OUTSIDE PROJECT / Florence 10
READING CITIES
10-31. juli 2010

Centar za me?unarodne umetni?ke studije
La Corte Arte Contemporanea

O programu
Sadr?aj
Predava?i
Tro?kovi u?e??a
Kontakt

Letnji studijski program projekta Outside u Firenci namenjen je studentima osnovnih i postdiplomskih studija umetnosti, istorije umetnosti, arhitekture, dizajna i drugih oblasti vizuelne kulture. Realizacija tronedeljenog radioni?kog / seminarskog programa predvi?ena je za period 10-31. juli 2010.
Outside Project realizuje se od 2005. godine, kao saradnja i univerzitetska razmena izme?u Beograda i Firence. Sadr?inski, program se oslanja velikim delom na kulturnu - savremenu i istorijsku - realnost Firence. Orijentisan je na kontekst grada u onoj meri u kojoj se kroz svojevrstan case study-pristup omogu?ava sticanje primenljivog znanja, kroz radioni?ki rad, posete muzejskim kolekcijama, susrete sa institucijama savremene umetnosti i predavanja na odabranim lokacijama. Jedan od fokusa programa jesu prizori tela u kontekstu nauke, istorije i umetnosti.
Kao u slu?aju drugih do sada realizovanih programa u okviru Outside projekta i ovaj program podrazumeva saradnju sa firentinskim institucijama kulture i obrazovanja, posete najzna?ajnijim muzejskim kolekcijama i temeljno upoznavanje sa istorijskim, muzeolo?kim i fenomenolo?kim aspektima ovih sadr?aja.
Centralni prostori za rad su galerija savremene umetnosti La Corte Arte Contemporanea i studiji umetnika anga?ovanih u programu.
Predava?i su eksperti koji su ve? niz godina profesionalno povezani sa gradom Firencom, aktivni predava?i / umetnici / teoreti?ari sa dugogodi?njom profesionalnom biografijom iz svojih oblasti.
Predavanja se, osim kada je u pitanju predava? sa srpsko-hrvatskog govornog podru?ja, realizuju na engleskom jeziku.

Struktura programa - 3 nedelje

Program se sastoji od radioni?kog dela i teorijskog dela nastave. Op?ta tema predstavlja se se na po?etku programa, tokom prve nedelje. U toku druge nedelje, studenti se odlu?uju na poha?anje ponudjenih metoda rada (videti posebne radionice). Teorijski deo rada, predavanja i posete muzejskim kolekcijama i spomenicima kulture koncentrisani su na prve dve nedelje programa, sa zaklju?nim predavanjima u poslednjoj nedelji. Tokom tre?e nedelje, studenti su posve?eni realizaciji sopstvenog rada i njegovoj finalnoj prezentaciji.

1. nedelja - predavanja, uvod u radionice, posete muzejima
2. nedelja - predavanja, realizacija posebnih radionica, posete muzejima
3. nedelja - zaklju?na predavanja, realizacija zavr?nog rada, prezentacija

Posete muzejima / spomenicima kulture

Program

Posebne radionice

Dejan Atanackovic: Stolen Shots
The historical center of Florence is a huge and bizarre system of surveillance, consisting in thousands of tourist digital video and photo cameras that are constantly at work. It is impossible to walk through the city and not step into someone else's picture or video. The tourist shots provide a dispersed documentation of almost anyone who visits the city center. The anonymity of a visitor is therefore provided only by the fact of dispersion and fragmentation of all the visual material that eventually is stored away into the family albums, computers and DVDs all over the planet. Yet, though dispersed, our presence remains in a paradoxical fragmentation of someone else's gaze, opening an improbable prospect and fantasy that our walk may be one day reassembled and therefore remembered in a completely new way. Our walks minute by minute are documented from a variety of angles: behind a family posing with ice-creams, next to a couple holding hands, behind a group of students imitating rap gestures, very far or very close, blurry or sharp, we are there. In this particular sense, Florence is a city of extreme visibility. It is probably one of the most photographed places in the world, a destination of travellers, students and tourists. It is interesting to imagine and fantasise the process of the fragmentation of their (and our) presence from the moment we step in the city. This workshop will therefore be dedicated to involuntary shots, case and chaos, mutual observation, following, voyerism and ways in which our involuntary fragmentation can offer a moment of poetic awareness. Video camera (or a photo camera) will be considered both as a tool for observation as well as a tool for production of memory, an extension of the body which allows, based on its performances, a unique way of understanding that which is observed. Max. number of students 12

Andrew Ferrara (Ongakuaw): CITY_SCORES
Urban life consists of intermittent, often dangerous, sequences of random walks through the ever-changing soundscape produced by the city structure and activity. We often do pay little attention to the astounding complexity of the 3D sound morphology that we penetrate as we move. Gaining a sonic consciousness of our sonic environment can result in a dramatic and creative experience. The idea we will explore consists of an operational and conceptual level. The first is based on the choice of a random initial position downtown Florence, within 1 km distance from one of its architectural symbols (Duomo, Palazzo Vecchio, etc.), as the start for a walk towards a fixed target point in the periphery, designed to be the silent tomb of a disappeared tree in a place outside the town, on the Arno river bank. Participants will randomly wander towards that final target position, deciding their direction purely choosing the most silent route at each crossing. As they go, they will sample the environmental soundscape with their cellular phones, until they reach the arrival point. The collected material will constitute the audio record of a walkscape piercing the city from its most (urban) inner parts to its extreme (rural) periphery, thus investigating the ill-defined and liquid city borders. This material will also constitute the raw audio data to be further elaborated as follows. The walkscape can also be interpreted in a more conceptual manner. The random walks of the participants will be traced and mapped via simple GPS techniques. These lines can now be understood as precise musical parts of a virtual score once they are superimposed on top of the underlining city map. We will use this score to process the raw audio material into a full-scale composition, a travel from noise/aggressive sounds to silence through paths that reflect individual, free-will choices. Such ambient sound/field experiment will eventually yield a novel perception of the striking dichotomy of the city soundscape which we only too seldomly perceive at the conscious level.
Max. number of students: 12

James Cox: Experiments in Print-making (drawing, painting, print, collage)
Studio Fossi is a painting and printmaking studio in the historic center of Florence close to the Arno river and near Santa Maria Novella. It offers the possibility to work in a well luminated space in various techniques including non-toxic printmaking. The course will offer ten hours studio time (divided into four 2 ½ hour sessions) plus revelant field studies (drawing and research in the city of Florence). The object of the course is to provide an experience of the dynamic qualities of monotype printmaking using painterly techniques and non-toxic methods which allow the student to produce faster results than more traditional methods. The workshop will also include the use of digital printing, laser prints, photography and found materials combined with the monotype technique.
Max. number of students: 10

History of Art and History of the City

Elisa Biagini: Florence Seen Through the Eyes of the Other
The poet, artist and art historian Elisa Biagini will introduce the students to the city of Florence of the 1800': the intention is to observe famous and less known places in the way several types of others have seen them in different time periods. Through history many intellectuals and travellers have chosen this city as their destination, to study and explore during the Grand Tour. We will therefore first observe the presence of the British community, one of the biggest foreign communities, in the city and its surroundings since the end of the 18th century, and at the way they experienced such space in their often privileged and extravagant lives (the English cemetery, the house of Elizabeth Barrett Browning, Stibbert museum and garden etc.). Afterwards we will trace the map of this city such as seen by more recent others, people who didn't chose Florence for its beauty but were force to leave their homes looking for work: the immigrants (Piazza Indipendenza, Russian Orthodox church, Cascine, etc.). The lectures will also propose a method for the development of a personal writing and photographic project.

Dejan Atanackovic: A Different Body
Istorija predstavljanja tela od naucnog pogleda XVIII veka do savremenih prizora u umetnosti i medijima. Seminar uklju?uje posete Muzeju prirodnih nauka La Specola (kolekcija anatomskih modela) i Antropolo?kom muzeju. Predavanja se ti?u istorijskog i savremenog pogleda na druga?ije telo - telo stranca, telo mentalnog bolesnika, XIX-vekovne sudsko-medicinske klasifikacije tela prema sklonosti ka devijantnim pona?anjima. Primeri savremenog teatra. Poseban pogled na odnos izmedju anatomije i pripremanja hrane u toskanskoj tradiciji.

Maria Antonia Rinaldi: The Uffizi. History of a Gallery
A brief analysis of the gallery architecture its function and destination. The story of the Uffizi from a private Medici's grand High Renaissance Kunsterkammer to a modern public painting museum in the age of Enlightenment.

Jadranka Tolic: Arhitektura i urbanisti?ki razvoj Firence
Na primeru urbanisti?kog i demografskog razvoja grada Firence, ta?nije na primeru ostataka nekih istorijskih slojeva i njihove alternacije i pro?imanja, zatim na primeru eliminisanja nekih od njih - bi?e predstavljen jedan od mogu?ih na?ina bele?enja opservacija u vidu mapa. Primer o kojem se radi je sasvim nau?nog, istorijsko-arheolo?kog tipa, ali je prikladan da se na njemu poka?e kako je mogu?e zapaziti beskrajno mnogo slojeva i zna?enja jednog lokaliteta, skrivenih, poluskrivenih ili neskrivenih, koji zatim mogu da budu kori?teni kao elementi umetni?kog rada, pre svega one vrste instalacija i intervencija koje se bave kontekstom mesta u kojem nastaju i koja nastaju kao reakcija na njega, vrsta rada relativno ?esta kod umetnika u poslednjih nekoliko decenija. Nije na odmet dodati da je sama Firenca doprinela razvoju kartografije svojom bogatom kartografskom aktivno??u, posebno u XVI veku kada se granice zemalja ?ire i menjaju svuda u svetu i kada se i prostor Firence kao grada i dr?ave prekraja i defini?e.

Nikola ?uica: Fantomi srodnosti - Relacije firentinskog umetnickog nasle?a
Potencijali koje firentinsko umetni?ko nasle?e postavlja pred iskustva dana?njice, ponekad su neo?igledni i posredni. Lokacija crkve San Miniato al Monte okrilje je za strukturno i intuitivno poniranje ka pro?losti grada, dok programski karakter slikarstva samotne egzaltacije dominikanskog reda zauzima Fra An?elikovu neposrednost. Fokus ka slikovnim prozimanjima u uvidima Abija Varburga cilja na ambiciozno razotkrivanje izbora po srodnosti i iracionalnosti slike u zapadnoj kulturi. Iz slavnih primera firentinske i italijanske umetnosti 15. i 16. veka, istinski izvori u predstavama pokreta i naturalisti?kih svojstava figura otvaraju arhivski registar ka savremenim pobudama.

Predava?i - biografije

Dejan Atanackovi?
Diplomirao na odseku za slikarstvo, Accademia di belle arti di Firenze, 1996. Izlo?beni projekti - video / audio instalacije, intervencije u javnom prostoru, kao i kustoski projekti predstavljeni od 1994. u vi?e zemalja. Izbor radova: Perfect Future (Centar za kulturnu dekontaminaciju 1999-2001/ Ljubljana 1999 / Firenca 1999 / Quebec City 2000 / Berat, Albania 2001), Golem Project (KCB 2003 / Oktobarski salon 2003 / Sarajevo 2004 / Firenca 2004), Orphic Fragments (La Corte Arte Contemporanea, Firenca / Sangren Hall W. Michigan University, Kalamazoo, 2006), ?asovi nema?kog (Firenca 2009). Pored li?nog umetni?kog rada pi?e tekstove o umetnosti i realizuje koncepte izlo?benih projekata (Infinity Enclosed 2004 / Termination shock 2007). Od 2000. predaje multimedije na ameri?kom univerzitetskom programu SACI u Firenci. Predavao na Accademia di Belle Arti i na LABA akademiji u Firenci. Od 2002. koncipira i realizuje projekat Outside. Od 2009. realizuje Beograd: Drugi pogled, program obuke i anga?mana Alternativnih vodi?a, osoba sa invaliditetom i pripadnika marginalizovanih grupa. ?ivi i radi u Firenci i Beogradu.
www.dejanatanackovic.com
drugipogled.com

Elisa Biagini
Elisa Biagini lives in Florence after having taught and studied in the U.S. for several years (Laurea, Università di Firenze; PhD, Rutgers University, NJ, USA). Her poems have been published in several Italian and American reviews and anthologies. She has published 6 poetry collections- some biligual- such as "L'Ospite", (Einaudi, 2004), "Fiato. parole per musica" (2006), "Nel Bosco" (Einaudi, 2007). Her poems have been translated into English, German, Spanish, Portoguese, French, Croatian, Slovenian, Japanese and Slovak. She has translated several contemporary American poets for reviews, anthologies and complete collections ("Nuovi Poeti Americani" Einaudi, 2006). She teaches Creative Writing, Poetry, Literature and Art History in Italy and abroad.
www.elisabiagini.it

James Cox
James Cox was born in London in 1956. He obtained a B.A. Honours degree in Fine Art painting and printmaking at West Surrey College of Art and Design (now University of the Arts) where he studied between 1976 and 1979. After leaving art college James travelled to France and then Egypt gaining new experience and inspiration for his work. On returning to London he helped set up Limited Editions (later becoming London Contemporary Art) producing fine art etching, silkscreen, and lithographic prints and acting as technical assistant to visiting artists. In 1986 he moved to Florence, Italy, and set up his own studio specialising in printmaking. He regularly holds workshop classes for both beginners and more advanced printmakers. He is currently exhibiting with the Lesdesma Gallery in Madrid and International Art Consultants in London. Work in the collection of: Royal Bank of Scotland, Artes Germany, Amoco USA, Kidder Peabody, Marine Midland Bank, Credit Agricole, IBM, Print Collectors Guild, American Artists Association, Editions Autares.

Nikola ?uica
Graduated in History of Art and gained MA in History of Art Faculty of Philosophy, University of Belgrade; PhD at University of Arts Belgrade as the first doctorate of the multydisciplinary subject of Visual Arts at University of Arts, Belgrade. Post as an Art Historian - Faculty of Fine Arts, University of Arts Belgrade. Numerous texts, essays, exhibitions catalogues, as well as translations from English published in several periodical magazines, weeklies, arts and culture magazines. Participating member of 'Outside Project' SACI Florence, Center for International Art Studies in Belgrade; Solo and group exhibition installations in Belgrade and Pancevo. Founding Member of International Walter Benjamin Society, Barcelona.

Maria Antonia Rinaldi
Laurea with Honors in History of Architecture and Post-Graduate Specialization in History of Art, University of Florence; Post-Graduate Specialization in Economics and Management of the Cultural Patrimony, University of Torvergata, Rome. In 1995, she was awarded a scholarship by the European Union to work in Spain in the field of museology. Has worked for the Marino Marini Museum in Florence and the San Pio V Museum in Valencia, Spain. She currently works on a freelance basis with the Ministry of Historic Patrimony of Florence on exhibitions in Germany and the US. Has lectured at a Post-Graduate Specialization course in History of Art at the University of Rome and teaches Renaissance history at the Sarah Lawrence program in Florence.

Jadranka Toli?
Istori?ar i kriti?ar umetnosti. Istoriju umetnosti je diplomirala na Filozofskom fakultetu u Beogradu (1993), a postdiplomske studije iz istorije savremene umetnosti zavr?ila je na Skoli za specalizaciju iz istorije umetnosti Univerziteta u Bolonji (2002). Od 1994 bavi se savremenim doga?anjima u umetnosti kao kriti?ar, kustos i organizator izlo?bi prevashodno radova mla?ih umetnika. Autor je mnogobrojnih tekstova u katalozima umetnika i tekstova i recenzija u dnevnim i stru?nim casopisima, kao i kustos izlo?bi od kojih su poznatije II Jugoslovensko likovno bijenale mladih, Tendencije devedesetih: diskretni modernizam, Ti?ina. Druga zna?enja fotografije.

Andrew Ferrara
After the Diploma in Classical Guitar, he approached electronic music at the beginning of the 90s by attending the Summer Courses at the Centro di Sonologia Computazionale in Padova under the supervision of G. Tisato and S. Sapir; subsequently he continued his studies with A. Vidolin. He obtained the Diploma in Electronic Music at the Conservatorio A. Boito in Parma, under the supervision of F.Giomi. He is a member of the AIMI (Associazione di Informatica Musicale Italiana) and of IXEM (Italian EXperimental Music), for which he has contributed to a compilation of emerging Italian composers. He is currently collaborating with the Centro Tempo Reale, founded by Luciano Berio in Florence, where he lectures on digital sound and is a guest composer, and the MARTLab at the Conservatorio L. Cherubini in Florence, for which he has analyzed the compositional algorithmic strategies of Pietro Grossi's compositions. Ha has written several electro-acoustic compositions for magnetic tape, traditional instruments and live electronics, some of which have received awards at electronic music competitions. He has also written music for performances, video, dance, installations and the environmental soundscape for the video Offerta Immaginaria dedicated to the Russian director A. Tarkovskij. A major installation work, Nomadic Time, has been exhibited at the Centro di Cultura Contemporanea in Palazzo Strozzi, Florence. Some of his compositions are published by the Web 2.0-based label Nukesatori, Milan. Ongakuaw is involved in the theoretical/experimental investigation of biotic compositional techniques on which he has written several published contributions. He works and composes at the Ongaku Studios in Florence, teaches the Musical Acoustics course at the Conservatorio G.B. Martini in Bologna, and he is a Cosmology Professor at the Scuola Normale Superiore di Pisa.
www.ongakuaw.eu

Tro?kovi

Tro?kovi ?kolarine za u?e??e u tronedeljnom programu iznose 310 Evra. Tro?kovi ?kolarine uklju?uju u?e??e u nastavi, ulaz u muzeje predvi?ene programom (4) i osnovni radni materijal.
Tro?kovi sme?taja u studentskom domu sa ve?erom i pretplatom za gradski prevoz tokom celokupnog trajanja programa (tri nedelje) u studentskom domu iznose 200 Evra.
Ukupna cena u?e??a u programu: 510 Evra.
Putni tro?kovi: Trenutno (januar 2010.) najpovoljnija varijanta putovanja Beograd-Firenca-Beograd autobusom agencije Fudeks iznosi 135 Evra.
Program se realizuje sa najmanje 20 a najvi?e 28 prijavljenih studenata.

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