Plausible Artworlds

Plausible Artworlds is a multi-phase project initiated by the Philadelphia-based group Basekamp in collaboration with a self-organized network of international groups and individuals. This network will reach out to involve many others, through the project's 2-year-long collaborative process, in actively re-imagining the complex cultural systems (known as "artworlds") which are understood to define both the limits and potentials of current and future art practice...

Plausible artworlds posters. 
We are asking people to send one-page proposals about future artworld scenarios, to be presented alongside our collaborative series of events at the ICA in Philadelphia. Additionally, paper and different coloured pens will be made available to gallery visitors encouraging people to draw their own posters reflecting on the notion of plausible artworlds.
Poster contributers: A Constructed World, Acces Local, Aharon Amir, Alan Moore, Alexi Kukuljevic, American Mortals, An Architektur, Anabela Zigova, Apartment Project, Archplus, Art Sisters, Barbara Steveni, Basekamp, Border Blog, C.CRED, Center for Getting Ugly, change is good, Clinton Williams, Collective Foundation, Dan Schimmel, David Dempewolf, David Goldenberg, Deborah Kelly, Denise Stein, Detlev Fischer, DS Nicholas, Elizabeth Newman, Ely & Harris, Ernest Concepcion, Freee, GANG, Gavin Wade, Giancarlo Norese, Heather Johnson, Incident, Ipek Duben, Jacob Lunderby, Janet Kaplan, Jason Lujan, Jennifer Revit, John Freeborn, Jonathan VanDyke, Katalog 10, Kent Hansen, Khadija Carroll, Kirsten Forkert, Larry Fink, Learning Group, Lillie Farr (Diamant Art Corp.), Lorene Askew, Marisa Jahn, Mary Jo Walters, Mike Salmond, Mike Wolf, NSK, Orgacom, Per Hüttner, Peter DAugustino, Renée Ridgeway, Salem Collo-Julin, Soundforum, Think Tank, Trinity Session, Trish Milnamow, WHW.

“Team Players for Plausible Artworlds” event series arranged by Basekamp. Part of "Locally Localized Gravity", an ICA (Philadelphia) curated exhibition.

Silent Film (with no pictures)

01. SILENT FILM
02. (WITH NO PICTURES)

03. Having read in the daily press
04. that the primary needs
05. of mankind are three:
06. eating,
07. sleeping,
08. making love,
09. and considering myself
10. a model of success
11. when succeeding in the quest
12. for a place to stay for the night,
13. and as chosen by fate
14. if somebody is feeding me
15. (for free),
16. and as the son of God
17. when I can make love
18. not by myself,
19. I affirm that what I’m doing
20.21 is exactly equivalent

22. to whatever people can do.

23.
24. I’ve been around
25. visiting openings
26. and I was asked
27. what I think about that.
28. I didn’t think anything
29. because, really,
30. I don’t care about
31. the quality of Art.
32. I let myself be guided
33. by humans.
34. I wondered if the people I saw
35. were happy or not,
36. if they felt good with me,
37.
38. if some pretty girls
39. were taken
40. and why, if so,
41. not by me.

42. I don’t know what it means
43. yet.
44. Sometimes I’m standing, delighted,
45. in front of works of art
46. when they appear
47.+ in such perfect resolution.
53. I’m waiting for this,
54. a formless-form-of-art.
55. I’m bothered by the idea
56. of facing interesting objects
57. produced by myself.

62. I’d like to make something invisible
63.64 for people to pass by and through.

65.+ I was told that
72. representation
73. is a form of power.
74. I was told that
75.+ it’s better to run alone.
77. I’m so free
78. I can even have an opinion
79+ which is different from my own.

83. As I said to Mario,
84. I was always abandoned by women.
85. But, since I never left any of them
86. we can affirm
86B I have plenty of girlfriends
87. (although I haven’t seen them for a long time).

88. Once I thought
89. I could make a work about this topic
90. for instance a questionnaire,
91. demographic research, looking backwards
92. to past affective linkages, liaisons, connections.
93. Why did they quit me?
94. Because of a new lover
95. Because of a disappointment about copulation practices
96. Because she moved to a new address
97. Because of the dog
98. Because of a mutation of gender preferences?

99. «Dear Madam,
100. did your relations with Mr. G.N. affect
101. your habits, manners, routines, or addictions
102. concerned with food, sex, and/or behavior?
103. Please mark all applicable occurrences.
104. «Do you still maintain a degree of hostility
105. towards the above-mentioned subject?
106. Please mark yes or no.

107. «Which of the following features
108. was most attractive in initiating
108A your past dealings / flirtations with him?
108B a) Comprehensibility
109. b) I.Q.
110. c) Economic potency
111. d) Prestige
112. c) Coercion
113. d) Rumors
114. e) Unconsciousness.
115. Please mark here, too.
116. «How long was your relationship?
117. (checks starting from 1 day to 3 months and more).

118. «This questionnaire may remain anonymous.
119. Thank you for your cooperation.»

120. My dear Laura,
121. I found an old box
122. full of love letters from you
123. so I decided to embark upon
124. an ultimate declaration.
125. I tried to get to forget you
126. and I forgot.
127. Fuck, I didn’t remember your name either.
129. One fine day I was so happy
130. and I called you at home.
131. You said «Go fuck yourself!»
131B just like the last time we talked
132. and it was so nice
133. as if time had never passed.
+
+
141. I assure you, I have no recriminations
142. and I remember you
142B (not so much)
143. as somebody who was direct and liberated.
144. I loved you once.
145. Maybe I didn’t fondle you enough.
146. All my best.

147. «Your works seem to be
148. the opposite of those of Mario Cattelan.»
149. (Tatiana)

150. A video by Giancarlo Norese

151. thanks to

Mario Gorni
Jenny Perlin
Chris Terzi

Dullsville

Abbasso l'Italia.

For future reference

«Ha looks funnie!»
(Ayreen, New York)

«Che bel lavoro, solo tu potevi farlo!»
(Marion, Paris)

«Sono stata due giorni al mare, ora sembro africana!! Scotini ti ha molto elogiato… non so se è un bene per te!!!»
(Marcella, Firenze)

«… that, when you were already gone, we saw your video once again. And i was thinking, fuck, this video is the first video, that awake emotions in me, and somehow, I had to tell you this…»
(Mateja, Ljubljana)

«Grazie per la cassetta, mi è piaciuta molto, è cosi vera, disincantata e divertente. La curatrice non l’ha scelta per la mostra e vorrei sapere se mandartela in Italia o qui.»
(Marina, New York)

«Dear Giancarlo (…) It is great that all this communication is happening.»
(Hans Ulrich, Paris)

«Hope Montescaglioso treats you like a king. Cripple them with your “faster than a speeding bullet” humour.»
(Colin, Dundee)

«Tra i raffinatori d’aria sei senz’altro il più raffinato e intelligente che abbia incrociato… Guarda, mi tolgo il cappello (è un cappello che uso esclusivamente per levarmelo).»
(Luca, Milano)

«Diàul scèt! gh’è la me facia de pulenta mola de boon! Comincio a capire qualcosa di cosa intendi fare con l’arte i concetti le immagini le espressioni e le presenze reali o no. Credo proprio di cominciare a capire, forse perché ho un raffreddore bestiale e sono totaly ricoglionit ed è mattina e sto a casa imbacuccato non penso a un cazzo di concreto né di scientifico allora senza ortografia né punteggiatura capisco meglio il tuo metalinguaggio e abbandono il rigorismo formale.»
(Furio, Milano)

«Hi Gianca’. Mi sono copiato un po’ di cose in Internet su di te, tipo abbecedario (spelling?) e cv. Se mi capitasse di scrivere un romanzo un personaggio sarebbe a te ispirato.»
(Roberto, San Diego)

«Il pezzo su Yoko Ono va oggi. Ma dimmi qualcosa in più di te. Che fai a ny e come ci sei capitato. Scrivi davvero bene.»
(Roberta, Milano)

«Carissimo amico, (…) Baci e abbracci.»
(Caroline, London)

«Sei tu che sei fico.»
(Chiara, Roma)

«La foto che mi mandato è molto bella. Complimenti.»
(Hobo, Sherwood)

«Mi sono molto divertito leggendo i tuoi libri, sono operazioni interessanti…»
(Steve, Milano)

«Lo devo dire sei un ficaccione, bel lavoro.»
(Lisa, Torino)

«Non ho mai dubitato delle tue qualità!»
(Leonarda, Reykjavik)

«Grazie della cartolina (…), ma sopratutto grazie dell’alta qualità/quantità di cose che c’erano nascoste dentro.
Cose che avrei sempre voluto vedere-sapere e non avevo mai visto-saputo.»
(Augusto, Roma)

«L’uomo giusto per iniziare a smettere con l’arte.»
(Amedeo, Milano)

«Bravo, è giusto tutto quello che dici, anche quello che penserai in futuro, quindi io non dirò altro.»
(Laura, Roma)

«Thanks Giancarlo, it’s a wonderful contribution. I really liked your text.»
(Igor, Beograd)

«Think tanks are good for the soul, whether they are associated with the most content forms of art as in companies, or artists getting together to propagate their own ideas and share and gain knowledge from others. I am glad you help support this continuing evolvement of art and life.»
(Alan, New York)

«Il tuo comunicato è brillante, acuto e perdonami qs parola: alternativo come sei tu.»
(Sandrine, Bologna)

«(…) your video impressed me – because it’s so shockingly honest – and it tells so much about you what one can only sense – because you are always so quiet…»
(Heidrun, New York)

«Giancarlino l’ultima tua proposta (…) è una visione bellissima che condivido e mi fa andare a dormire un po’ più contenta.»
(Sabrina, Marzabotto)

«Ho sempre pensato molto bene di te e del tuo ingegno e mi dispiace essere fraintesa.»
(Claudia, Roma)

«(…) lighthearted, yet probing, and unique.»
(Yvette, San Francisco)

«Shy Miss!»
(Pipilotti, Zurich)

pax

Evolution de l’Art

The gallery Evolution de l’Art arises from a collaboration between SPACE (Juraj Carny, Diana Majdakova and Lydia Pribisova) and Cesare Pietroiusti.
Evolution de l’Art is a gallery for contemporary art which only sells artworks that are immaterial, with no physical residue, and it does not release certificates of authenticity, nor statements or receipts. EdlA will represent, on a non-exclusive basis, artists whose artwork is, at least in the case of some specific projects, alien from any physical-material component. Beyond this condition, there will not be any other limitation or requisite for represented artists in terms of medium or technique.
EdlA offers the possibility of becoming contemporary art collectors to the widest possible audience. Therefore the gallery will offer artworks at a range of very different prices, including some that can be purchased for a few Euros. Purchases can be made at the headquarters of the gallery (Lazaretska 9, Bratislava) or through the website www.evolutiondelart.org.
On the gallery website, anyone can find the updated list of artworks for sale, with their price list, as well as a list of all those that have been already sold, including the buyers’ names (unless anonymity is requested).

Participating artists (among others):
A Constructed World /AU/
aiPotu /NO/
Lara Almarcegui /NL/
Ayreen Anastas /US/
Erik Binder /SK/
Ondrej Brody - Kristofer Paetau /CZ/
Joanna Callaghan /AU-UK/
Juraj Carny /SK/
Asli Cavusoglu / TK/
Carla Cruz /PT/
Nemanja Cvijanovic /KR/
Catherine D’Ignazio – Institute fo Infinitely Small Things /US/
Roberto De Simone /IT/
Stanislao Di Giugno /IT/
Andrew Duggan /IR/
Esculenta (Andrea Caretto e Raffaella Spagna) /IT/
Emilio Fantin /IT/
Petra Feriancov /SK/
Ulrika Ferm /FI/
Stano Filko /SK/
Harrell Fletcher /US/
Michael Fliri /IT/
Viktor Fucek /SK/
Rene Gabri /US/
Liam Gillick /GB/
Ellen Harvey /US/
Nina Hoechtl /AT/
Philippine Hoegen /NL/
Christoph Hoeschele /AT/
Per Hüttner /SE/
Iain Kerr & Morgan J. Puett /CA-US/
Sharon Kivland /FR/
Eva Kotatkova / CZ /
Jiří Kovanda /CZ/
Jaroslav Kysa & Radovan Cerevka /SK/
Gareth James /GB-US/
Pedro Lasch /MX/
Otis Laubert /SK/
Pia Lindman /FI/
M+M /DE/
Antonino Musco /IT/
Angel Nevarez /US/
Giancarlo Norese /IT/
Boris Ondreicka /SK/
Adam Page & Eva Hertzsch /DE/
Eugenio Percossi /IT/
Jorge Peris /ES/
Jenny Perlin /US/
Alessandro Piangiamore /IT/
Cesare Pietroiusti /IT/
Giuseppe Pietroniro /IT/
Mira Podmanicka /SK/
Lýdia Pribišová /SK/
Ben Readman /UK/
Ruth Sacks & Robert Sloon /ZA/
Dorota Sadovska /SK/
Scanner /UK/
Michael Schumacher /US/
Rudolf Sikora /SK/
Shelly Silver /US/
Wolfgang Staehle /DE-US/
Janos Sugar /HU/
Barry Sykes /UK/
Valerie Tevere /US/
Jan Triaska /SK/
Enzo Umbaca /IT/
Nikola Uzunovski /MK/
Marcella Vanzo /IT/
Roman Vasseur /UK/
Kamiel Verschuren / NL /
Cesare Viel /IT/
Dusan Zahoransky /SK/
Danielle van Zuijlen /NL/
Mary Zygouri /GR/

A False Luke (Lu Cafausu)

A while ago, before the summer, in the courtyard at Careof in Milan, Efrem, a guy with a beard, told me he came from San Cesario: «I live on the edge of town, at lluca fausu», he said, with that sly Salento accent. I thought: «He lives in a false Luca, at Luca-the-fake… whatever.» Over the next few days, for no apparent reason, I kept thinking about this fake Luca. A couple of months later we were driving through San Cesario, Alessandra had a blue wig, it was three in the morning and we were on our way home from a party. We had ingested red wine, rum and chinotto, and I had chewed some mint leaves. «I want to show you something – she said. Have you ever heard of the lu cafausu?» I couldn’t believe my ears. Around two bends and down two one-way streets (the wrong way, she was driving) and there was the fake Luca. A dozen buildings surround what might almost be called a piazza. At its center stands a strange structure (more of an “object”) in crumbly masonry, a weird sort of pagoda with a Middle Eastern air (a crescent moon on the roof), fragile, almost an eyesore. Efrem’s neighborhood doesn’t take its name from some dishonest Luca, but from a “coffee house” (twisted by local dialect into “lu cafe-haus-u”) that has been many little things for many long decades: a gathering place for peasants, a gazebo that provided shade for noblemen and English officers as they sipped tea, a dwelling for a young orphan and his white horse, a henhouse, a toilet, a garage for a Lambretta, a sexual trysting place, a farmer’s tool shed, an illegal gambling joint, a dream object and, last but not least, the site of performances by four artists. It was and is an inadmissible spot, a territory of accumulation and absence of meaning. A metaphor, perhaps, of what we might become.

(Translation by Steve Piccolo)

a False Luke (Lu Cafausu), a collaborative project by artists Emilio Fantin, Luigi Negro, Giancarlo Norese and Cesare Pietroiusti. January 26 (7-10 pm) – March 04, 2007

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