Matteo Guidi. Cesena, Italy, 1978 Visual Artist and Cultural Anthropologist

Transcription

1 Matteo Guidi Cesena, Italy, 1978 Visual Artist and Cultural Anthropologist Based in Barcelona, he operates at the intersection between art and anthropology, investigating complex contexts of more or less closedstructures, i.e. high security prisons, factories, and, most recently, refugee camps. His practice looks into the ways individuals, or groups of, manage their own movement, on a daily basis, through strongly defined systems which tend to objectify them and even induce forms of self restraint. Reflecting on unpredictable methods of daily resistance sparked by a combination of simplicity and ingenuity, he focus on contexts that are considered marginal or exceptional but, in reality, anticipate more common scenarios.

2 Bio/CV 2 Matteo Guidi (Cesena, Italy, 1978) Visual Artist and Cultural Anthropologist Based in Barcelona, he operates at the intersection between art and anthropology, investigating complex contexts of more or less closed structures, i.e. high security prisons, factories, and, most recently, refugee camps. His practice looks into the ways individuals, or groups of, manage their own movement, on a daily basis, through strongly de ned systems which tend to objectify them and even induce forms of selfrestraint Diploma in Graphic Design 2011 Degree in Ethno-anthropology, University of Bologna present Professor of Sociology of Communication at ISIA of Urbino present Member of PAAC (Plataform Assembly Artist of Catalunya) present Member of A/A Network (Art and Anthropology Network) present Member of CoMoDo (Communicates Multiply Duties) Founder of Cooking in Maximum Security project Co-founder of The Artist and the Stone project Re ecting on unpredictable methods of daily resistance sparked by a combination of simplicity and ingenuity, he focus on contexts that are considered marginal or exceptional but, in reality, anticipate more common scenarios. He has participated in exhibitions and festivals, held talks and workshops in international contexts, such as Festival Loop Barcelona, Faclty of ne arts Barcelona, Homesession, Barcelona; Faculty of ne art of Barcelona, Yorkshire Sculpture Park, Wake eld (UK), ESAD School of Art and Design, Matosinho (P); Magasin Centre d Art Contemporaine, Grenoble (F); Por Estos Dias, Medellin (CO); CaixaForum Barcelona, La Virreina Image Centre; Fundación Suñol contemporary Arta and homesession art contemporary Barcelona (E); CCE Centro Cultural de España, Montevideo (U); Design Hub Museum of Barcelona, Santa Mònica Art Center, Barcelona (E); Department of Justice Generalitat de Catalunya, Barcelona (E); Faculty of Fine Arts of the city of Porto (P); University of Barcelona, Hangar and Escola Massana Barcelona (E); Akademie der Künste der Welt, Cologne (D), Fondazione Pasti cio Cerere, Rome (I), International Academy Of Art Palestine, Ramallah (PS) and the Center For Design Resarch & Education of Hanyang University Kyunggido (KR).

3 Bio/CV 3 Solo shows Group shows International research and artist residency programmes 2017 Removar con una vara de madera, La Capella, Barcelona (ES) Tiempo de presión [Time(s) of pressure], Homesession contemporary art, Barcelona (ES) 2016 Cooking in Maximum security [phase 2], FoodCultura, Mercat de la Boqueria, Barcelona (ES) 2015 The Artist and the Stone, Fundació Suñol, Barcelona (ES) 2014 Cooking in Maximum security [phase 1], Galleria Oltredimore, Bologna (IT) 2013 Cooking in maximum security [phase 1], Double Room visual art, Trieste; O, Milan; BIN11 Gallery, Turin; Il vivaio del Malcantone, Florence; Pasti cio Cerere Foundation, Rome; Semmai Factory, Naples; The Hub, Rovereto; Ex-Magazzini del Sale, Venice; Est west, Merano (IT) 2017 Juntos a parte. Fiesta al borde (Bienal Sur 2017 ), Cúcuta, (CO) Ok.Video.Festival, Gudang Sarinah Ekosistem, Jakarta (ID) Art by from the Middle East and North Africa, Yorkshire Sculpture Park, Wake eld (UK) 2016 Lo que no se cura se pudre, Por Estos Días,Medellín (CO) Border Imag(e)naries, Galería Àngels ESPAI 2, Barcelona, (ES) Briser la Glace, MAGASIN - Centre National d Art Contemporain, Grenoble (FR) 2015 Premi Guasch Coranty, Valls Biennal (ES)Los Lugares Amenos, Cce, Montevideo (UY) Translocations, Santa Mònica Art Center, Barcelona (ES) Out of Place, Barcelona Design Museum, Barcelona (ES) To Discon rm, GalleriaPiù, Bologna (IT) 2013 In Between Camps, screening at Akademie der Kunste der Welt, Cologne (DE), Kunstuniversitat Linz (AT ), La rincorsa della lepre festival, Messina (IT ) LOOP: An Observatory in the Ancient Roman Pool of Arroub Refugee Camp, screening at F.A.C.K. Festival, Cesena (IT) 2011 ORARIO, Neohesperia, Treviso (IT) 2010 My favorite things, Galleria civica, Mestre (IT) 2009 Alle 7 del mattino il mondo è ancora in ordine, O, Milan (I) 2008 XIII BJCEM - Biennial of Young Artists from Europe and the Mediterranean, Bari (IT) Hangar Centre of Art Research and Production, Barcelona (ES) Espai NyamNyam, Barcelona (ES) 2014 The Technical Unconsciuos, Faculty of Fine Arts of Porto City (PT) Campus in Camps Program - Al Quds / Bard College, Dehisheh and Arroub refugee camps, West Bank (PS) 2009 O artoteca, Milan (IT 2009 In attesa di..., March Foundation, Lago Factory, Padua (IT) 2014 Los Lugares Amenos, Espacio AB9, Murcia (ES) screening The Technical Unconscious, Cooperativa dos pedreiros de cidade de O porto, (PT) 2007 Corale, due muse allo spechio, Palazzo Sforza, Cotignola, Ravenna (I) Project Room XS, Palazzo Santa Chiara, Modena (I)

4 Bio/CV 4 Lectures / masterclasses presentations / workshops Awards Publications 2017 Casa Asia, Barcelona (E) presentation 2016 Irun Open Innovation, Ficoba-Irun, (ES) lecture Escola Massana, Barcelona (ES) masterclass Pesaro province palace (IT) lecture ESAD College of Art and Design, Matosinho (PT) guest professor Faculty of Design and Art - Free University of Bozen Bolzano (IT) lecture MAGASIN - Centre National d Art Contemporain, Grenoble (FR) workshop 2015 Caixa Forum, Barcelona (ES) presentation La Virreina Image Center, Barcelona (ES) lecture Museum of Modern Art of Cagliari (IT) masterclass University of Barcelona, Food & Nutrition Torribera Campus, Barcelona (ES) lecture Fabra i Coats Arts Factory, Barcelona (ES) presentation 2014 Department de Justice Generalitat de Catalunya, Barcelona (ES) presentation workshop Escola Massana, Barcelona (ES) masterclass University of Barcelona, Faculty of Geography and History, Barcelona (ES) lecture Faculty of Fine Arts of the city of Porto (PT) workshop Quatre Camins Penitentiary, Granollers a Masnou (ES) presentation Brians 1 Penitentiary, Martorell (ES) presentation-workshop cicle 2013 Akademie der Kunste der Welt, Cologne (DE) presentation Pastificio Cerere Foundation, Rome (IT) presentation Bollate Penitentiary, Milan (IT) presentation Hangar Center for Art Research and Production, Barcelona (ES) presentation 2012 International Academy Of Art Palestine Ramallah (PS) presentation 2017 BCN producciò, grant from Municipality of Barcelona 2014 Arte para la mejora social 2014 (Art for social improvement) grant, Obra Social La Caixa Foundation (E) 2010 Grand Design Etico Award, Milan (I) First prize at Musei di Qualità Visual Identity, Bologna (I) 2009 Special Mention at Iceberg (Young Artists Prize): public art section, Bologna (I) 2008 First prize at Iceberg (Young Artists Prize): visual communication section, Bologna 2007 First Prize Sardegna Visual Identity award (I) Special Mention at European Design Awards de Athens, (GR) Special Mention at Identity: Best of the Best 2007, Moscow (RU) in progress M. Guidi, Cooking in Maxim Security project: doing research in prison trough visual art workshop as a place for data collect and the creation of common artworks, Visual Ethnography Journal, Dec M. Guidi, Retomar sonidos [Take-back Sounds], Addiciones porquesí, Barcelona 2016 M. Guidi, G. Racco, Acte 33: The Artist and the Stone, Fundación Suñol, Barcelona 2013 M. Guidi (edited by) Cucinare in Massima Sicurezza, Stampa Alternativa, Roma 2012 AA.VV., Collective Dictionary, ed. Campus in Camps, Bethlehem 2009 M. Guidi, G. Racco, In waiting of..., Artist limited edition Spoleto Penitentiary (I) workshop

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6 6 Tiempo de presión [Time of Pressure] Matteo Guidi 2017 water colours on wall, dim variable It is part of the research on feeding in highly conditioned environments that Matteo Guidi has developed since 2009, which has led him to explore, for example, the recursive culinary expressions that take place in prisons. exhibitions The project raises a narrative speculation that takes as a starting point La Reina [The Queen], the pressure cooker that Fidel Castro distributed among the Cuban population as part of energy saving plan of the island, making it practically a national badge. The management of the public image of the device, done by Fidel himself, serves to deploy a game of resonances between the idea of a close commander and the explicit and implicit power relations in this gesture. Homesession Contenporary Art, Barcelona, Mar 2017

7 Tiempo de presión View of Tiempo de presión mural at 2017 exhibition in Homesession Contemporary Art.

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9 9 Retomar sonidos [Take-back sounds] Matteo Guidi 2016 HD audio-video installation, 7 min 35 sec, colour, LCD flat screen. Retomar Sonidos (Take-Back Sounds) is a part of the long-term project Cooking in Maximum Security. In Retomar Sonidos, food transformation in the prison cell was challenged by the utensil limitation. exhibitions Ok.Pangan Indonesia Media Arts Festival, RURU Gallery, Gudang Sarinah Ekosistem, Jl. Pancoran, Jakarta, Jul 22 - Aug 16, 2017 Lo que no se dura se pudre [What Can not Be Cured Putrefies], Por estos días, Medellín, Aug 2016 Bricer la glace, MAGASIN - Grenoble Contemporary Art Centre, France, May 29 - Sep 4, 2016 FoodCultura, Boqueria Market, Barcelona, Feb 19 - Mar 16, 2016 The audio-video work documents the invention of improvised cooking utensils using camping toolkit. Through workshops, inmates produced sounds of original and usual cooking utensils found in the kitchen using their tools. Here, the inmates gives a complex preview of the capacity of rehabilitation, the potential of imagination, and the renewal of dignity through their tactical use of the kitchen and the conviviality of producing a meal.

10 Retomar sonidos video stills from Retomar sonidos audio-video installation. FROM LEFT TO RIGHT, FROM TOP TO DOWN Removing with a spoon Serrated knife cutting slices of country bread Making a cocktail and pouring it Cutting a watermelon Cracking eggs Boiling water

11 Retomar sonidos Installation view of Retomar Sonidos interactive installation from Bricer la glace at MAGASIN Detail of the Retomar Sonidos interactive installation from Bricer la glace at MAGASIN

12 Retomar sonidos Details of retomar sonidos audio-video installation at Foodcultura, boquestia market, Barcelona

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14 14 The Artist and the Stone Matteo Guidi/Giuliana Racco 2015 mixed media It is a process-based work which literally negotiates the twofold movement of a subject (a performance artist-refugee) and an object (a 22-tonne block of stone) from Palestine to Spain. exhibitions The Artist and the Stone is concerned with the ways people can bypass restrictions and limitations in their daily life, managing to move through systems imposed on them, creating their own paths, languages and forms of expression driven by desire. Acte 33: The artist and the Stone. Fundació Suñol, Barcelona, Nov 11, Jan 23, 2016

15 The Artist and the Stone The cut stone embodies the spatial and logistical limits and obstacles that had to be overcome to move the stone to both places. And the two locations one inside, one outside reflect the duality at the heart of the project: open/closed, movement/ stagnation, acceptance/rejection, object/subject. 4 of the 6 blocks stood upright in the Suñol courtyard evoking a barrier across which it was nonetheless possible to negotiate one s movements; within, two blocks became benches upon which to rest and view the video Leish la a? (Why not?). Meanwhile, a semi-circular/half-moon-like structure graces Pla de Palau, providing a space for resting, contemplation and meeting. The 22-tonne block of stone was cut into 12 pieces which were then sent to two sites: half were exhibited in the Fundació Suñol and the other half are installed in Pla de Palau, a public space that was once the entrance gate for goods and people arriving in medieval Barcelona by sea.

16 The Artist and the Stone Two postcards, aluminium foil, pages ripped from a novel bearing a patchwork of micro SD card, bits of electrical tape accompanied by numbers and dates. These are the contents, crafted by the project s camerawoman, of the envelope sent from Giuliana Racco to the Matteo Guidi from Jerusalem to Barcelona as a tactic for bypassing restrictive border security measures. The contents of the memory cards provided the material for the production of the video on view.

17 The Artist and the Stone Letter sent from the Head of the Union of Stone and Marble Workers (Palestine) to the Director of the Directorate of the Hebron Chamber of Commerce explaining the necessity considering the artistic and pedagogical implications concerning issues related to refugee rights, mobility and Palestine to issue a certificate of origin in order to bypass an exportation law which prohibits the trade of raw stone blocks. Blue ink: Response from the Directorate issuing the certificate of origin and customs facilitation for the purpose of art. In the remotest space of the exhibition, a video presents The Artist and subject of the process, Ibrahim Jawabreh, continuously running away and toward the camera only to finish, time and time again, against the lens and therefore the screen, blocked within an eternal loop. The sequence was shot in 2012, upon Jawabreh s request, and was rediscovered in an archive precisely at the moment Guidi and Racco were searching for a way to represent the bureaucratic limbo in which Jawabreh found himself, unable to reach Barcelona contemporaneously with the stone.

18 The Artist and the Stone An analysis of the gesture of stone-throwing as a projection into the future, an act of resistance, and a ludic activity merge with an investigation on the etymology of desire (L. de siderium: from the stars). A consultation with experts in Greek, Arabic and Medieval astronomical maps, led to the trace of a disappeared version of a non-canonical Hercules (Greek interpretation of the kneeling figure constellation) launching stones, opening the space for a rereading of the notions and desires we project onto the stars.

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20 20 Leish la a? [Why not?] Matteo Guidi/Giuliana Racco 2015 video installation: HD video, colour, 32 min., sound, stone The video traces the movement of the 22-tonne block of stone from its carving out of the quarry near Hebron, its transport through Arroub refugee camp to the factory where it was prepared for exportation, across checkpoints to Ashdod Port and finally Barcelona. exhibitions Montagargas, Polivalents #9. Hangar, Barcelona, Jul 29, 2016 Border Imag(e)naries. Àngels Barcelona Gallery, May 27, Jun 4, 2016 Acte 33: The artist and the Stone. Fundació Suñol, Barcelona, Nov 11, Jan 23, 2016 Inters-persed with moments of everyday life across the south West Bank, including scenes presenting the ubiquitousness of stones in the landscape and ludic activities. Leish la a? (Why not?) plays on the absurdity of the initial proposal of attempting to contemporaneously move a subject and a massive object from the same territory, with the notable absence of the subject.

21 Leish la a? [Why not?] video stills from Leish la a? [Why Not?] HD video

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23 23 The Artist and the Stone: On Negotiation Matteo Guidi/Giuliana Racco 2015 double channel colour HD video, 1 h, 10 min, sound exhibitions Valls Biennal, Spain, Oct 2017 Translocations, Santa Monica Arts Center, Barcelona, Jul 15 - Sep 13, 2015 Is a double-channel video presenting two round tables held in February and April The first, hinging on the question Who will take on the weight of 22 tonnes of stone?, involved representatives of different institutions and organizations touched by the process. The second concentrated on the question of artistic mobility versus mobility limits in general, discussed amongst an artist, a mobility expert and a lawyer. The questions posed by the moderator-curator and answers of the participants of the two channels dialogue with one another. Thus an interweaving discussion plays itself out, allowing new questions and possibilities to emerge during the on-going process.

24 The Artist and the Stone: On Negotiation Still frames from The Artist and the Stone: On negotiation. PATICIPANTS ARTIST DEBATE Andrés García Berrio (Lawyer of the Arrels Collective and member of the Penal System and Human Rights Observatory, University of Barcelona) Mireia Sallarès (Visual Artist) Herman Bashiron Mendolicchio (Researcher, art critic, curator and cultural mobility expert) PATICIPANTS ARTIST DEBATE Iolanda Fresnillo (Director of Tot Raval fountation) Ramon Parramon (Director of Idensitat) Ibrahim Beisani (President of Palestinian Community of Catalunya) Tere Badia (Director of Hangar art production center) Carles Casamor Maldonado (Head of the Department of Urban Projects, City of Barcelona) MODERATOR Alex Brahim (indipendent curator)

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26 26 Attractions Matteo Guidi 2015 Inkjet print from 35 mm slide film on paper 100% cotton, 30x40 cm Iron railings function as security barriers, channeling the flows of people through the entrance and exit of each ride. They are the manifestation of the replication of systems used at checkpoints separating the West Bank from Israel. Within the blue cabin like those appearing along the border, instead of a soldier we find the ride operator. exhibitions Valls Biennal, Spain, Oct 2 - Nov 22, 2015 Is this the result of an economy of materials, a parody or a simple reproposition of the structures imposed by the oppressors on the oppressed? Attractions take origin from more than seven months of research in the West Bank. The search focused on the way people live with the constraints inherited political status of temporary and exceptional.

27 Attractions Installation details at Valls Bienal.

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29 29 Só estás bem onde não estás [you only feel good where you are not] Matteo Guidi/Giuliana Racco mixed media installation: HD video single channel colour, 5 min, C-Print from 35 mm film, cm 46x68 cm, wood box, documents, tape, artist book exhibitions Translocations, Santa Monica Arts Center, Barcelona, Jul 15 - Sep 13, 2015 To Disconfirm, Galleria Più, Bologna, Apr 23 - Jun 13, 2015 The technical Unconscious, Museum of Cooperativa dos Operários Pedreiros do Porto (Porto Stone Masons Cooperative), Sep 23 - oct 30, 2014 The Porto Sessions of The Artist and the Stone process hinged on the (delayed) arrival of sample stones (three samples of Jerusalem stone) shipped from the West Bank displaced resources caught in international red tape. The movement of the samples was the pretext for an analysis of four cardinal points context, value, desire and constraint with a mixed group of participants sculpture students from the Faculty of Fine Art and technical school students from former Portuguese colonies. The installation is formalized with the shipping box from were is projected the video and a framed photography toke in the arrival moment of the stones. Another piece is a booklet, bearing the over 200 s exchanged in order to transport the stones and unblock them in customs.

30 Só estás bem onde não estás Installation view at Galleria Più, Bologna, from To Disconfirm exhibition

31 Só estás bem onde não estás Installation view of the artist book piece in the Museum of Cooperativa dos Operários Pedreiros do Porto (Stone Masons Cooperative)

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33 33 Representation Matteo Guidi/Giuliana Racco 2013 Inkjet print on Platine Fibre 100% cotton, dry transfer letterning on conservation pass-partout, 21 x 17 cm exhibitions To Disconfirm, Galleria+, Bologna, Apr 23 - Jun 13, 2015 Two small round metal objects are the key elements of two historically distant yet contextually intertwined stories: a bullet, embossed with Hebrew characters, fired by the Palestinian Authority against the house of Palestinian refugees over an eviction dispute in 2013; and a seal, embossed with Arabic text, abandoned by a refugee camp leader after accusations of collaborating with the Zionist army in The paradoxical diptych narrates the lack of political representation, on all counts, of refugees living in the South West Bank. Locked within a viscious circle of legal exceptionality, their lives float in an unending state of temporariness.

34 Representation Details of representation piece, the bullet (left) and the seal (right).

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36 36 In Between Camps Matteo Guidi/Giuliana Racco 2012 mixed media installation: HD video, colour, 6 min 36 sec, VO Arabic with English and Spanish subtitles, inkjet print on 100% cotton paper, black and white laserjet print on paper, cm 120 x 70 In Between Camps originated as a two-day walk-piece across a stretch of land in Palestine (2012), following the ground embedded stone traces of an ancient Roman aqueduct, built to carry water from a Herodian pool (located in the Hebron area) to the ancient city of Jerusalem. exhibitions Juntos a parte. Bienal de los paises de Latino America, Cucuta, Colombia, Oct 19 - Dec 21, 2017 Acte 33: The artist and the Stone. Fundació Suñol, Barcelona, Nov 11, Jan 23, 2016 To Disconfirm, Galleria+, Bologna, Apr 23 - Jun 13, 2015 Hangar, Barcelona, Sep screening Universitat linz, Linz, july 2013 Akademie der kunste der welt, Cologne, may 2013 Campus in camps, Deheisheh refugee camp, Bethlehem, Palestine, Mar 2012 International Palestinian Arts Academy, Ramallah, Palestine, Jan 2012 The simple daily practice of taking a stroll was extended over an expansive and contended territory as an immersive experience concerning landscape, geography, history, and politics. This search for the ruins from a prior era of colonisation, using a map dating from yet another period of colonialism, was interrupted by the appearance of a giant quarry.

37 In Between Camps Video stills from In Between Camps video

38 In Between Camps View of In Between Camps piece installed in Suñol Foundation (Barcelona) from Acte 33: The Artist and the Stone exhibition. Installation view at Galleria Più, Bologna, from To Disconfirm exhibition.

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40 40 ZOUHLEQA [Sliding] Matteo Guidi 2012 in collaboration with ibrahim Jawabreh DV video, colour, 3 min 45 sec, sound ZOUHLEQA video stills

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42 42 Effetti speciali [Special Effects] Matteo Guidi 2011 Inkjet print on photopaper, dimension variable, digital photographs on lcd screen, dimension variable It is an investigation on the production and use of photography among prisoners condemned to life sentences in Italy. It is focused primarily on forms of photography which maintain the close relationship between images and people (in conditions of total social control). exhibitions Galleria Più, Bologna, Sep 17-27, 2014 In particular, has been found that some production of still images photographic portraits of life-sentence prisoners is at times allowed by prison directors. Like photography of everyday life, these images are only used within their family context as a way of maintaining contact, for people who are indefinitely separated. An example of a system for bypassing the norms occurs in the case when inmates cannot be photographed with other people (eg. family members who cannot enter the prison). Using the photomontage technique, they can be reunited with the people from whom they are separated.

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44 Cooking in Maximum Security Cooking in Maximum Security Matteo Guidi mixed media Cooking in Maximum Security is a research project developed on the cusp of art and social anthropology and designed to be implemented in different prisons throughout the world. Cooking in Maximum Security bases its potential on a social and human reading of cooking methods that inmates generate with the minimal resources existing in their environment. exhibitions Lo que no se dura se pudre [What Can not Be Cured Putrefies], Por estos días, Medellín, Aug 2016 FoodCultura, Boqueria Market, Barcelona, Feb 19 - Mar 16, 2016 Out of Place, Design museum, Barcelona, Jun 29 - Oct 31, 2014 Galleria Più, Bologna, Sep 17-27, 2014 Ost West Club, Merano (IT),, Apr2014 Magazzini del sale, Venice, Oct 2013 The Hub, Rovereto (IT), Sep 2013 Semmai Factory, Naples, Jul 2013 Ex pastificio Cerere, Rome, Jul 2013 Bin 11 gallery, Turin, June 2013 Il vivaio del Malcantone, Florence, May 2013 O, Milan, May 2013 Double Room visual arts, Trieste (IT), Apr 2013 It was conceived in 2009 with a group of inmates of an Italian maximum security penitentiery and developed with prisoners of differents penal institutions, focusing on the culinary methods that apply the limited available resources found within prison cells. Phase 1 ( ) was developed in Italy while phase 2 ( ) was developed in Spain.

45 Cooking in Maximum Security Cooking in maximum security drawings made by an Italian life sentenced inmate

46 Cooking in Maximum Security Installation view of 2014 Out of Place exhibition at Design museum, Barcelona Installation view of 2014 Cooking in Maximum Security exhibition at Galleria Più, Bologna

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48 48 In attesa di... [Waiting for...] Matteo Guidi/Giuliana Racco 2009 Fotonovela, offset print on paper, colour, 20x28 cm, 44 pp., VO Italian with English translation. Produced for the waiting room of a furniture factory, this work hinging on the different moments of waiting in both personal and professional life, unfolds through the device of the magazine, traditional tool for passing time in these types of spaces. Yet rather than a fiction, the reader is faced with documentary material in the form of the fotonovela. exhibitions Italianitudine, Battistero del Museo del Duomo, Udine, Mar 16 - Apr 8, 2012 My Favorite Things, Galleria Civica di Mestre, Venice, 2010 Art Waiting Room, Lago Factory-March foundation, Padua, Apr 9 - Jul 9, 2009 Through photographs and interviews, the workers of the factory become the social actors of the location in question protagonists of stories dealing with time and waiting.

49 In attesa di Fotonovela s spread pages and detail of the In Attesa di.. installed at 2012 exhibition Italianitudine, Battistero del Museo del Duomo, Udine

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51 Il Valore delle Azioni Il Valore delle Azioni [the Value of the Actions] Matteo Guidi/Andrés Galeano 2009 mixed media installation: single channel video projection, colour, 34 min, sound, ink stamp and coloured pens on paper, 21x30 cm and audiocassette, 53 min, mono sound, newspaper paper, cotton, inkjet print on coloured paper, plastic, Lambda print on aluminium, 60x40 cm exhibitions Alle 7 del matino il mondo è ancora in ordine, O A.I.R., Milan, Jun 16 - Jul 4, 2009 This project stems from research on the world of finance and the Italian stock market based in Milan. Working around the figure of the top manager, the artists met with a number of experts (tailors, perfumers, travel agents, briefcase salesmen, personal trainers and so on) to whom the former entrusts himself and his image. Like these managing men, the artists constructed their own image, seeking out the guidance of a personal mental coach and an astrologer, in order to investigate their driving question: How can the value of actions be defined? * The Italian word azioni carries both the meaning of actions and stocks.

52 Il Valore delle Azioni detail of the installation: plastic flashing Installation view of Il Valore delle Azione from Alle sette del mattino il mondo è ancora in ordine exhibitiion.

53 Il Valore delle Azioni Detail of the 2009 exhibitiion Alle sette del mattino il mondo è ancora in ordine at O, Milan, Italy - newspaper paper and cotton During our residency and contact with the world of finance, we felt the need to create an outfit capable of distinguishing ourselves, just as formal attire distinguishes managers. The result was a pale-blue uniform patterned directly on a fresh role of paper from Italy s most important financial newspaper, Il Sole 24 ore. On the opening day of the exhibition, during the same hours in which stocks are negotiated in the stock market (8:30-17:30), we approached presumed managers in the city area of Milan and invited them to our exhibition. In collaboration with fashion designer Diana Ortega

54 Il Valore delle Azioni Details of the Il Valore delle Azioni installation from 2009 exhibition Alle sette del mattino il mondo è ancora in ordine at O, Milan, single channel video projection, 34 min, colour, sound, inkjet print on coloured paper In collaboration with mental coach Livio Sgarbi

55 Il Valore delle Azioni Detail of the 2009 exhibitiion Alle sette del mattino il mondo è ancora in ordine at O, Milan, Italy. Audiocassette, 53 min, mono sound, Ink stamp and coloured pens on paper, 21x30 cm In collaboration with astrologer Maddalena Magliano

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57 57 Sotto altri toni [Under Other Tones] Matteo Guidi/Andrés Galeano 2009 photodocumentation on aluminium, colour, 20x30 cm Keeping faithful to the colour blue (revealed through research for Il Valore delle Azioni to be the predominant colour of economics, possibility, safety, and future serenity), this action was performed within the context of the same residency period in Milan. Over the span of an entire working day, prior to the European elections, we wandered through the streets of Milan detaching, reversing and reattaching the campaign posters. This intervention was aimed at transforming the barrage of faces and explicit slogans into new compositions of the colour blue and its implicit messages.

58 Sotto altri toni Performance ptodocumentation mounted on aluminium, 23x30 cm

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