomo De Donà

Stefano Moras/Smetterlingssäule

admin — Mon, 24 Nov 2014 10:00:52 +0000

Stefano Moras has worked in Residence in Borca for a month, between October and November 2014.
The series of elaboratons and works developed by the artist in that period of time take the name Schmetterlingsäule, a German neologism, which literally means “the column of the butterfly”.
The artworks are all different from one another, but the approach is the same. This coherence of method is traceable in each of the interventions, which are elaborated, sophisticated, and simple at the same time, in their founding concept.
Moras’ work is, substantially, pictorial. The sensitvity of the painter for the composition, the chromatisms, is highlighted as much in the graphic works, as in the pictorial-installative and the installative-performative ones.
The composition is always carried out through a first de-structuring phase, and a following one of recomposition of all the elements, first fragmented and isolated, and then lead back to unity, through different procedures: stitching, assembling, superimposition, translucence, recombination, fusion.
Doors are opened: inside them, worlds of shape and colour are found, on which to intervene, at times, through the gaps. The doors are installed in a large hall, each of them is a painting, installed to re-modulate the space.
Paper curtains are placed against the windows of the infirmary’s rooms: the chromatic vortex of the resewn shreds gets painted in the light. A dialectic of contrasts is generated among these light, shimmering drapes and the austere chromatically formal modules of the elements of Gellner-style design already there on the walls.
In the small geometric works (clusters of triangles) installed on the Colonia (Eng.: summer camp building)’s ceiling, “working directly with the peeling off layer of colour, geometric shapes (regular or irregular) develop on the surface. At times, tone on tone, at times not: this is a work that is born from humidity and its infiltrating-insinuating in the colous. On-going process.”
“Accumulation often rests on abandon. Starting from this concept or hypothesis I’ve tried to rouse that dormant vitality with an overall vision instead of isolating it in every single object. Smetterlingsäule is a project developed during the month of residence in Borca di Cadore in the former Eni Village: in this work in progress three words have revealed themselves to be fundamental guides, that is to say continuity, contiguity and proximity. The development of the shapes starts from the observation of the environment that at a first glance has ‘literally’ swallowed me up. Not being able to be the author of the artworks myself, being that the space itself it, my role became the one of a frenzied medium, fluid that transports a content, an obsessive conductor. Stefano Moras, Borca, November 2014.”

Stefano Moras

Smetterlingssäule parte 1
Recoposition through sewing and pictorial fragments, oil on paper, about 140×170 cm, 2014
Colonia, Infirmary

Smetterlingssäule parte 2
Site-specific installation: de-structuration of lainated doors, glass fragments, wooden skirting boards and tables, refractory sand and water paint; variable sizes, 2014
Colonia

Smetterlingssäule parte 3
Modules sizes from 3 to 15 cm, installation of variable dimensions, 2014
Colonia

Photos: Giacomo De Donà, Stefano Moras

Stefano Cagol/TBOE at the Eni Village

admin — Thu, 20 Nov 2014 09:55:07 +0000

Stefano Cagol has reached Borca with The Body of Energy (Il corpo dell’energia), a transnational nomad project that moves across Europe, stopping in various places of production of physical and cultural energy.
“The project, result of an announcement promoted by the German energy company RWE, talks abotu the relations between energy and environment, territory, culture and resources. Through complex technological equipment, Cagol works with the visualization, on a formal and chromatic level, of the nergy emitted by our bodies, from the heat sources, from buildings, from the landscape.”
TBOE has come to Borca on the 8th of November 2014, gatheing energy portraits, interacting with the environment and involving the public.
Thus, the eye of the artist and the one of the infra-red camera, have captured the energetic soul of the people and the location, lighting up the corridors and ramps of the Colonia, and painging with heat on Gellner’s architectures, including Johanna, the great majolica heater, yellow-hot in the Lower Cabin of the Colonia (Eng.: summer camp building).
Stefano Cagol
The Body of Energy (Il corpo dell’energia)
November the 8th, 2014
Colonia

Photo: Stefano Cagol, Sergio Casagrande, Giacomo De Donà

Gino Blanc/ed ultimo venne il bosco

admin — Tue, 16 Sep 2014 08:06:24 +0000

Sometimes, the best images is the nothingness. The nothingness takes shape with a path, it annihilates every thing that surrounds it, it actively takes part to the deconstruction, leaving behind a perceivable trace to the imagination. There is no violence in the gesture, but a meticulous and conscious choice. A place where you leave and where you comes, a canvas where you add to destroy.
The path develops between the telling of a story and the project for a possible scenario (homicide) which subtends a fascinating thesis. The strenght of this project lays in the (successful) attempt to upset the order, strenghtened by time, of the materials inside the Colonia and the aesthetic synthesis is a goal for the questions that it poses. Can an object be cultivated? To create a shape an intellectual subconscious process of a synthetic tybe, which only belongs to the sphere of art, is instead necessary. Substantially, a short circuit between materials and relations with the surrounding nature.

Gino Blanc

Artworks created between July and November 2014, during the Residence program ed ultimo venne il bosco (Eng.: and last came the woods)

1 ed ultimo venne il bosco
overview of the setup (detail)

2 ed ultimo venne il bosco
overview of the setup (detail)

3 L’orso di Gellner
84×86, various materials, 2014

4 L’orso di Gellner
84×86, various materials, 2014 (detail)

5 Il bosco sale
191×142 cm, curtain of the Eni Colonia, 2014

6 Meredith
191×142 cm, curtain of the Eni Colonia, 2014

7 Stelle sulla tua pelle
191×142 cm, curtain of the Eni Colonia, 2014

8 Linee di memoria
55x70cm, curtain of the Eni Colonia and combustion, 2014

9 Untitled
80×90 xm, oil on shower curtain of the Eni Colonia, 2014

10 Untitled
100×80 cm, oil on shower curtain of the Eni Colonia, 2014

11 Untitled
40×50 cm, oil and spray on canvas, 2014

12 Untitled
40×50 cm, oil on shower curtain of the Eni Colonia, 2014

13 Untitled
55×70 cm, rubber flexed, 2014

14 Capanna bassa
eight panels, 50×110 cm, enamel on iron, 2014 (detail)

15 Capanna bassa
160×170 cm, enamel on table tennis table, 2014

16 Untitled
50×70 cm, oil on wood and shower curtain of the Eni Colonia, 2014

17 Antelao
20×20 cm, oil on shower curtain of the Eni Colonia, 2014

18 Pelmo
50×80 cm, oil on shower curtain of the Eni Colonia, 2014

19 Untitled
90×120 cm, oil on canvas, 2014

20 Untitled
55×70 cm, fire on shower curtain of the Eni Colonia, 2014

Lower cabin at the Colonia

Photos: Giacomo De Donà, Gino Blanc

Elisa Bertaglia/Plateau project

admin — Tue, 09 Sep 2014 10:14:14 +0000

Plateau Project is a large floor drawing relized in the medium cabin of the Colonia (Eng.: summer camp building) of the former Eni Village of Borca di Cadore. It represents a non-homogeneous “texture” of tiny falling little girls, curled up in the fetal position, each with a diameter of about 4 cm, twisted by grass snakes (or vipers) and only outlined by a faint silhouette of charcoal and black graphite, which mimetically intersects itself with the weave already characterized by the original linoleoum covering of the flooring. The drawing was realized maintaining unchanged the underlying layer of dust, which collected in the decades of abandon. The dust have made the supporting veining, originally yellow and purple, opaque and homogeneous, adapting them to various shades of grey. The artwork was not fixed: it was meant to be connected with bioogy and weariness of the place itself, it will consume and disappear progressively as people walk by (artists, curators, visitors, workers on the site,…). The project focuses on the literal and symbolic meaning of the title, Plateau. A “Plateau” is, effectively, a flat expense which is found at least 500 meters above sea level, is set in a mountainous area and is delimited by peaks and crests. Following this line of thought, the floor of the cabin becomes a conventional plateau: both for a formal linking with the structure of the site (the flooring is interpreted as an artificial leveling, in the steep slope where the Village is located); and for a symbolic juxtaposition as well. The flooring, sure enough, serves as a plateau placed over a level of decennal stratifications of memories, recollections, footprints, landscapes, fruictions, ideas, experiences and records, of all the people that have inhabited these spaces in the past. The plateau morphs from a physical to a metaphysical element: the function of the drawing is the one of highlighting such a plateau of meaning, stratifications and sedimentation, utilizing a language mimetic and revealing at the same time. Through the drawing one recalls the theme of the fall, of the landscape, of the change and the metamorphosis (particularly linked to a poetics which examines the passage from childhood to adulthood and the aspects linked to the world of children, recalling the past inhabitants of these spaces). The outlines of many, many little girls, call back to the originary function of this place (sure enough, the cabin was a space dedicated to playing and recreational moments for the children of the Colonia) and revolve around the very strong suggestions which that very space, thick and full of the images of the lives that have lived it, gives back to those walking through it.

Elisa Bertaglia

Plateau project
floor drawing, 10×10 m, charcoal and graphite on linoleum and dust, 2014

work included in the residence program ed ultimo venne il bosco
Here a review on Elisa Bertaglia’s work (ITA only).

Photos: Sergio Casagrande, Giacomo De Donà

Chiara Bergamo/Perchè sei?

admin — Mon, 08 Sep 2014 16:45:01 +0000

When you get to the village, the six-legged dog is ever-present. Blankets, cups, plates, they all bear its image. You sit down, and it’s there; not where you rest your backside, but on the opposite side, carved in the wood, frozen in that rampant position, not dormant. Inhabitant of time. Linked indissolubly to humans. Chosen as a symbol of genius, it doesn’t have four legs, but six. MORE. More power, more energy, more charge.What has made it survive the most, image that time doesn’t erease. The dog it’s there, the places it lived are there, too. The visionary beauty has felt the heavy advance of the years but, like everything that is “superior”, has waited. Now everything is there, intact. A huge, beautiful colonia, immersed in the woods. An immision in the space, the only inhabitant, the six-legged dog, which can express its MORE only when the human comes. Symbol of genius, how absurd it is, that it remains asleep. The installation that I’ve created is a kind of visual possibility of meeting, a new meeting, between the human and the six-legged dog. Following an imaginary path. In TERRA! the dog, indeed, on the ground (“a terra”), surrounded by tape which defines its current border, representing the Colonia. Above it there’s an open cage, from which it looks to have fallen: it is a symbol of time, in which it is trapped, being it an inhabitant of the infinite. Following that are a few studies on the figure and a first attempt of movement in Studio 1, Studio 2, Studio 3. Then, there’s the Primo incontro (Eng.: first meeting) between dog and human. The human and animal limbs mix in the reflection of a mirror. At a later stage, the dog merges with the territory and starts to take a shape in the space (“Prendere (una) forma”) just to then take possession of it and showing itself to be stronger in the final union: CH’I (Eng.: wh’o). In this sculpture the beast is ready to be shot through by the breath of life but it’s only the human that can turn on its power, through a switch. If this dialogue doesn’t take place the MORE remains dormant and suspended, unused possibility.
Chiara Bergamo

Artworks created between July and November 2014, during the Residence program ed ultimo venne il bosco (Eng.: and last came the woods)

1, 2, 3 TERRA!
variable size, metallic cage, wood, tape, 2014

4 Studio 1, studio 2, studio 3
variable size, wood, paper, metal, fabric, 2014

5 Primo incontro,
50×50 cm, spray, reflecting surface, 2014

6 Primo incontro,
50×50 cm, spray, reflecting surface, 2014 (detail)

7 Prendere (una) forma
40×40 cm, stones and oil on canvas, 2014

8 CH’I
variable size, wood, electric light, lamp, polyester, 2014

9, 10 Dalla finestra
50×80 cm, oil on canvas, 2014

Photos: Giacomo De Donà

Luka Sirok/Dynamics of continuous elements

admin — Fri, 06 Jun 2014 13:57:26 +0000

The key words employed as a method in my work have been: mountain, rise, shape, rhythm; innovation, architecture, design; past, future, contemporary; nature. The narration of the artwork is defined both on the superior and the inferior plans: that is to say, I wanted to recreate the dynamism of the continuous ascent and descent, recreating some kind of movement of approach and method of the project (Sirok has worked on an inner ramp inside the Colonia: the ramp represent a sort of ascent, Ed.). Following the rhythm of the space I’ve seen the possibility of adding an artificial element (a voice), made out of shadows and reflections, which get integrated to the space, projecting symbolisms. My objective was to break the ice and the Mountain, in the two parts of a metaphor, contemporary and lyrical. So, climbing, climbing a new vision, with the goal of enhancing its natural and architectural composition. The routine of the elements, in the conceptual dynamism, determine the method, and the colour, to execute the project and establish the title: thus the action of the artwork is established on the elementary, base plane, but the content is trascendent.
Luka Sirok

Artworks created between July and November 2014, during the Residence program ed ultimo venne il bosco (Eng.: and last came the woods)

1 Dynamics of continuous elements
overview of the ramp at the Lower Cabin of the Colonia

2 Dynamics of continuous elements
overview of the setup; in the foreground:
Chair
variable size, wooden chair, spray, 2014

3 Ice
variable size, broken mirror and sellotape, 2014

4 Cross
variable size, grass, spray, 2014

5 Funghus
variable size, sculpture, polyurethane, spray, tree branches, 2014

6 WIN
variable size, wooden framework, twine, led light, 2014

Progetto Borca » Artworks

Fabio Talloru / Studio campione

Rob van den Berg/Two steps

Domenico Antonio Mancini/La versione di Misha

Photo: DC Archive, Giacomo De Donà, Adriano Zanni

Silvia Hell/Cleanland

Photos: Giacomo De Donà, Silvia Hell, Stefano Moras

MinJi Kim/We or They

Sandra Hauser/Thaumàzein

Photos: Sergio Casagrande, Giacomo De Donà, Sandra Hauser

Sandra Hauser/La scuola della misura

Photos: Giacomo De Donà, Sandra Hauser

Marco Andrighetto/Jungla

Photos: Marco Andrighetto, Giacomo De Donà

Fabiano De Martin Topranin/Imaginary friend+Imagined trip

Photos: Giacomo De Donà

Stefano Moras/Smetterlingssäule

Photos: Giacomo De Donà, Stefano Moras

Stefano Cagol/TBOE at the Eni Village

Photo: Stefano Cagol, Sergio Casagrande, Giacomo De Donà

Gino Blanc/ed ultimo venne il bosco

Photos: Giacomo De Donà, Gino Blanc

Elisa Bertaglia/Plateau project

Photos: Sergio Casagrande, Giacomo De Donà

Chiara Bergamo/Perchè sei?

Photos: Giacomo De Donà

Luka Sirok/Dynamics of continuous elements

Photos: Petra Cason, Giacomo De Donà, Barbara Taboni