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Thanks to Mart Educational Department and Smart Lab this year we conducted our second workshop in Rovereto!

On this occasion we visited the Robert Morris exibition. We enjoy sharing with you some pictures from his 1971 Bodyspacemotionthings installation. The words of critic Reyner Banham give an idea of the impact of that experience “By the end of the private viewing the place was a bedlam in which all the rules of decorum had been abandoned as liberated esthetes leaped and teetered and heaved and clambered and shouted and joined hands with total strangers.” After five days much of the show was wrecked, some injuries had been reported, and the institution decided to substitute the show with a conventional retrospective. “Fortunately, no one got killed,” Banham continues, in this “most resoundingly successful disaster I have ever attended,” but, he admits, “a lot of people got frightened (including the gallery).”

Passing by the museum bookstore we come across the wonderful Prophetic zoological Atlas by Atelier dell'Errore. It is not a book of drawings. Ermanno Cavazzoni “There's a group of kids in treatment with the childhood Neuropsychiatry department that has a little school where they draw,  the Atelier dell'Errore.  Their teacher is Luca Santiago Mora,  and he set them to draw animals that don't exist. [...] The drawings are not childish,  that is,  they don't repeat the stereotypes taught at school or taught by mom and dad:  the houses with two windows a door,  the trees,  the cloud, the sun spoked with rays nor are they in the stereotyped style of naif painters,  gaudy,  wholesnme,  insipid.  These are wicked drawings,  that is to say,  tasked with justice and vengeance,  above all with a superabundance of treacherous details;  in the details they summon an extraordinary unexpected skill,  along with an adamant extravagance,  which springs from an authentic,  savoured thirst for revenge.” Eva Pattis “The power of the drawings made at the Atelier dell'Errore would not appear to lie in their content alone;  we are also struck by their powerful physicality,  which seems to come directly from the movements used to draw and paint them:  hands that placed dot after dot,  an arm that stretched out to follow the broad arc of a line up to the edge of the page... and then?  Another page is glued on,  so the line can continue as if it had an "awareness" of its own.”

Does this sound familiar?


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