omaggio a raffaello baldini: roma, casa delle traduzioni, 22 ottobre h 17.30

A Roma, il 22 ottobre alle 17:30
presso la Casa delle traduzioni,
in via degli Avignonesi 32,

Omaggio a Raffaello Baldini

Treno di parole
regia di Silvio Soldini (58′, 2018)
Un omaggio a Raffaello Baldini, poeta e drammaturgo romagnolo, che rivive attraverso le testimonianze di scrittori, poeti e artisti
impreziosite da immagini inedite di repertorio.

A seguire Simone Casetta, curatore della raccolta Compatto, il
quadruplo CD audio delle poesie di Baldini recitate dal poeta, e
Andrea Cortellessa presenteranno

a cura di Simone Casetta (4 cd audio, Produttori Associati 2019)

Raffaello Baldini è stato un poeta e scrittore, nato a Santarcangelo
di Romagna nel 1924. Laureato in Filosofia a Bologna, nel 1955 si
trasferì a Milano e nel 1962 cominciò a lavorare come giornalista a
«Panorama». Debuttò ufficialmente come poeta nel 1976 con la raccolta
E’ solitèri, cui seguirono negli anni La nàiva (1982), Furistír (1988,
Premio Viareggio), Ad nòta (1995, Premio Bagutta), Intercity (2003).
Ha scritto anche per il teatro i monologhi: Zitti tutti! (1993), Carta
canta (1998), In fondo a destra (2003), La fondazione (2004). È morto
a Milano nel 2005.

nero: “selected films”, by susan cianciolo _ milan, jun 24th

NFQ I Via Privata Passo Pordoi 6, Milan
June 24 at 8PM

NERO and FABIO QUARANTA in collaboration with MARTINA SIMETI present the screening of a selection of films by SUSAN CIANCIOLO.

Artist, designer and performer Susan Cianciolo slips between fields and formats producing a work that evades any categorization of the body through drawing, videos, clothing and kits. In 1995 she founded RUN, a line of clothing produced using found or recycled garments or fabrics, assembled through a participatory approach and ample margin for improvisation, sewn together along with her entourage. In 2001 Cianciolo opened the legendary Run Restaurant, recreated in 2017 on the occasion of the Whitney Biennial in New York. Soon gaining cult status in the art world and that of the New York avant-garde, RUN then evolved into an ‘umbrella’ which to this day brings together broader projects, staged both independently and in collaboration with other designers. Among the videos it will be screened Pro-AbortionAnti-Pink (1995) and DIADAL (1997), which offer an introduction to the early years of Cianciolo’s production.

Susan Cianciolo is the first guest of the international residency programme that Martina Simeti organises every year over the summer in her gallery in Via Tortona and her family house near Alcamo in Sicily. The residency will culminate in Cianciolo’s solo exhibition at the gallery space in Milan which will open on 18 September 2019 with a performance by the artist.

The screening will be introduced by Susan Cianciolo in conversation with Davide Stucchi.

roma, 21 giugno, accademia di san luca: giornata dedicata a stefano scodanibbio

venerdì 21 giugno 2019, in occasione della festa della musica,


ore 17
proiezione del film
Cartoline per voci e contrabasso
omaggio a Stefano Scodanibbio
regia di Claudio Chianura
prod. Haze 2017

ore 18
presentazione del libro
Stefano Scodanibbio
Non abbastanza per me
Scritti e taccuini
a cura di Giorgio Agamben e Maresa Scodanibbio
Quodlibet 2019

Andrea Cortellessa, Mario Gamba, Federico Capitoni

ore 19
Stefano Scodanibbio
“Only connect” 2001
per pianoforte

Stefano Scodanibbio
“Terre Lontane” 2003
per pianoforte e nastro magnetico
pianoforte Fabrizio Ottaviucci

Piazza dell’Accademia di San Luca 77, Roma



autoritratto di una marionetta, di gians: in camera verde dal 21 giugno

Centro culturale La camera verde
venerdì 21, sabato 22, domenica 23, martedì 25, mercoledì 26, giovedì 27 giugno 2019

ore 18:30 e 20:30
(si consiglia la prenotazione)

proiezione del film


Giovanni Andrea Semerano

Sergio Bini “Bustric”

e con
Giuliano Del Taglia, Gianluca Mei, Martina Alcini, Cristina Beccarini, Paola Biondi, Debora Brunialti, Danilo Tossini, Aryen Khalei, Giovanni Cozzani, Gregorio Aureli, Isabella Bernardini, Lorenzo Della Valle, Mattia Tauriello, Zahra Moyriane

e con la partecipazione straordinaria di
Enrico Ghezzi

Matias Guerra

composizioni ed esecuzioni di
Matias Guerra

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“oei”, n. 80-81: presentazioni a göteborg e vienna tra settembre e ottobre

Scener & Samtal 2018

Lördag 29 september 29
Världskulturmuseet, Göteborg

Kl. 11.30–12.45

Estetiska operatörer

Jonas (J) Magnusson och Cecilia Grönberg presenterar OEI # 80–81 2018, ”The zero alternative: Ernesto de Sousa and some other aesthetic operators in Portuguese art and poetry from the 1960s onwards”, ett 640-sidigt text- och bildmontage som tar sin utgångspunkt i Ernesto de Sousas explosiva aktiviteter som filmare, redaktör, kritiker, konstnär, curator, folkkonstforskare etc. under 60-, 70- och 80-talen i Portugal. Numret uppmärksammar också en mängd andra experimentella portugisiska konstnärer och poeter.

Se hela programmet på:



OEI #80–81: ”The zero alternative: Ernesto de Sousa and some other aesthetic operators in Portuguese art and poetry from the 1960s onwards”
Presentation of special issue of OEI magazine

Interventions and remarks by Hugo Canoilas, Cecilia Grönberg, Jonas (J) Magnusson, Tobi Maier

October 2, 2018
7 pm

Friedrichstraße 12

The most recent issue of Stockholm based OEI magazine takes its starting point in Ernesto de Sousa’s explosive activities as filmmaker, photographer, curator, critic, writer, folk art researcher, multimedia artist etc. in the Portuguese 1960s onwards. Being active in almost everything that belongs to the domain of the arts in the broadest sense of the word, Ernesto de Sousa (1921-1988) adopted the term “aesthetic operator” to be used instead of the word “artist” – “for the simple reason that ‘artist’ designates a kind of sociological position and not a philosophical attitude towards the world” (José Miranda Justo).

As a “source of enthusiasm, dynamism and motivation” (Isabel Alves), Ernesto de Sousa created new connections between all sorts of disciplines, forms, materials and social contexts. In its 640 page long textual and visual montage, including a series of new essays and translations of key essays, as well as a lot of archival material, OEI #80-81 also looks at the practices of a number of De Sousa’s fellow “aesthetic operators” (Alberto Carneiro, Túlia Saldanha, Álvaro Lapa, Fernando Calhau, Lourdes Castro, Ana Vieira, Ana Hatherly, E.M. de Melo e Castro, António Barros…). At the same time, OEI #80-81 encompasses texts on magazines such as Poesia Experimental, Operação, Nova, A Urtiga, and Alternativa; and works by artists from younger generations such as Isabel Carvalho, Paulo Mendes and Mariana Silva.

This special issue of OEI magazine also accompanied the exhibition Supergood – Dialogues with Ernesto de Sousa at MAAT (2018), curated by Hugo Canoilas.


Ernesto de Sousa (Lisbon, 1921–1988) was one of the most complex and active figures of his time, a prolific multidisciplinary artist and an avid producer of synergies between generations of artists from both the first and the second half of the 20th century. Defending an experimental and free artistic expression, he dedicated himself to the study, promotion and practice of the arts, as well as to curatorship, critique and essay writing, photography, cinema and theater. During the 1960s he connected to the Fluxus movement and with the European neo-avant-garde, and became friends with Robert Filliou and Wolf Vostell. This contact was significant to his vision of art as an experimental and participatory “open work”, of which the theatrical exercise Nós Não Estamos Algures (1969), the expanded film Almada, Um Nome de Guerra (1969-1972) and the mixed media Luíz Vaz 73 (with music by composer Jorge Peixinho) are some examples. During this decade and up until the 1980s, he organized courses, conferences and exhibitions on experimental film, video art, performance and happening, while promoting connections between the international neo-avant-garde and the Portuguese context. The exhibition “Alternativa Zero” (Galeria Nacional de Arte Moderna, Lisbon, 1977) synthesized this project of creating a Portuguese avant-garde in aesthetic and ideological dialogue with its international counterparts.
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