unibz design festival 2012 - Libera Università di Bolzano

Transcript

UNIBZ DESIGN FESTIVAL 2012
20/22 SETTEMBRE
LEARNING
Settembre 2012 / comunicato stampa
Una opportunità unica per trascorrere tre giorni nel cuore delle Alpi, a contatto
con designer e studenti internazionali, per confrontarsi sul tema del Learning
nel campo del design e oltre!
Nell’anno del suo decimo anniversario, la Facoltà di Design e Arti della Libera Università
di Bolzano promuove la prima edizione di Unibz Design Festival, che si terrà nei giorni
20-22 settembre 2012.
Organizzato da un team di studenti, ricercatori e professori della Facoltà di Design e Arti,
coordinato da Giorgio Camuffo e Maddalena Dalla Mura, Unibz Design Festival 2012 si articolerà
in tre giornate, con sei workshop e una conferenza finale aperti gratuitamente a studenti
e studiosi di design, designer, e a quanti si interessano di cultura contemporanea. La prima edizione di UniBz Design Festival è dedicata al tema del Learning (Apprendimento).
Che cosa significa ‘apprendere’ nel campo del design? Che cosa impariamo o cosa dovremmo
imparare dal design? Che cosa dovrebbero imparare i designer di domani? Che cosa i designer
possono apprendere da altri settori? Designer e studenti con differenti formazioni si incontreranno
alla Facoltà di Design e Arti per scambiare esperienze e idee su questo tema.
I designer invitati a guidare i workshop e a intervenire alla conferenza includono alcuni fra i nomi
più interessanti del panorama internazionale contemporaneo: Daniel Eatock e Flávia Müller
Medeiros (Londra, UK); Formafantasma (Eindhoven, NL); Rob Giampietro / Project
Projects (New York); Cynthia Hathaway (Amsterdam, NL); Sophie Krier (Rotterdam, NL);
Metahaven (Amsterdam, NL); Mischer’Traxler (Vienna, AU).
Il programma di Unibz Design Festival include anche una serie di eventi collaterali,
fra cui le mostre 10 anni di Design e Arti alla Libera Università di Bolzano, Handdruck: Printing
on Textile, Bodoni Compulsivo e Raccordi fra passato e futuro, il clubbing party organizzato
in collaborazione con Transart, e un bookshop specializzato.
Per ricevere in anteprima aggiornamenti sui workshop e sulle modalità di iscrizione al Festival
si invita a visitare il sito web e a iscriversi alla newsletter: http://www.unibz.it/design-festival
Main Partner
[email protected]
@UnibzDF
In collaborazione con
Unibz Design Festival
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20/22 SEPTEMBER
LEARNING
September 2012 / press release
A unique opportunity to spend three days right in the heart of the Alps, to meet with
international designers and students, and to deal with the topic of Learning in the
field of design and beyond!
In the year that marks its 10th anniversary, the Faculty of Design and Art of the Free University
of Bozen-Bolzano launches the first edition of Unibz Design Festival, that will be held
on September 20-22, 2012.
Organised by a team of students, researchers and professors of the Faculty of Design and Art
– coordinated by Giorgio Camuffo and Maddalena Dalla Mura –, Unibz Design Festival 2012 will
develop into a three-day event, including six workshops and a final conference, free and
open to design students, scholars, designers and everybody interested in contemporary culture.
This first edition of the UniBz Design Festival will focus on the topic of Learning.
What does ‘learning’ mean in the field of design? What can we learn, or should we learn,
from design? What should the designers of tomorrow learn? What do the designers need to learn
from other fields? International designers and students with diverse backgrounds will
gather at the Faculty of Design and Art to exchange their experience and ideas on this topic.
Invited designers who will lead the workshops and talk at the conference are some of the most
interesting names from the contemporary design scene: Daniel Eatock and Flávia Müller
Medeiros (London, UK); Formafantasma (Eindhoven, NL); Rob Giampietro / Project Projects
(New York); Cynthia Hathaway (Amsterdam, NL); Sophie Krier (Rotterdam, NL); Metahaven
(Amsterdam, NL); Mischer’Traxler (Vienna, AU).
Unibz Design Festival will also include exhibitions – among them 10 Years of Design and Art
at the Free University of Bolzano, Handdruck: Printing on Textile, Compulsive Bodoni, Between
Past and Future –, a clubbing party and a specialised bookshop.
To receive updates about the workshops and the conference program, and to know when and how
to register for the Festival visit the website and subscribe to the Newsletter:
http://www.unibz.it/design-festival
Main Partner
[email protected]
@UnibzDF
In collaboration with
Learning
20/22 September
20/22 SEPTEMBER
LEARNING
September 2012 / press release
Das Unibz Design Festival bietet die einzigartige Gelegenheit, drei Tage lang im
Herzen der Dolomiten zu verbringen, auf internationale Designer und Studierende
zu treffen, und sich gemeinsam mit dem Thema Lernen im Bereich des Designs
auseinander zu setzen.
Die Fakultät für Design und Künste der Freien Universität Bozen veranstaltet das Unibz Design
Festival anlässlich ihres zehnjährigen Jubiläums vom 20. bis 22. September zum ersten Mal.
Organisiert wird das Festival von einem Team aus Studierenden, Forschern und Professoren
der Fakultät. Es handelt sich um ein dreitägiges Event mit sechs Workshops und einer großen
Abschlusskonferenz. Das Festival steht allen Studierenden, Forschern, Designern und am
zeitgenössischen Kulturgeschehen Interessierten kostenlos offen.
Die erste Ausgabe des Festivals konzentriert sich auf das Thema Learning. Welche Bedeutung
hat das Lernen im Bereich Design? Was können und sollten wir von Designern lernen? Was
müssen sich die Designer von morgen aneignen? Und was können sie von anderen Fachgebieten
dazulernen? An der Fakultät für Design und Künste kommen internationale Designer und
Studierende unterschiedlicher Ausbildungen zusammen, um sich über diese Fragestellungen
auszutauschen.
Zu den geladenen Designern, welche die Workshops und Diskussionsrunden beim Festival leiten
werden, zählen einige der interessantesten Namen der zeitgenössischen Designszene: Daniel
Eatock und Flávia Müller Medeiros (London-UK), Formafantasma (Eindhoven-NL),
Rob Giampietro/ Project Projects (New York), Cynthia Hathaway (Amsterdam-NL),
Sophie Krier (Rotterdam-NL), Metahaven (Amsterdam-NL) und Mischer‘Traxler (Wien-AT).
Verschiedene Ausstellungen wie etwa „10 Jahre Fakultät für Design und Künste an der Freien
Universität Bozen“, „Handdruck“, „Bindeglieder zwischen Vergangenheit und Zukunft“, aber auch
eine Clubbing-Party sowie ein Buch-Shop bilden das Rahmenprogramm.
http://www.unibz.it/design-festival
Main Partner
[email protected]
@UnibzDF
In Zusammenarbeit mit
TEAM
Unibz Design Festival 2012 è organizzato da un team di studenti, ricercatori e professori
della Facoltà di Design e Arti della Libera Università di Bolzano. / Unibz Design Festival 2012
is organised by a team of students, researchers and professors of the Faculty of Design and Art
of the Free University of Bozen-Bolzano.
Direction and Organization
Giorgio Camuffo (professore associato / Associate Professor)
Maddalena Dalla Mura (ricercatore a contratto / Appointed researcher)
Organisation
Irene Beltrame (studentessa / student)
Secretariat
Elena Ghizzo (amministrazione / Administration)
Workshop Assistants
Alice Dellantonio (studentessa / student)
Kilian Frieling (studente / student)
Gaetano Gibilras (studente / student)
Vanessa Müller (studentessa / student)
Andreas Trenker (studente / student)
Agnesa Vavrinovna (studentessa / student)
Welcome Team
Maddalena Aliprandi (studentessa / student)
Giovanna Bampa (studentessa / student)
Veronica Martini (studentessa / student)
Julia Schuster (studentessa / student)
Conference Chairs
Giorgio Camuffo
Maddalena Dalla Mura
Alvise Mattozzi (ricercatore e docente / Researcher and teacher)
Graphic Design
Amin Al Hazwani (studente / student)
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Unibz Design Festival 2012 Learning
20/22 September
Web Developers
Amin Al Hazwani (studente / student)
Jacopo Drago (studente / student)
Video
Francesco Elipanni (studente / student)
Lorenzo Greco (studente / student)
Marco Rizzo (studente / student)
Ermanno Zanella (studente / student)
(WCP Collective)
Video Montage
Egle Kirdulyte (studentessa / student)
Diego Zanotto (studente / student)
Photo
Tobia De Marco (studente / student)
Students’ Projects Coordinator
Marie Hermann (studentessa / student)
10 Years of Design and Art
at the Free University of Bozen-Bolzano (exhibition)
Roberto Gigliotti (professore associato / Associate Professor)
Jonathan Pierini (ricercatore e docente / Researcher and Teacher)
Simone Simonelli (ricercatore e docente / Researcher and Teacher)
Handdruck (exhibition)
Nicola Chemotti (studente / student)
Elena Meneghini (studente / student)
Compulsive Bodoni (exhibition)
Riccardo Olocco (docente / Teacher)
Jonathan Pierini (ricercatore e docente / Researcher and Teacher)
Event design – Clubbing Party with Transart
Marco Ciceri (studente / student)
Philip Santa (studente / student)
(SuperDrooper)
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PARTNERS
Unibz Design Festival 2012 è organizzato e sostenuto dalla Facoltà di Design e Arti
della Libera Università di Bolzano. L’evento è reso possibile anche dal contributo e dalla
collaborazione di alcuni partner. / Unibz Design Festival 2012 is organized and supported by
the Faculty of Design and Art of the Free University of Bozen-Bolzano. The event is also made
possible by the support and the collaboration of partners.
Main partner dell’evento
Main partner of the event
The event is organised with the collaborazione con
The event is organised with the collaboration with
Stiftung Freie Universität Bozen
Fondazione Libera Università di Bolzano
Foundation Free University of Bozen–Bolzano
Partner tecnici / Partners
Clubbing party organizzato in collaborazione
con / in collaboration with Transart
Si ringrazia / Thanks to
La mostra 10 anni di design e arti è organizzata
con il sostegno di / The exhibition 10 Years of Design
and Art is organised with the support of
_ParkhotelLaurin MARCHI PFAD.indd 3
16.02.11 10:52
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PROGRAM
Unibz Design Festival 2012 si terrà da giovedì 20 a sabato 22 settembre e si articolerà in due
giornate di workshop e una conferenza finale. / Unibz Design Festival 2012 will be held from
Thursday 20th to Saturday 22nd of September, and will develop into two days of workshops
and a final one-day conference.
Programma generale / General program
September 20
8:30 Check in
9:30 Apertura + Colazione / Opening + Breakfast
10:00-1:30 Workshops
1:30-2:30 Lunch break
2:30-7:00 Workshops
7:30 Inaugurazione mostre + Aperitivo / Exhibitions’ opening + Aperitif
September 21
9:30-1:30 Workshops
1:30-2:30 Lunch break
2:30-7:00 Workshops
7:30 Workshops’ conclusion
8:30 Aperitivo / Aperitif
12:00 pm Clubbing party (con/with Transart)
September 22
9:30 Check in
10:30-6:30 Conference
Il programma generale potrebbe subire variazioni. Si prega di controllare il sito web per
la versione più aggiornata. Il programma dettagliato della conferenza sarà presto disponibile
online. / This general program may be subject to changes. Check the website for the most
updated version. A more detailed program of the conference will be available soon.
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DESIGNERS
WORKSHOPS
DESIGNERS
I designer invitati a guidare i workshop e a intervenire alla conferenzaa finale sono alcuni fra i
nomi più rinomati della scena contemporanea. / Invited designers who will lead the workshops
and talk at the conference are among the most interesting names from the the contemporary
design scene.
Daniel Eatock
‘Using my background knowledge from working as a graphic designer, I employ a rational, logical and
pragmatic approach when making work. I have an ongoing interest to proposing and finding solutions
to problems, often problems that cannot be formulated before they have been solved, the shaping of
the question is part of the answer. I look for things to fix or improve, working like a tinkerer/inventor,
I propose alternatives to existing models, preferring to find ways around doing things properly,
bypassing the struggle. I use self referentiality as an objective guide to reduce the extraneous and
subjective, and strive for a conceptual logic. The idea is paramount and the material form secondary.
My website is a tool where I both create works, and index and exhibit projects chronologically.
I propose systems, templates, invitations and opportunities for collaboration, creating social
networks where contributers shape the outcome and participate in the building of works. I embrace
contradictions, and dilemmas. I like gray areas, oxymorons and the feeling of falling backwards.
My favorite colour is the purple found in a soap bubble. I prefer to swap and exchange things rather
than use money. I seek alignments, paradoxes, chance circumstance, loops, impossibilities and wit
encountered in everyday life. I often change my mind, go full circle, and arrive at the beginning.’
http://eatock.com
Flávia Müller Medeiros
Flávia Müller Medeiros was born in 1971 in Rio de Janeiro. She currently lives and works in
London. Flávia studied Fine Art at Goldsmiths College (2002-2004), and was in Beck’s Futures,
ICA, London, 2006. Her work featured in Art is Always Somewhere Else, 2nd International
Biennial of Young Artists, Bucharest, Romania, October, 2006; Footnotes about Geopolitics,
Markets and Amnesia, 2nd Moscow Biennale for Contemporary Art, Moscow, 2007; The reader
must not expect to know where I live, Master Humphrey’s Clock, de Appel, Amsterdam, 2008;
and in Tate Triennial, Prologue 2: Exiles, Tate Britain, London, 2008. Flávia uses performance,
photography and video in her work, to explore how language shapes understanding, and its
relationship to artistic representation. Her works are not closed, but often create systems within
which other works can be contained. An example is a book and solo exhibition It depends on the
circumstance and the people (2005) in which she worked with artists and curators to catalogue all
her work from between 1999 and 2004, reflecting how systems can develop into artworks in their
own right. Flávia’s work is often based on interactions.
flaviamullermedeiros.com
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20/22 September
Formafantasma
Andrea Trimarchi (1983) and Simone Farresin (1980) are Studio Formafantasma – two Italian
designers based in Eindhoven, The Netherlands. The collaboration between the two started during
their BA in communication design, illustrating books and magazines. Their interest in product
design developed on the IM masters course at Design Academy Eindhoven, where they graduated
in July 2009 with a thesis based on traditional Sicilian folk craft. Formafantasma’s work explores
such issues as the role of design in folk craft, the relationship between tradition and local culture,
critical approaches to sustainability and the significance of objects as cultural conduits.
They identify their role as the bridge between craft, industry, object and user and seek to
stimulate a more critical and conceptual design dialogue through their work. Works of Studio
Formafantasma has been shown during the Milan and the Dutch Design Week, Abu Dhabi Art,
during the ICFF in New York, Design Miami\Basel and other international design fairs and
exhibitions. Formafantasma’s works are part of various collections such as Droog Design, Rossana
Orlandi Gallery in Milan, Moss gallery NY, Nodus Rugs, Dilmos Gallery, Libby Sellers Gallery,
Textile Museum in Tilburg, The Art Institute of Chicago, Fendi and Vitra Design Museum.
In march 2011 Studio Formafantasma has been nominated by Alice Rawsthorn, design critic of
the International Herald Tribune and New York Times and Paola Antonelli, design curator of the
MOMA in NY, as the 1 of the 20 most promising young design studio. The studio has been among
the finalists of the Index Award 2011, Brith Insurance Designs of the Year 2012, and IMM Young
Design Award 2011.
www.formafantasma.com
Rob Giampietro (Project Projects)
Rob Giampietro is a designer, writer, and teacher. As principal at Project Projects, he leads
interactive and identity projects for clients in art, architecture, and the cultural sector. The studio
was a finalist for the National Design Awards in 2009 & 2011. As a writer, Rob’s work has touched
on a range of topics including the history of visual identity and branding in the arts, the uses of
metaphor in interaction design, and the form of the library in the digital age. His essays have
appeared in Dot Dot Dot, Design Observer, Eye, Print, and BusinessWeek. His design commentary
has been featured in The New York Times, New York Magazine, and on NPR. As vice president of
AIGA/NY in 2008, he organized programming that included a historic conversation between Wim
Crouwel and Massimo Vignelli and a free series of talks by emerging designers at the Soho Apple
Store. His most recent essay on the rise of Graphic Design MFA programs, “School Days,” was
published in the Walker Art Center’s Graphic Design: Now in Production catalogue in 2011. Rob
has lectured and taught widely at institutions including Artists Space, Columbia GSAPP, the New
Museum, Parsons / The New School, the School of Visual Arts, and Yale School of Art. Since 2006,
he has been a graduate thesis advisor at RISD.
www.linedandunlined.com
projectprojects.com
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20/22 September
Cynthia Hathaway
Born in Canada, educated and living in Holland, Cynthia Hathaway is a freelance designer,
consultant and educator with a versatile portfolio. Her work ranges from the design of perfume
bottles, books, clocks, wallpaper and porcelain souvenir sets. Her specialty is the research
of peripheral groups around the world to translate independent living practices into design
methodologies and applications. This work has taken Hathaway around the world from the Inuit
of the Arctic in Canada, the Mennonites and Amish of Ontario, to giant vegetable growers and
train hobbyists in Europe. Her products are seen in the collections of Droog and DroogLab, the
Smithsonian Cooper Hewitt Design Museum, Platform21, and MotherBrand.
She served from 2002–2007 as the Art Director of the prestigious FunLab Masters program
at the Design Academy Eindhoven focusing on Designs of Experience. Presently she teaches
at the DesignLab Rietveld and Sandberg Master Academies in Amsterdam. She has worked as
a consultant and designer for a rooster of advertizing and communication companies such as
KesselsKramer, Organic Inc., and Wieden and Kennedy. Most recently she has been a designer
for the 4th Annual Utrecht Manifest with designs called Car Wash Mekka for the theme Working
Landscape directed by Jurgen Bey and cuarted by Sophie Krier.
www.hathawaydesigns.org
Sophie Krier
Atelier Sophie Krier (Lux/B) is based in Rotterdam (NL) and explores the peripheries of the design
field in editorial and socially driven projects. Sophie Krier recently curated a series of symposia on
education, craft, and visual culture. She conducts ongoing research on design processes through
the self-initiated journal Field Essays (published by Onomatopee.net), which is an attempt at
developing a visual grammar of research. Between 2004 and 2009, Krier led the Bachelor course
designLAB (Rietveld Academie, Amsterdam). She lectures and conducts international workshops
on a regular basis. Among Sophie Krier’s clients are museums and art institutions (MUDAM,
MOTI, Boijmans van Beuningen, Witte de With, Axis, TENT, CBK, CBKU, Vanabbe Museum),
municipalities and governmental organisations (Premsela, Dutch Ambassy) and educational
institutes (Otis, Cranbrook, Centro, IED, HvA, Sandberg Institute). Current topics of study include
‘the working landscape’ for Utrecht Manifest NO.4, Biennale of Social Design, ‘reskilling the city’
for design research station DRS22, and a year long activities programme for a former rural site,
soon to become recreational nature. In short, Atelier Sophie Krier initiates and develops tools for
collective narration and reflection.
www.sophiekrier.com
Nota/Note: Sophie Krier non terrà un workshop ma interverrà alla conferenza finale / Krier will
not lead a workshop but will talk at the final conference.
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Metahaven
Metahaven is an Amsterdam-based research and design outfit on the cutting blade between
politics and aesthetics. Founded by Vinca Kruk and Daniel van der Velden, Metahaven’s work—
both commissioned and self-directed—reflects political and social issues in provocative graphic
design objects. Research projects included the Sealand Identity Project, and currently include
Facestate, and Iceland as Method. Solo exhibitions include Affiche Frontière (CAPC musée d’art
contemporain de Bordeaux, 2008) and Stadtstaat (Künstlerhaus Stuttgart/Casco, 2009). Group
exhibitions include Forms of Inquiry (AA London, 2007, cat.), Manifesta8 (Murcia, 2010, cat.),
the Gwangju Design Biennale 2011 (Gwangju, Korea, cat.), Graphic Design: Now In Production
(Walker Art Center, Minneapolis, 2011, and Cooper-Hewitt National Design Museum, New York,
2012, cat.) and The New Public (Museion, Bolzano, cat.). Metahaven’s work was published and
discussed in The International Herald Tribune, Huffington Post, Courrier International, Icon,
Domus, Dazed, The Verge, l’Architecture d’Aujourd’hui, and Mute, among other publications.
Vinca Kruk is a Tutor of Editorial Design and Design Critique at ArtEZ Academy of Arts in
Arnhem. Daniel van der Velden is a Senior Critic at Yale University, and a Tutor of Design at the
Sandberg Institute Amsterdam. In 2010, Metahaven released Uncorporate Identity, a design
anthology for our dystopian age, published by Lars Müller. Metahaven was named one out of 20
of the most promising design studios by Rolling Stone Italia in 2011, and their research project
on the branding of the controversial whistleblowing website WikiLeaks was a Finalist for the 2012
Dutch Design Awards.
metahaven.net
mischer’traxler
Studio mischer’traxler was founded by Katharina Mischer (1982) and Thomas Traxler (1981) in
2009 after graduating from the IM-masters of the Design Academy Eindhoven and several years
of collaboration. Based in Vienna they develop and design products, furniture, installations and
more, with a focus on experiments, context and conceptual thinking. Balancing between hand craft
and technology, their projects are often characterized by external inputs, for example, locality,
weather conditions, human interaction or the usage of the existing.
Exhibitions on contemporary Design displayed their projects in Museums including the Boijmans
van Boiningen Rotterdam, the Design Museum London and the Triennale Milano, as well as on
International Festivals. Their designs can be found in the permanent collections of the Art Institute
Chicago and the MAK Vienna. In 2011 studio mischer’traxler was honoured with the ‘W-hotels
designer of the future award’ by Design Miami/Basel.
www.mischertraxler.com
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WORKSHOPS
Unibz Design Festival 2012 propone sei workshop che si svilupperanno in due giornate.
I workshop sono gratuiti e aperti a studenti della Facoltà di Design e Arti della Libera Università
di Bolzano e a studenti di altre scuole internazionali. / Unibz Design Festival 2012 will offer six
workshops. The workshops last two full days, and will be free of charge and open to design
students from the Faculty of Design and Art of the Free University of Bozen-Bolzano as well as to
students from other international schools.
The Truth of Falling Upwards (Red) and the Echo of Everything (Blue)
with Daniel Eatock and Flávia Müller Medeiros
Workshop description:
Day 1: Formation of a plan/route. As a group we will plan a very long walk (25 miles minimum)
in the mountains to breath fresh air and talk. Will will plan and discuss: food; clothing; foraging;
exercise. Please bring local maps, destination points, ideas for adventure. / Day 2: Talk and Walk.
We will undertake the walk, reflect on the things we find, change the route, eat well, sing, stop for
lunch, walk and walk, end tired.
To Wonder
with Formafantasma
Design is a discipline in constant evolution and adaptation to the needs and changes in society.
Knowledge has never been more accessible than today, thanks to the Internet and to a growing
propension between humans to share information and experiences. On the other side the amount
of data and visual stimulus we are producing as a society is often overwhelming.
In opposition to this complex scenario, the most ancient learning process is becoming the more
and more relevant: Contemplation. Contemplation implies the need to slow down, to find the time
to wonder, to observe, to analyze. The natural world itself, is no longer observed as a sole aesthetic
inspiration. Designers are not interested anymore in the mimesis of nature, and are rather
interested in translating the nature’s processes into production. Designers are further developing
a tentacular creativity, and expanding their curiosity towards other disciplines in order to offer
solutions or advance utopian proposals.
During the two days of wokshop, students will be invited to observe how natural physical
phenomena work and to translate this process into design proposals. Observation, intuition and
already aquired knowledge shared between the students will be the only learning tools used.
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Teacher’s College
with Rob Giampietro
A syllabus is a document. Photocopied, staple-bound, and generally up to a dozen pages, it is often
produced by an instructor and includes a course’s most basic information: time and location,
schedule, learning objectives, grading, rules for conduct in class, introductory text, reference
figures and imagery, and an overview of the course’s readings and assignments.
The goal of this workshop is to produce its own syllabus. Over two days, we will collaborate to
assemble a document that outlines a future course about design education, drawing from examples
both within design and beyond. On day one, each designer will arrive ready to present for 5-10
minutes on a topic of their choice. Of particular interest are educators like Socrates, Ivan Illich,
Maria Montessori, and Norman Potter, educational institutions from the Bauhaus to TED, and
prior syllabi like those from David Foster Wallace, Milton Glaser, and others. Following these
presentations, designers will be put in teams of two, with each team contributing a single page to
the course syllabus – from timelines, annotated reading lists, taxonomies, learning tools, reference
aids, and more.
Following a favorite teacher of mine, the syllabus will begin with an image and end with a list,
forming points A and B of the document. How these points connect, and how future designers
might make use of them, will be our collective concern and ultimate project.
Tales from the Street
with Cynthia Hathaway
Working around a common everyday object, the students will be guided in the development of
research methods that create inspired scenarios of usage, context, persona in relation to common
and sometimes unexpected consumptive behaviour. The first day will be research-based, with
students acting as sleuths and scenario builders, followed by a day of production and a final
exhibition.
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Design with the Cloud
with Metahaven
Books were and are the start of any learning process. During this two-day workshop we will
recreate a physical book, using the ambiguous legal space we find ourselves in: the Cloud. The
Cloud is Google, Amazon, The Pirate Bay and WikiLeaks all at once.
By using online resources we will, on a 1:1 scale, recreate and reprint a number of famous books,
finding ourselves on the fringes of international copyright laws. Hold tight for amazing design
results, with an internet that is more limited, and free, than you could ever imagine.
Asking Questions – Seeking Answers: Learning through Imaginative Projections
with Mischer’Traxler
Without questions and without imagination we would not learn, evolve or improve. Questions help
us to refine our skills, to picture different scenarios and to start discussions. Moreover, they help
us to come up with ideas and solutions. Questions are never wrong and there is hardly just one
answer. This workshop invites to search for answers to various questions and to slowly embrace
the possibilities of asking.
Every participant is asked to bring one thing/object (soap, chair, egg, paper clip, candle, bottle,
toaster, pillow, aubergine… basically anything apart from animals/insects). Working in pairs, the
items will be analyzed and various questions will lead to tasks of transformations, translations,
copies, predictions etc. Assignments will include quick model making with basic materials as well
as coming up with imaginative concepts. This hands-on approach and many discussions will lead
to new objects/scenarios/alternatives/graphics/artworks or installations.
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EXHIBITIONS
EVENTS
EXHIBITIONS
Unibz Design Festival 2012 include alcune mostre organizzate da studenti, ricercatori e docenti
della Facoltà di Design e Arti: 10 anni di of design e arte alla Libera Università di Bolzano,
Handdruck, Bodoni Compulsivo e Raccordi fra passato e futuro. / Unibz Design Festival 2012
will also include some exhibitions organised by students, researchers and teachers of the
Faculty: 10 Years of Design and Art at the Free University of Bolzano, Handdruck: Printing on
Textile, Compulsive Bodoni and Between Past and Future.
10 anni di design e arti alla Libera Università di Bolzano
20.09 – 31.12.2012 / edifici C-F
Concept Roberto Gigliotti, Jonathan Pierini, Simone Simonelli
Nel 2002 la Facoltà di Design e Arti della Libera Università di Bolzano ha iniziato la sua attività
che nel tempo l’ha resa una delle realtà più significative nel panorama delle scuole di design
italiane e le ha assicurato un ampio buona riconoscimento internazionale. In questi 10 anni
sono passate attraverso la Facoltà più di 900 persone provenienti da realtà, culture e paesi
differenti.
È di queste persone che parla la mostra “10 anni di Design e Arti alla Libera Università di
Bolzano” che sarà inaugurata in occasione dell’Unibz Design Festival 2012. Voci come storie,
raccolte tra chi ha attraversato e abitato gli spazi di questa istituzione – studenti, docenti,
ricercatori, tecnici e personale amministrativo – e poi trascritte, sono messe in scena in 10 luoghi
della facoltà e raccontano chi sono ora le persone che si sono avvicendate nella Facoltà.
In ogni stazione alle frasi raccolte fanno da sfondo 10 scene, fatte di sedie sparse, tutte diverse.
Tra queste sedute, che simbolicamente rappresentano la presenza e il passaggio di chi ha
partecipato alla costruzione la Facoltà, è presentato un progetto significativo selezionato tra i
diplomi di laurea che in questi anni hanno contribuito alla definizione di un’identità trasversale
ed eterogenea.
Le 10 tappe della mostra, sparse negli edifici della Facoltà, danno al visitatore che si accinge
alla loro scoperta la possibilità di sostare, osservare e interagire di persona con la vita della
scuola così come hanno fatto i protagonisti della storia della Facoltà presentati nella mostra.
Il progetto della mostra
I luoghi della mostra saranno caratterizzati da una grande stampa fotografica applicata al muro.
Nelle immagini stampate in scala reale si vedranno, oltre a una serie di sedie – gentilmente
messe a disposizione dal Parkhotel Laurin – i progetti di laurea selezionati. Scopo della
fotografia non è quello di mostrare nel dettaglio i progetti, quanto di trasmettere un’atmosfera
sospesa. Per questo motivo i lavori prescelti saranno fotografati in modo da incuriosire i
visitatori (libri dimenticati su una sedia, fotografie stampate che stanno venendo appese, video
trasmessi da televisori accessi che vengono trasportati su un carrello ecc…). Le frasi e le parole
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raccolte tra tutti quelli che in questi 10 anni sono entrati in contatto con la Facoltà verranno
impaginate e montate su tavolette rigide fissate al muro. Di fronte a ogni immagine saranno
inoltre sparse le stesse sedie utilizzate per il set fotografico trasformando i corridoi della Facoltà
in luoghi di sosta.
La mostra è organizzata con il sostegno di Parkhotel Laurin.
La mostra è aperta al pubblico da giovedì 20 settembre. Inaugurazione ufficiale: giovedì 20
settembre, alle ore 19:00, nell’ambito del programma di Unibz Design Festival 2012.
10 Jahre Design und Künste an der Freien Universität Bozen
20.09 – 31.12.2012 / Räume C-F
2002 begann die Fakultät für Design und Künste der Freien Universität Bozen ihre Aktivitäten,
die dazu beigetragen haben, sie in eine der bedeutendsten Fakultäten Italiens umzuwandeln
und ihr einen internationalen Ruf zu garantieren. In den letzten 10 Jahren durchliefen die
Räume dieser Universität mehr als neunhundert Menschen unterschiedlichster Herkunft und
Kultur. Die Ausstellung „10 Jahre Design und Künste an der Freien Universität Bozen“, die zum
Anlass des Unibz Design Festival 2012 eröffnet wird, erzählt von diesen Menschen.
Die gesammelten und niedergeschriebenen Stimmen derjenigen, die die Räumlichkeiten dieser
Institution durchstreift und ‚bewohnt’ haben – Studierende, Lehrende, Forscher, Techniker
und Verwaltungspersonal – werden an 10 unterschiedlichen Orten der Fakultät inszeniert. Sie
erzählen, wer die Menschen, die die Fakultät nacheinander durchlaufen haben, heute sind.
An jeder Station bilden jeweils 10 ‘Szenerien’, bestehend aus im Raum verteilten Stühlen, den
Hintergrund für die gesammelten Worte. Die Stühle stellen symbolisch die Anwesenheit und
das Durqueren all jener, die die Fakultät mit aufgebaut haben, dar. Dazwischen wird jeweils
eine Diplomarbeit, die in diesen Jahren maßgeblich zur Entstehung einer heterogenen und
vielfältigen Identität beigetragen hat, präsentiert.
Die 10, auf die Gebäude der Fakultät verteilten Erzählstationen geben dem Besucher die
Möglichkeit, zu verweilen, sich dem Alltag der Schule anzunähern und zu interagieren. Genau
so, wie die Protagonisten der Geschichten, die in der Ausstellung präsentiert werden.
Der Entwurf der Ausstellung
Die Orte der Ausstellung werden durch jeweils einen, an die Wand angebrachten, großflächigen
Druck gekennzeichnet. Jedes der im Maßstab 1:1 gedruckten Bilder porträtiert sowohl
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unterschiedliche Stühle als auch die ausgewählten Diplomarbeiten. Die Inszenierung
der Projekte dient nicht etwa der Darstellung von Entwurf-Details, sondern vielmehr
der Vermittlung einer gewissen Atmosphäre und Neugierde des Betrachters: auf Stühlen
vergessene Bücher, in ihrer Hängung befindliche Fotografien, Videos auf Bildschirmen,
die mittels Hebebühnen transportiert werden etc... Die zusätzlich gesammelten Begriffe werden
auf Holzplatten kaschiert und über die Drucke hinweg an die Wand gehängt. Im Raum werden
dieselben Stühle, die im Big Print zu sehen sind, verteilt. Auf diese Weise verwandeln sich
die Korridore der Fakultät in Aufenthaltsräume.
Die Ausstellung wurde mit der freundlichen Unterstützung vom Parkhotel Laurin realisiert.
Die Ausstellung ist ab Donnerstag, den 20. September besuchbar. Eröffnung am Donnerstag,
den 20. September um 19:00 Uhr, im Rahmen des Programms vom Unibz Design Festival 2012.
10 Years of Design and Art at the Free University of Bozen Bolzano
20.09 – 31.12.2012 / Buildings C-F
Founded in 2002, the Faculty of Design and Art of the Free University of Bozen-Bolzano has
then imposed itself as one of the most interesting design schools in Italy, while also gaining
international recognition. More than 900 people from different countries and cultures have
gone through the Faculty in these 10 years. The exhibition “10 Years of Design and Art at the
Free University of Bozen Bolzano” is about these people that will be opened on the occasion
of the Unibz Design Festival 2012.
The voices of all who have walked and lived the spaces of the school – students, teachers,
researchers, technicians and administrative staff – have been collected and transcribed.
Displayed in 10 different stages within the Faculty, these voices tell who these people are today
and what their relationship with the school is.
For each year the collected thoughts are set against a background made of scattered chairs.
Amidst these seats, which symbolize the presence and passage of the people who have
participated in building the Faculty, a significant degree project is shown, selected among
the degree projects which, through the years, have contributed to the definition of the crossdisciplinary and heterogeneous identity of the school.
The ten stages, spread in the buildings of the Faculty, offer the visitor the chance to pause,
observe and interact with the life of the school, as done by the many actors from the Faculty’s
history who are presented in the exhibition.
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The design of the exhibition
The exhibition places will be characterised by a big photographic print on the wall. In the images
(printed on real scale) scattered chairs – kindly lent by the Parkhotel Laurin – will be depicted
as well as the selected projects. Aim of these pictures is not to represent the design in its details
but to transmit a suspended atmosphere. For this reason the selected projects will be staged in
order to arouse the curiosity of the visitor (forgotten books on a chair, pictures that are being
hung, videos on screen transported on a trolley etc…). The collected sentences, layouted and
mounted on wooden boards, will be hung on the wall. In front of each picture the same chairs
depicted in the image will transform the corridors of the Faculty in resting places.
The exhibition is organised with the support of Parkhotel Laurin.
The exhibition is open to visitors from September 20. Official opening: September 20, at 7 pm,
in the framework of the programme of the Unibz Design Festival.
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Handdruck
20-22.09.2012 / sala C4.06
Progetto e mostra a cura di Nicola Chemotti ed Elena Meneghini
A volte un progetto nasce da un incontro inaspettato, come quello di Nicola Chemotti
ed Elena Meneghini – studenti della Facoltà di Design e Arti – con l’ingegnere tessile Otto
Von Aufschnaiter e con le stoffe serigrafate Handdruck. Affascinati dal disegno dei tessuti
e dagli oggetti realizzati dal collettivo fondato da Aufschnaiter con alcuni grafici e artisti
nel 1970, il primo istinto dei due studenti è stato di voler riportare alla luce una vicenda
rimasta interrotta e dimenticata.
Intervistando alcuni componenti del collettivo e studiando i disegni originali, Elena e Nicola
si sono immersi nella storia di Handdruck, riportando in vita, a distanza di anni, parte
della serie e alcuni prototipi inediti.
Durante la ricerca, anche osservando la reazione di altre persone agli oggetti prodotti,
i due designer hanno iniziato a interrogarsi sui significati e sulle potenzialità che un progetto
come Handdruck può avere a distanza di quasi mezzo secolo dalla sua ideazione.
Quali valori suscitano oggi i segni e disegni di Handdruck? Quali narrazioni e pratiche
potrebbero svilupparsi attorno ai personaggi e agli altri oggetti della serie?
Questa mostra è la prima tappa di un progetto più ampio, e propone due livelli di lettura.
Il primo è quello della storia di Handdruck. Il secondo è quello di due giovani designer che
hanno fatto propria quella vicenda e affrontano la responsabilità di immaginarne il futuro.
La Neue Serie Handdruck, esposta in mostra con i pezzi della prima serie, rappresenta
il momento di congiunzione fra queste due storie.
Handdruck
In tedesco la parola Handdruck significa sia ‘stretta di mano’ sia ‘stampa a mano’. Handdruck
è anche il nome della serie di stoffe serigrafate, disegnate e prodotte a Bolzano da un collettivo
di grafici e artisti, attivo fra gli anni settanta e novanta del secolo scorso. Il collettivo era nato
nel 1970 dall’incontro fra l’ingegnere tessile Otto Von Aufschnaiter e sua moglie Carmen con
l’artista sudtirolese Anna Wielander Platzgummer, l’architetto Anton Hofer e la designer di
tessuti Erna Hitzberger. La produzione della serie Handdruck è terminata nel 1993. Nel tempo
i telai sono andati perduti, e sono rimasti solo pochi campioni di stoffa e i disegni originali.
Neue Serie Handdruck
Neue Serie Handdruck è il primo contributo per estendere il progetto originario di Handdruck.
Ponendosi in continuità con quest’ultimo, testimonia l’inizio di un nuovo atto, rappresenta la
volontà di ricostituire discorsi e di aprire nuove possibilità di azione e significazione.
Nicola Chemotti ed Elena Meneghini hanno recuperato i disegni originali della prima serie
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aggiungendo, in collaborazione con Anna Wielander Platzgummer, tre nuovi personaggi.
L’intento è quello di applicare una struttura narrativa a un processo creativo e produttivo,
indagando la memoria del luogo nel quale tale processo si concretizza.
Progetto sviluppato nell’ambito dell’atelier del semestre estivo 2012/2013 (prof. Kuno Prey,
Carmelo Marabello, Simone Simonelli)
In collaborazione con Otto Von Aufschnaiter
Si ringrazia Anna Wielander Platzgummer
Handdruck
20-22.09.2012 / Raum C4.06
Projekt und Ausstellung von Nicola Chemotti und Elena Meneghini
Aus unerwarteten Treffen können unkonventionelle Dinge entstehen – das beweisen einmal
mehr Nicola Chemotti und Elena Meneghini, Studentinnen der Fakultät für Design und Künste,
mit ihrem Textilprojekt Handdruck. Die Idee für die per Siebdruckverfahren bedruckten Stoffe
entstand als sie auf Otto Von Aufschnaiter trafen, seines Zeichens Textilingenieur und Gründer
des Grafiker- und Künstlerkollektivs Aufschnaiter. Das müssen wir unbedingt erhalten – war der
erste Gedanke der zwei Studentinnen beim Anblick der Stoffe.
Elena und Nicola begannen also zu recherchieren: sie sprachen mit Mitgliedern des 1970
gegründeten Kollektivs, untersuchten die Originaldesigns, stellten – Jahre nach Ende der Serie –
ehemalige Teile wieder her und fertigten neue Prototypen.
Nachdem sie sahen wie Andere auf die Objekte reagierten, begannen sie die Bedeutung und das
Potential ihres Projekts zu hinterfragen. Welche Werte kann Handdruck vermitteln nach fast
einem halben Jahrhundert seit der Idealisierung? Welche Geschichten und Praktiken können
sich rund um die Figuren und Objekte der Serie entwickeln?
Diese Ausstellung stellt den ersten Teil eines größeren Projekts dar und kann auf zwei
verschiedenen Bedeutungsebenen verstanden werden: erstens im Sinne einer Zeitgeschichte
von Handdruck und zweitens als Arbeit von zwei jungen Designerinnen, die eine Geschichte ihr
eigen gemacht haben und sich um deren Weiterführung kümmern. Die Neue Serie Handdruck,
die hier durch Exemplare der ersten Serie ausgestellt wird, vereint diese beiden Ebenen.
Handdruck
Handdruck – so nennt sich eine Serie von Siebdruck-Stoffen, die in Bozen entworfen und
produziert wurden von einem Künstler und Grafikerkollektiv. Das Kollektiv entstand 1970 aus
einem Treffen zwischen Textilingenieur Otto Von Aufschnaiter, seiner Frau Carmen,
der Südtiroler Künstlerin Anna Wielander Platzgummer, dem Architekten Anton Hofer und
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der Stoffdesignerin Erna Hitzberger. Bis in die 90er Jahren waren sie aktiv; 1993 endete die
Produktion der Handdruck-Serie. Über die Jahre sind die Webstühle verloren gegangen und
nur noch wenige Stoffmuster und Originalentwürfe existieren.
Die Neue Serie Handdruck ist der erste Schritt hin zur Erweiterung und Weiterführung des
Originalprojekts Handdruck. Es soll ein neuer Beginn gewagt, Diskurse von früher wieder
angefangen, und neue Handlungs- und Deutungsmöglichkeiten aufgezeigt werden.
Nicola Chemotti und Elena Meneghini haben die Originalentwürfe der ersten Serie neu in
Stand gesetzt und in Zusammenarbeit mit Anna Wielander Platzgummer drei neue Formen
hinzugefügt. Die Intention ist es, den Kreations und Produktionsprozess narrativ und anhand
der Geschichte des Ortes anzugehen.
Das Projekt ist im Rahmen des Sommersemesterkurses (2012/2013) von Prof. Kuno Prey,
Carmelo Marabello und Simone Simonelli entstanden
In Zusammenarbeit mit Otto Von Aufschnaiter
Mit Dank an Anna Wielander Platzgummer
Handdruck
20-22.09.2012 / room C4.06
A project and an exhibition by Nicola Chemotti and Elena Meneghini
Inspiration for designers may come from unexpected encounters, such as the chance encounter
of Nicola Chemotti and Elena Meneghini with the textile engineer Otto Von Aufschnaiter at his
shop of natural yarns, and with Handdruck, the series of screen-printed textiles designed and
produced in Bolzano by the collective that Aufschnaiter founded together with fellow designers
and artists in 1970.
Fascinated by the designs and objects produced by the collective, the two students from the
Faculty of Design and Art of the Free University of Bolzano immediately felt the need to unearth
a story that was interrupted in 1993 and has since been forgotten.
By interviewing members of the collective and by studying the original drawings, Elena and
Nicola have explored the history of Handdruck and have succeeded in reviving a portion of the
series, as well as certain previously unreleased prototypes.
Such a research process, together with the observation of people’s reactions to the textiles and
objects produced, has spurred the students to question the significance and potential that a
project like Handdruck can have today, half a century after its very conception. What values do
the Handdruck designs, textiles and characters inspire today? What narratives and practices,
what kind of relations, do they elicit?
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As the first stage of a broader project, the exhibition presents two stories: the first is that of
Handdruck and of the original designs and textiles; the second is that of two young designers
accepting the responsibility of that earlier story and attempting to imagine its future.
The Neue Serie Handdruck, exhibited together with the original pieces of the first series,
represent the hinge between these two stories
Handdruck
The German word Handdruck means both ‘handshake’ as well as ‘hand printing’. Handdruck
is also the name of the series of screen-printed textiles and objects produced in Bolzano by a
collective of textile designers and artists between the 1970s and the early 1990s. The collective
was founded by textile engineer Otto Von Aufschnaiter and his wife Carmen, an illustrator,
together with South Tyrolean artist Anna Wielander Platzgummer, architect Anton Hofer, and
textile designer Erna Hitzberger. The production of the Handdruck series terminated in 1993.
Since then, the screen-printing frames have been lost and only a few samples and the original
drawings remain.
The Neue Serie Handdruck is the first contribution that extends the original Handdruck project.
Elaborating on the latter, the Neue Serie Handdruck is the onset of a new act; it represents a
desire to restore otherwise forgotten discourses and to open new possibilities for action and
meaning-making.
Nicola Chemotti and Elena Meneghini have recovered the original designs of the first Handdruck
series and, in collaboration with Anna Wielander Platzgummer, have added three new figures.
Their intent is to apply a narrative structure to the creative and production process, and to
investigate the memory of the place in which such a process materializes.
This project was developed during the summer semester class with Prof. Kuno Prey, Carmelo
Marabello and Simone Simonelli
In collaboration with Otto Von Aufschnaiter
Thanks to Anna Wielander Platzgummer
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Bodoni compulsivo: Progetto per una famiglia allargata di caratteri bodoniani
20-22.09.2012 / foyer C0
Concept e design Riccardo Olocco e Jonathan Pierini
Parmigiano sarà una vasta font family condivisa, realizzata con il contributo di designer
di diverse parti del mondo, per celebrare lo spirito di Bodoni a 200 anni dalla sua morte.
Bodoni (1740–1813) ha diretto la Stamperia Reale di Parma per quasi 50 anni, dal 1768 al
1812. In questi anni ha prodotto libri magnifici e preziosi; i suoi frontespizi sono ricordati come
monumenti dell’arte neoclassica, come alcune delle vette più alte dell’arte tipografica.
“Re dei tipografi, tipografo dei re”, Bodoni era un cortigiano. I suoi lavori nascondevano spesso
intenti celebrativi e la scelta dei titoli era – se tacciamo i classici – scontata e conservatrice.
La sua tipografia aveva una funzione non dissimile dai moderni reparti di marketing con il Duca
di Parma quale “prodotto” da comunicare.
Bodoni è stato l’incisore più prolifico della storia: nell’inventario redatto dalla vedova nel 1840,
anni dopo la sua morte, possiamo leggere che il patrimonio della tipografia ammontava a 25.491
punzoni e 50.283 matrici. Incidere a mano 25 mila punzoni d’acciaio è un’operazione immane e,
per alcuni versi, inutile. Molti caratteri presentano infatti differenze impercettibili, nelle forme
come nelle dimensioni. Tuttavia, questo è perfettamente in linea con l’ostentazione di tecnica
e di mezzi che caratterizza l’operato di Bodoni (come il tempo in cui è vissuto): nelle sue opere
non è raro imbattersi in libri composti con centinaia di diversi caratteri! Bodoni, insomma, era
un incisore ossessivo-compulsivo.
Per celebrare Bodoni, come per assecondare la megalomania propria di ogni type designer,
inclusi i sottoscritti, vogliamo produrre la più grande famiglia di caratteri digitale Bodoniana
mai realizzata. Più esattamente, una famiglia Bodoniana allargata che chiameremo Parmigiano.
Parmigiano testimonia la consapevolezza che un progetto tipografico, che include scritture
diverse, promuovendo l’incontro tra culture in ottica anti-coloniale, non possa che essere
partecipato. Per questo, al disegno degli alfabeti latini, curato da Riccardo Olocco e Jonathan
Pierini, seguirà una open call, rivolta a type designer specializzati in script non latini per
partecipare al progetto: Kickstarter diversi per ogni script saranno alla base del finanziamento
di questa seconda fase.
La mostra presenta, per mezzo di installazioni tipografiche e applicazioni editoriali, i caratteri
latini, nei diversi tagli e nelle diverse declinazioni, così come delle anticipazioni degli alfabeti
non latini che verranno prodotti successivamente.
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Compulsive Bodoni: Project for an extended font familiy (after Bodoni)
20-22.09.2012 / foyer C0
Concept and design by Riccardo Olocco and Jonathan Pierini
Parmigiano is to be a vast font family, completed thanks to the participation of many designers
from different countries. The project is intended to celebrate the 200th anniversary
of Bodoni’s death.
Bodoni (1740–1813) was the director of the Stamperia Reale di Parma (the Royal Printshop
of Parma) for about 50 years, from 1768 to 1812. During these years he produced beautiful and
precious books; the title pages he designed are remembered as monuments of neoclassical art,
and some of the best achievements in the field.
“Re dei tipografi, tipografo dei re” (king among typographers, typographer of kings), Bodoni was
a courtier. His works were often celebratory; the titles he chose – except for the classics – were
quite plain and conservative. The Duke of Parma was to his own typography workshop what a
‘product’ would be to a marketing department today.
Bodoni was the most prolific punch-cutter in history. In the 1840 inventory by his widow, the
typography items comprised 25,491 punches and 50,283 matrices. To cut 25 thousand steel
punches is a huge effort; to some extent unnecessary. Many of the characters show undetectable
differences in form as well as in dimension. This is in line with the ostentation of technique and
means which characterize Bodoni’s work, and indeed his time. Among his works it is not rare
to find books typeset with hundreds of different characters! Bodoni was in fact an obsessivecompulsive punch-cutter.
Thus, to celebrate Bodoni, as well as to support the megalomania which is typical of any type
designer, including ourselves, we want to produce the biggest Bodonian font family ever made.
Or rather, an extended Bodonian font family, which we are going to call Parmigiano.
Parmigiano is proof of the realisation that a type design which includes many different scripts,
and that is to promote dialogue between cultures in an anti-colonialist perspective, has to be
participative.
Thus, after the Latin cuts designed by Riccardo Olocco and Jonathan Pierini, the second phase
of the project will see an open call for the design of non-Latin script by specialist type designers.
A kickstarter for each non-Latin script will be used to fund this second phase.
The exhibition presents typographic installations and editorial applications showing the Latin
designs in all their cuts and variations, together with advance representations of the non-Latin
scripts that will be produced later.
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Raccordi fra passato e futuro: L’ereditá culturale in immagini
20.09 – 14.10.2012 / Corridoio E-F 101
La mostra è un progetto del corso di fotografia tenuto da Walter Niedermayr durante
il semestre estivo 2012
Esiste ancora il razionalismo in Alto Adige – lo stile architettonico che ha caratterizzato l’epoca
fascista? Interventi architettonici e urbanistici significativi hanno avuto luogo negli anni tra le
due guerre mondiali, proprio mentre la composizione della popolazione cambiava in maniera
drastica. Nella Bolzano di oggi l’impronta di quest’architettura, realizzata dal regime in maniera
programmatica, è ancora ben riconoscibile nel panorama cittadino.
Due sono le tendenze costruttive visibili: strutture funzionali quali scuole, impianti sportivi e
ricreativi; edifici dall’aspetto monumentale volti a rappresentare la politica di Roma: istituti
culturali, monumenti, stazioni, ponti, sedi amministrative, infrastrutture per assi stradali.
Gli studenti del corso di fotografia artistica, guidati da Walter Niedermayr, si sono occupati di
questo tema con l’ausilio di una letteratura specifica, con la ricerca mirata tra i reperti fotografici
dell’Archivio storico della città e attraverso consulenze da parte della Ripartizione provinciale
ai Beni Culturali.
I lavori presentati dagli studenti trattano aspetti profondamente legati alla storia di questa
cittá – un’ereditá che col tempo ha coinvolto generazioni – riuscendo in parte a ricostruire fatti
scottanti dal punto di vista politico e ideologico e relativizzandoli.
Il quadro complessivo che ne risulta mostra anche come gli autori, in parte estranei al tema in
quanto cittadini stranieri, siano stati in grado di lavorare con distacco emotivo e senza remore,
portando alla luce connessioni reali laddove i fatti storici sono stati tramandati in maniera
partigiana, facendo perdere così d’importanza la questione se questi debbano essere rimossi
oppure no.
Il fotografo in quanto tale è chiamato ad essere esperto ricercatore della conoscenza visiva, ossia
della storia delle immagini. E’colui che, dall’esperienza acquisita attraverso il confronto con le
diverse pratiche visive, ha appunto la capacità di discernere quali informazioni meritino d’essere
preservate e ricordate nel futuro.
Un professionista che lavora nell’archivio di immagini della storia e della comunicazione visiva
necessita di competenze che vanno oltre la sola tecnica fotografica. Avere a che fare con un sapere
per immagini, l’iconico, richiede una contestualizzazione nel contemporaneo e nella storia, nonché
la capacità di riconoscere le implicazioni politiche e sociali insite nelle immagini stesse.
Scopo di questo progetto è stato quello di creare immagini che riescano a sottrarsi alle parole in
modo tale che queste non le possano sostituire. Solamente quando le immagini hanno una tale
autonomia, anche colui che le guarda potrà vivere un’esperienza visiva, che è il vero lavoro di ogni
fotografo. Al tempo stesso segue anche un lavoro sulla memoria, dal quale nascono archivi
di rilevanza per la società e che possono venire utilizzati in altri momenti in funzione del ricordo.
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Bindeglieder zwischen Vergangenheit und Zukunft: Das kulturelle Erbe in Bildern
20.09 – 14.10.2012 / Räume E-F 101
Ein Ausstellungsprojekt von den teilnehmenden Studierenden des Kurses ‘Künstlerische
Fotographie’, unter der Leitung von Walther Niedermayr, Sommersemester 2012
Wie präsent ist die Zeit des Rationalismus in Südtirol, hier besser bekannt als die Periode
des Faschismus? Während der Zwischenkriegsjahre haben gravierende architektonische und
städteplanerische Eingriffe stattgefunden und die Zusammensetzung der Bevölkerung hat sich
grundlegend geändert. Die Bedeutung der Architektur, die vom Regime zielgerichtet eingesetzt
wurde, ist bis heute in Bozen gut erkennbar. Zwei Strömungen in der Bautätigkeit, einerseits
die Zweckbauten, wie Schulen, Sportanlagen und Freitzeiteinrichtungen und andererseits die
repräsentativen Monumentalbauten der römischen Politik wie Kulturgebäude, Denkmäler,
Bahnhof, Brücken, Herrschaftsgebäude wie auch axiale Straßenanlagen.
Die Studenten der Klasse für künstlerische Fotografie geleitet von Walter Niedermayr haben sich
diesem Thema genähert, unterstützt wurden sie durch Literatur, durch Recherchen im Stadtarchiv
und auch vom Landesdenkmalamt. Erzählt werden Geschichten, die mit dem Leben in dieser Stadt
zu tun haben, in der mittlerweile schon mehrere Generationen mit diesem Erbe umgegangen sind
und den politischen und ideologischen Fakten teilweise die Brisanz nehmen konnten.
Das entstandene Gesamtbild macht auch deutlich, wie die Studenten, z. T. Ausländer mit dem
Thema, emotionslos und ungehemmt umgehen, Zusammenhänge entstehen lassen, die eine
Realität zeigen in der geschichtsträchtige Tatsachen mit einer Selbstverständlichkeit ihrem
Eigenleben überantwortet werden und damit auch die Frage, ob sie weggeschafft werden sollen
oder bleiben, belanglos erscheint.
Der Fotograf ist deshalb als fachkundiger Bildforscher des Bildwissens gefordert, also der
bildhaften Geschichte. Er wäre derjenige, der aus Erfahrung im Umgang mit visuellen
Praktiken eben die Fähigkeiten dazu hätte zu entscheiden, was sich für die Zukunft an visuell
Mitteilsamen zu erhalten und zu erinnern lohnt. Als professioneller Arbeiter im Bildarchiv der
Geschichte und der visuellen Kommunikation bedarf es an Fertigkeiten, die um Einiges über
die fotografische Technik hinausgehen, denn Arbeiten am Bildwissen, am ikonischen, verlangt
den gegenwartsnahen und geschichtlichen Kontext zum jeweiligen politisch, gesellschaftlichen
Zusammenhang in den Bildern selbst zu erkennen.
Es geht deshalb bei diesem Projekt auch darum Bilder zu erstellen, die sich den Worten entziehen
und zwar insofern, als dass sie durch diese nicht zu ersetzen sind. Nur dann, wenn Bilder diese
Eigenständigkeit haben, kann auch der Betrachter die Bilderfahrung machen, die als wirkliche
Leistung dem Fotografen anzurechnen ist. Gleichzeitig erfolgt auch eine Art Gedächtnisarbeit,
bei der gesellschaftsrelevante Archive entstehen, die zu anderen Zeitpunkten für die Erinnerung
benötigt werden können.
12
20/22 September
Between Past and Future: The Cultural Heritage in Images
20.09 – 14.10.2012 / Aisle E-F 101
An exhibition project by the class of art photography led by Walter Niedermayr,
summer semester 2012
How omnipresent is the age of rationalism in South Tyrol, better known here as the age of Italian
fascism? In the interwar years major architectural and urban planning interventions took place,
and the composition of the population changed dramatically. The meaning of the architecture that
was systematically employed by the regime is still clearly recognizable today in Bolzano. Two main
construction trends are visible: functional buildings such as schools, sports and leisure facilities
and representative monumental and political buildings such as cultural institutions, monuments,
the railway station, bridges, government buildings and axial road systems.
The students in the artistic photography class taught by Walter Niedermayr approached this
subject based on literature, through research in the historical archives of the city, and in
collaboration with the office for preservation of historic monuments of the Province of Bolzano. In
their works students tell stories that deal with the life of the city, where working through the past
for several generations has taken some of the edge off of sensitive political and ideological issues.
The resulting overall picture also shows how the students – some of them foreigners – approached
the subject in an unbiased, uninhibited way, giving rise to possible interrelationships that reveal a
reality in which actual historical events become disentangled from their contexts, rendering moot
the question as to whether or not they should be done away with.
The photographer is therefore called upon to be an expert researcher of visual knowledge, that is
to say of the history of images. His experience in visual practice qualifies him for deciding what is
worth being preserved for the future and remembered as visual information/data. A professional
working with the image archive of history and visual communication requires skills that go beyond
mere photographic technique because in order to deal with image knowledge, with the iconic, one
must be able to recognize the contemporary and historical contexts of a given political and social
theme in the images themselves.
One aim of this project, therefore, was also to create images that transcended words in the sense
that the images could not be replaced by words. Only if they have this autonomy is it possible for
the viewer to experience the images as works attributable to the photographer. The process of
remembering that is taking place simultaneously with this project can be made available to socially
relevant archives and be used for recollection purposes in the future.
The exhibition is open to visitors from September 20. Official opening: Friday 21st September
in the framework of the annual conference Umstrittene Denkmale / Monumenti controversi
(Controversial Monuments).
13
PARTY
Unibz Design Festival 2012 include anche un clubbing party che si svolge nell’ambito del
programma musicale del rinomato festival di musica e arte contemporanea Transart.
I partecipanti a Unibz Design Festival potranno accedere a un prezzo speciale all’evento. Il design
dell’evento è a cura di studenti della Facoltà di Design e Arti. / Unibz Design Festival also includes
a clubbing party that is organised in the framework of the contemporary music and art festival
Transart. Participants in the Unibz Design Festival can take part in the party at a special price. The
design of the event is made by students of the Faculty of Design and Art.
Clubbing Party con/with Transart
Music+Live+Electronics
21.09.2012, Midnight
Bahnhofsremise / Officine FS
Bolzano, Schlachthofstr. 24 / Via Macello 24
Dj Boma (Italy)
One of the best known exponents of the electro scene in South Tyrol, and one of the most famous
artists of the region’s nightlife, Dj Boma has started playing in 2005. Fond since many years of
electro music, Boma usually combines the latter with the energy and technical approach of hip
hop. During his performances, he also mixes fidged house, dubstep and rock music to make people
dance.
soundcloud.com/alex-boma
Crono (Italy)
This new name from the underground scene of Milan is still enshrouded in the cloud of mistery.
Crono’s performance at the clubbing party organised for the Unibz Design Festival 2012 will be
truely a première. To date, few information has leaked, but Crono’s connection with the French
label Correspondant guarantees for the high quality of his music.
soundcloud.com/cronodischi
Event design
Event design by Marco Ciceri and Philip Santa, students from the Faculty of Design and Art of the
Free University of Bolzano. Also known as Super Droooper, Marco and Philip will design the space
of the event, using lights and animations that will be projected into the space of the station depot
(Bahnhofsremise / Officine FS). In their installation they will use transport vehicles to investigate
the concept of ‘Learning’.
Si ringrazia / Thanks to Dodicicicli
14
SUN68 MAIN PARTNER DELLA PRIMA EDIZIONE
DI UNIBZ DESIGN FESTIVAL
FACOLTÀ DI DESIGN E ARTI
DELLA LIBERA UNIVERSITÀ DI BOLZANO
Dal 20 al 22 settembre si terrà la prima edizione di Unibz Design Festival organizzata dalla
Facoltà di Design e Arti della Libera Università di Bolzano in occasione del suo decimo
anniversario. Organizzato da un team di studenti, ricercatori e professori della Facoltà – coordinati
da Giorgio Camuffo, graphic designer e professore associato della stessa Facoltà – il Festival si
articolerà in tre giorni di workshop e conferenze dedicati al tema del Learning (apprendimento).
SUN68 parteciperà come Main Partner dell’evento per sostenere questa possibilità data
a studenti internazionali e giovani designer di confrontarsi e dialogare al di fuori delle modalità
previste dai piani didattici, in un ambiente informale di collaborazione e partecipazione.
La filosofia di SUN68 è basata sulla creatività, sullo spirito di rinnovamento e sulla
condivisione di intuizioni che portano a idee sempre nuove. Questi caratteri lo rendono un marchio
non convenzionale e al tempo stesso fortemente radicato nella più moderna cultura metropolitana
e capace di creare uno uno stile reale e autentico.
Il carattere innovativo dell’azienda, da sempre animata dalla voglia di ampliare i propri
orizzonti, l’ha portata così a trovare forme di comunicazione sempre nuove e diverse, spesso
legate al mondo della grafica e del design. SUN68 infatti si apre spesso alle collaborazioni
con giovani professionisti di questo settore e di quello dell’arte, affidando la creazione
di progetti speciali non solo a nomi già conosciuti nel mondo della moda. Per citare solo l’ultima
di queste importanti collaborazioni, il brand veneto ha affidato la nuova campagna pubblicitaria
all’illustratore grafico svedese Andreas Samuelsson che, grazie al suo tocco unico, riesce a rendere
anche le immagini più semplici potenti mezzi di comunicazione.
SUN68 non poteva quindi mancare l’appuntamento con Unibz Design Festival e sostenere
attivamente questa prima edizione dedicata al tema del “Learning”: a cosa significa “apprendere”
nel campo del design.
SUN68 è un marchio di abbigliamento uomo, donna e bambino presente nel mercato italiano dal
2005. Nasce con lo scopo di “vestire le persone” proponendo una visione nuova del fashion market
e realizzando un prodotto che ama la semplicità, l’essenzialità e la naturalezza delle forme, i motivi
e le forme pure. Gli abiti esprimono uno stile che lascia spazio alla fantasia di chi li indossa perché
la molla creativa parte sempre dalla strada e rende il pubblico partecipe, “soggetto” e non solo un
mezzo nel mondo della moda.
www.sun68.com
Ufficio stampa
Studio Luisa Bertoldo - Via Grossich 33 - 20131 Milano - T. +39 0226688711 - M.+39 3402816095
www.luisabertoldo.com
SUN68 MAIN PARTNER OF THE FIRST EDITION
OF UNIBZ DESIGN FESTIVAL
AT THE FACULTY OF DESIGN AND ART
OF THE FREE UNIVERSITY OF BOZEN-BOLZANO
The first edition of the Unibz Design Festival, launched by the Faculty of Design and Art of
the Free University of Bozen-Bolzano on the occasion of the Faculty’s 10th anniversary, will
take place on September 20-22, 2012. Organised by a team of students, researchers and professors
of the Faculty of Design and Art – directed by Giorgio Camuffo, graphic designer and Associate
professor of the Faculty –, the Unibz Design Festival will include workshops and a final conference,
all focused on the topic of “Learning”.
SUN68 is participating as Main Partner in this event with the aim of supporting the Faculty
of Design and Art in providing students from international schools and young designers with the
opportunity to meet, exchange ideas and collaborate in an informal atmosphere.
To constantly generate and share insights that lead to new ideas: this is SUN68’s philosophy.
An unconventional brand focused on creativity and constant renewal, SUN68 offers a genuine
style that is deeply rooted in contemporary urban culture.
Animated by the desire to broaden its scope, since its very beginning SUN68 has explored new
forms of communication. Hence, design, graphic design and art are natural partners for the
company which often engages young professionals from these fields, entrusting them with special
projects. The most recent of these partnerships is the brand campaign by the Swedish illustrator
Andreas Samuelsson whose unique sensitivity can turn even the simplest image into powerful
communication.
SUN68 could not miss the Unibz Design Festival 2012, and decided to actively support this first
edition of the event which is dedicated to the topic of “Learning” in the field of design
and beyond.
SUN68 is a brand of clothing for men, women and kids founded in 2005 with the intention to
offer a new vision of fashion. The brand’s mission is to “dress up people” with products which,
through their shapes and patterns, speak of simplicity and naturalness. SUN68’s clothes express
a style that leaves room for the imagination of the wearer: the creative spring always starts from
the road and makes people involved, as “subjects” and not just as means of the fashion world.
www.sun68.com
Press contact
Studio Luisa Bertoldo - Via Grossich 33 - 20131 Milano - T. +39 0226688711 - M.+39 3402816095
www.luisabertoldo.com
Illustrazione / Illustration Andreas Samuelsson / SUN68
Foundation Free University of Bozen–Bolzano
Am 1. Dezember 2006 gegründet, hat es sich die Stiftung der Freien Universität
Bozen zur Aufgabe gemacht, die wissenschaftliche Forschung an der
Universität zu unterstützen.
Dabei hat es sich die Stiftung zum Ziel gesetzt, insbesondere Initiativen und Tätigkeiten
von Studierenden und Dozenten der Freien Universität Bozen voranzutreiben, um deren
Integration in das universitäre Leben und das Territorium zu fördern. Auch Studien- und
Forschungsstipendien fallen in diesen Bereich. Die Stiftung sieht sich als Hilfskörperschaft
und zeichnet sich durch ihre unterstützenden Tätigkeiten in Lehre und Forschung,
aber auch in kulturellen und didaktischen Bereichen aus. Sie arbeitet frei von jeglichen
Gewinnabsichten.
Die Fakultät für Design und Künste feiert in diesem akademischen Jahr 2012/2013 ihr
zehnjähriges Bestehen. Aus diesem Anlass wird das internationale Unibz Design Festival
abgehalten, welches die Stiftung Freie Universität Bozen unter ihrem Präsidenten Dr. Hanns
Egger unterstützt. Das Unibz Design Festival widmet sich den Themen des Lernens und der
Erziehung – Themen, die auch zentrales Thema der Förderkriterien der Stiftung darstellen.
Costituita il 1° dicembre 2006, la Fondazione Libera Università di Bolzano si è
data come missione sostenere la ricerca scientifica presso l’università.
La Fondazione – senza scopo di lucro – si propone di operare come corpo ausiliario alla
Libera Università di Bolzano. La sua attività si caratterizza per il sostegno alle attività di
insegnamento e ricerca – anche attraverso borse di studio e assegni di ricerca – e più in
generale per il sostegno a iniziative in campo culturale ed educativo.
La Fondazione contribuisce inoltre a progetti speciali e alle attività di studenti e docenti
della Libera Università di Bolzano, con l’intento di favorire la loro integrazione nella vita
universitaria e nel territorio.
In occasione del decimo anniversario della Facoltà di Design e Arti (2012/2013), la
Fondazione della Libera Università di Bolzano, con il suo presidente Dr. Hanns Egger, ha
deciso di contribuire alla organizzazione del primo Unibz Design Festival che sarà dedicato
al tema dell’apprendimento (Learning) e dell’educazione – un tema che è centrale per la
mission stessa della Fondazione.
Foundation Free University of Bozen-Bolzano
Established on December 1st, 2006, the Foundation of the Free University of BozenBolzano has set itself the mission to support scientific research within the University.
This non-profit organisation aims to operate as an auxiliary body to the Free
University of Bozen-Bolzano, mainly by supporting the latter’s teaching and
research activities, through scholarships and research grants, and more generally by
supporting initiatives in the fields of culture and education.
The Foundation also contributes to special initiatives and activities of students and
faculty of the Free University of Bozen-Bolzano, with the intent to promote their
integration into university life and in the region.
On the occasion of the 10th anniversary of the Faculty of Design and Art
(2012/2013), the Foundation of the Free University of Bozen-Bolzano and its
president Dr. Hanns Egger have decided to contribute to the organization of the first
Unibz Design Festival which will be dedicated to topic of learning (Learning) and
education – a theme that is central to the mission of the Foundation itself.

unibz design festival 2012 - Libera Università di Bolzano

Transcript

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