www.esculenta.org Andrea Caretto (Turin, Italy, 1970), degree in

andrea caretto / raffaella Spagna studio: via camporelle 50 ‐ 10020 cambiano (To) ‐ Italy andreacaretto@esculenta.org ‐ raffaellaspagna@esculenta.org ℡ studio +39.011.9440433 mobile A. +39.338.3721045 / R. +39.338.8779298 www.esculenta.org Andrea Caretto (Turin, Italy, 1970), degree in Natural Sciences at the University of Turin, Italy. Raffaella Spagna (Rivoli, Italy, 1967), degree at the Faculty of Architecture of the Polytechnic of Turin. Caretto e Spagna have been working together on a regular basis since 2002, exhibiting in public and private institutions in Italy and abroad. They also collaborate with the research Center IRIS (Interdisciplinary Research Institute on Sustainability) of the University of Turin and Brescia. They are among the charter members of the artists association “Diogene” www.progettodiogene.eu ‐ who promotes, among the others activities, the Artist Residency Project “Diogene_urbanbivouac”. We explore the profound relationships linking human beings to the environment. In keeping with our respective educational backgrounds – landscape architecture for Spagna and natural sciences and scientific museology for Caretto – our projects generate complex installations that simultaneously present the investigation, study, demonstration and experimentation of our relationship with nature. Our works investigate the complex net of relationships existing between things: the way we perceive the environment, the relation living/dwelling/building, the matter transformation cycles and morphogenesis, the domestication processes, the landscape transformations… Using the instruments of arts, natural sciences and anthropology, we investigate the relationships linking human beings to other living organisms and inorganic matter, developing projects that evolve over the long term. We conceive art as inquiry, a free way to investigate the multiple dimensions of reality: formal, qualitative and physical aspects of the matter but also philosophical and social aspects. We work on the idea that the form of an object could be intended as the expression of a relational and morphogenetic field in which the artist is only one of the agent factors. Our works, both installations, collective actions, performances and sculptures always result from “relational processes” in the sense that they emerge from a net of relationships we established with different elements (organic, inorganic, living, etc.). CURRICULUM Solo Shows 2012 o CS_Collezione Sistemica (CS_Systemic Collection), GAM ‐ Civic Gallery of Modern and Contemporary Art, Torino (Italy), curated by Luigi Fassi 2011 o Retour sans préavis / Back without Warning, art3 Art Contemporain, résidence production diffusion, Valence (France), curated by Sylvie Vojik o On ne peut pas descendre deux fois dans le même fleuve / You could not step twice into the same river, CAP ‐ Centre D’Art Plastique, Saint Fons (France), curated by Anne Giffon Selle 2009 o Soil Practice, e/static gallery, Turin (Italy), curated by Carlo Fossati 2008 o Exposition “O”, Rurart Centre d’Art, Rouillé (France), curated by Arnaud Stines o De La Transformation Des Choses, residency and solo exhibition at CAIRN (Centre d'Art Informel de Recherche sur la Nature), Digne‐les‐Bains (France), curated by Nadine Gomez‐
Passamar o Dark matters. Aula in fondo a sinistra, CRAC (Research Centre for Contemporary Art, Liceo Artistico Statale ''Bruno Munari''), Cremona (Italy), curated by Dino Ferruzzi e Gianna Paola Machiavelli 2007 o
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M.P. (Matières Premières), Centre d’Art Le Parvis, Ibos (France), curated by Odile Biec; Lyon Docks Art Fair, solo show at Fabio Paris Art Gallery, Lyon (France) o
Actions 2000‐2006, Marino Marini Museum, Florence (Italy), curated by Alberto Salvadori and a.titolo; o
Domesticazioni, Fabio Paris Art Gallery, Brescia (Italy) o
R‐Esistenze Fabio Paris Art Gallery, Brescia, Italy (Andrea Caretto only) 2006 2005 2003 Selected Collective Exhibitions 2013 o Internaturalità ‐ PAV (Park of Living Art ‐ Center of Contemporary Art), Turin, Italy, curated by Claudio Cravero 2012 o In Context: public‐art‐ecology ‐ residency and exhibition at KHOJ International Artists' Association, New Delhi, India; o A travers la Montagne, CeSAC (Centro Sperimentale per le Arti Contemporanee), Caraglio (Italy), curated by a.titolo e Nadine Gomez‐Passamar; o Parcoii 2012 ‐ residency and collective exhibition at Frassineto Po (Italy), curated by Daria Carmi, Matteo Ferrando, Andrea Soffientino 2011 o Italia Giovane Stato, Fondazione Peano, Cuneo, curated by Enrico Perotto o Insolite Parentele/Unusual Affinities, Sala Dogana, Palazzo Ducale, Genova, curated by Francesca Busellato 2010 o SKETCHES OF SPACE, Mudam Luxembourg, Musée d’Art Moderne Grand‐Duc Jean, curated by Enrico Lunghi, Clément Minighetti, Marie‐Noëlle Farcy et Christophe Gallois 2009 o Sensibili Energie, Municipal Gallery of Contemporary Art, Arezzo, Italy, curated by Alberto Salvadori and Giovanna Uzzani; o Village Green, PAV (Park of Living Art ‐ Center of Contemporary Art), Turin, Italy, curated by Claudio Cravero; o Green Platform. Art Ecology Sustainability, CCCS ‐ Centre of Contemporary Culture Strozzina, Fondazione Palazzo Strozzi, Florence, Italy, curated by Lorenzo Giusti and Valentina Gensini; o Music for a Long Time. e/static gallery, Turin, Italy, curated by Carlo Fossati 2008 o Ecosoft Art, PAV (Park of Living Art ‐ Center of Contemporary Art), Turin, Italy, curated by Claudio Cravero; o EURASIA. Geographic cross‐overs in art, MART (Contemporary and Modern Art Museum of Trento and Rovereto), curated by Achille Bonito Oliva with the collaboration of: Lorenzo Benedetti, Iara Boubnova, Cecilia Casorati, Hu Fang, Christiane Rekade, Julia Trolp; o ‘900 ‐ Cento anni di creatività in Piemonte. Museo dei Campionissimi, Novi Ligure, Italy, curated by Marisa Vescovo; o International Sculpture Prize “Umberto Mastroianni”, projects exhibition, Albertina Academy of Fine Arts, Turin, Italy; o Subtle energies of matter, Urban Planning Exhibition Center, Shanghai ‐ China National Academy of Painting, Beijing ‐ Museum of Art Seoul National University, curated by Marisa Vescovo; o
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Paesaggio ZerO, Cascina Le Vallere, Sede del Parco del PO Torinese, Turin, curated by andrea caretto / raffaella spagna; Superfici sconnesse, Palazzo Barolo, Turin, Italy, curated by Lisa Parola; 2007 o
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Los Limites del Crecimiento, Sala Alcalà 31, Madrid, Spain, curated by Juan Antonio Alvarez Reyes; Living Material, PAV (Park of Living Art ‐ Center of Contemporary Art), Turin, Italy, curated by Ivana Mulatero in collaboration with Nicolas Bourriaud; UNTO ‐ A critical food experience, Palazzo Lucarini Contemporary, Trevi, Italy, curated by Maurizio Coccia; Les Imprevus au jardin, residency and collective exhibition at Domaine de la Piece, Saint Gervais sur Mare, France; curated by Microclimax; 2006 o
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Biennale Adriatica di Arti Nuove, San Benedetto del Tronto, Italy, curated by Antonio Arevalo and Cristiano Seganfreddo Natura Morte e Resurrezione. Venticinque artisti internazionali verso un’ecologia della mente, Castel di Lama (AP), Italy, curated by Marisa Vescovo; 2005 o
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T1_Turin Triennial ‐ The Pantagruel Syndrome, Castello di Rivoli Contemporary Art Museum, Rivoli, curated by Carolyn Christov‐Bakargiev and Francesco Bonami; Io & Te, co‐production Istituto Svizzero of Rome, Swisse Cultural Center of Milan and Pro Helvetia in Zurich, viafarini, Milan, Italy, curated by Paolo Bianchi e Barbara Fässler; Chronos, il tempo nell’arte dall'epoca barocca all’età contemporanea, CeSAC (Experimental Center for Contemporary Art), Caraglio (Cn), Italy, curated by Andrea Busto, Alberto Cottino and Francesco Poli; Open air, Parma Botanic garden, Italy, curated by Marinella Paderni and Isotta Saccani; 2004 o
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Empowerment: Cantiere Italia, Villa Croce e Villa Bombrini Museum of Contemporary Art, Genova, Italy, curated by Matteo Fochessati, Marco Scotini and Sandra Solimano; Quotidiana 04, Municipal Museum “Al Santo”, Padova, Italy, curated by Virginia Baradel, Guido Bartorelli and Stefania Schiavon; Genius Loci, Parc of Racconigi Castle, Italy, curated by Guido Curto; 2003 o
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How Latitudes Become Forms – Art in a Global Age, Sandretto Re Rebaudengo Foundation, Turin, Italy, curated by Philippe Vergne; Critica in opera n°29 : Località, Contemporary Art Municipal Gallery of Castel San Pietro Terme (Bo), Italy, curated by a.titolo 2002 o
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ExIT. New geographies of Italian creativity, curated by Francesco Bonami (Andrea Caretto only) Big Social Game, Turin International Youth Art Biennial, curated by Pistoletto Foundation (Raffaella Spagna only) Leaded WORKSHOPS 2012 o Systemic Village, commissioned by GAM Educational Department ‐ Civic Gallery of Modern and Contemporary Art, Torino, Italy; 2011 o 1arbre_Populus nigra, commissioned by Musée Gassendi and Conseil Général des Alpes de Haute‐Provence, Digne‐les‐Bains, France; o Aperto 2011 – art on the border – commissioned by Cultural District of Valle Camonica, Italy 2010 o Human Microbiome_Workshop, commissioned by LACCA, Liceo Artistico Caravaggio Contemporary Art, Milano, Italy; o Prati Instabili – commissioned by Extraordinary Landscape Master (Master Paesaggi o
Straordinari), Polytechnic of Milan and NABA (New Academy of Fine Arts, Milan); Destinazioni d’Uso – commissioned by zerotremilacento Association, Frosinone, Italy, 2009/2010 2009 o
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Ogni Cosa in Ogni Cosa – commissioned by Castello di Rivoli Contemporary Art Museum and Polytechnic of Turin, (Dipartimento di Progettazione Architettonica, corso di Industrial Design) Ground Level ‐ commissioned by PAV, Parco of Living Art, Turin; part of Pedogenesis project; 2007 o
Jardin Esculenta Lazzaro 02 – reviving action on vegetable cultivated organisms ‐ commissioned by Musée Gassendi, for Lycée Pierre‐Gilles de Gennes, Digne‐les‐Bains, France o
COLONIZATION 01 ‐ Collective action of living and working in an interstitial space – commissioned by PAV, Parco of Living Art, Turin. Workshop in the construction site area of PAV; MOVIMENTO TERRA ‐ commissioned by Fondazione Lanfranco Baldi, Pelago (Fi), exhibition “Indiscipline” (curated by Matteo Chini) 2006 o
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AISTHESIS, commissioned by Center IRIS (Interdisciplinary Research Institute on Sustainability), University of Turin; ARGILLE E VILLAGGIO_FORMICAIO, commissioned by Munlab – Ecomuseum of Clay, Cambiano, Italy INTERVENTIONS and SPECIAL PROJECTS 2012 o Zone di Incandescenza, Torino MAD PRIDE, Collective Exhibition curated by andrea caretto/raffaella spagna, at Barriera association, Torino, Italy 2011 o Mutando Riposa_Picea X Larix, permanent public installation, Ponte di Legno, Italy, commissioned by Distretto Culturale Valle Camonica, Italy 2010 o Destinazioni d’Uso ‐ pratiche di sperimentazione artistica sugli usi del suolo, performance and permanent intervention in public space of Frosinone, curated by zerotremilacento association, Italy; 2007 o PERCORRENZA_02 ‐ azione collettiva di percorrenza del territorio dei Parchi del Po e della Collina torinese ‐ Monteu da Po. Promosso dall’Osservatorio del Paesaggio del Parco del Po e della collina torinese (curated by A. Caretto e R. Spagna); 2006 o PERCORRENZA_01 ‐ azione collettiva di percorrenza del territorio dei Parchi del Po e della Collina torinese – San Sebastiano da Po; commissioned by Osservatorio del Paesaggio del Parco del Po e della collina torinese, (curated by A. Caretto e R. Spagna); o ESCULENTA ‐ collective action of gathering and alimentary consumption of natural materials, installation and performance per Cooperative Piacenza 74 e Val d’Arda, Castello o
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di Rivalta (Pc) e Libreria Fahrenheit, Piazza Duomo, Piacenza. Curated by Antonino Bussandri; MP_Materie Prime Lipidi + NaOH + H2O, performance per Festival A‐more di Olocolors c/o Diamond, Turin, curated by a.titolo; SOTTERRA, installation and performance; Prove di Lancio, performance, per Villaggio mobile di azione artistica, ex discarica di Valle Manina, Asti. Curated by Lorenza Zambon and La Casa degli Alfieri; Recinto 04 e 05 – azione di recinzione di porzione di spazio/ actions of fencing portions of space, performance and installation, Pecetto (To) e Castel di Lama (AP) 2005 o
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Recinto 03 – azione di recinzione di porzione di spazio /actions of fencing portions of space, performance and installation; in collaboration with IRIS graduate students (Istituto di Ricerche Interdisciplinari sulla Sostenibilità), S. Anna di Bellino, Val Varaita (curated by A. Caretto e R. Spagna); MP (Materie Prime): Sativa 1. – Cerealia, performance e installazione, per Munlab, Ecomuseo dell’Argilla, Cambiano (To) (a cura di A. Caretto e R. Spagna); Villaggio_Formicaio, azione collettiva di scavo e autocostruzione di "tane” in terra cruda e materiale vegetale, performance and installation, commissioned by Munlab, Ecomuseo dell’Argilla, Cambiano (To), curated by A. Caretto e R. Spagna; 2004 o
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Ordinamenti, performance and installation. Giardini Fresia, Cuneo, curated by Zooart; Enclosure 02‐ actions of fencing portions of space; Castello di Racconigi Park, Turin. Exhibition “Genius Loci”, curated by Guido Curto; o
Enclosure 01‐ actions of fencing portions of space; Parco Lungo Fiume, Castel San Pietro Terme (Bo) – Exhibition “Località” (curated by a.titolo) 2003 Acknowledgements o 2nd classified for the International Sculpture Prize “Umberto Mastroianni”, Piemonte Region, Italy (2008) o Winner of ideas competition "Il paesaggio ritrovato. Idee di riassetto, riqualificazione e riuso per un'area di cave lungo il fiume Enza", Landscape Biennial, Reggio Emilia, Italy. In collaboration with studio LSB architects association, SEACOOP environmental consultants, eng. Nicola Quaranta, eng. Francesco Tresso (2007) Collaborations in Landscape Architecture Projects o Public assignment for the project of Senigallia waterfront park, Italy; in collaboration with SEACOOP environmental consultants, Aleph 3 architects and Michele Calia architect (2008) LECTURES 2013 o Colloque international : Les limites du vivant ‐ Hôtel de Ville de Versailles and INHA, Paris 2011 o “andrea caretto/raffaella Spagna, works 2002‐2011”, Academy of fine Arts, Digne‐les‐Bains, France o Akademie Schwerte, Germany, for the project “Arts and Culture reshaping urban life” 2010 “De la Transformation des Choses. Pratiques d’expérimentation artistique sur la relation sauvage/domestiqué”. Les Mardis de l’Art – MUDAM (Musée d’Art Moderne Grand‐Duc Jean), Luxemburg o
2009 o “Open Mind”, Assessorato alle Politiche Giovanili e Assessorato alle Politiche per o
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l’Integrazione della Città di Torino, Italy “Paesaggi Straordinari”, at Palazzo della Triennale di Milano, organised by Polytechnic of Milan and NABA, New Academy of Fine Arts, Milan; “Dal giardino in poi. Una conversazione dell’erba”, organised by Due Editori per il paesaggio; Villa San Remigio (Vb) “andrea caretto / raffaella Spagna, works 2002‐2008”, Ambrosetti Foundation, Palazzolo sull’Oglio, Italy 2007 o Brera Academy of Fine Arts, Milan, (prof. Renata Boero e Bruno Muzzolini) o Racconigi Castle, lecture for workshop “Genius Loci 2007” 2006 o University of Turin, IRIS graduated students (Interdisciplinary Research Institute on o
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Sustainability) University of Turin, part of the exhibition “Materiale / Immateriale” Polytechnic of Turin, Faculty of Architecture, (corso di Progetto Grafico e Virtuale) Sandretto Re Rebaudengo Foundation, Turin, Italy o
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BIBLIOGRAPHY Francesco Tedeschi “Il mondo ridisegnato. Arte e geografia nella contemporaneità” (2011) Vita e Pensiero editori, pp. 150‐153 Maria Cristina Tangorra (2011) “Il giardino e la pittura”, Angelo Pontecorboli editore, Firenze, pp. 179‐181 Ludovico Pratesi, "Dodici proposte fatte ad arte per uscire dalla crisi", Il Venerdì di Repubblica 1241 ‐ dicembre 2011, pp. 92‐93 Natalie Blank, Julie Ramos, “Ecoplasties : Art en environnement”,(2010), Manuella Editions, pp. 108‐117 AA.VV. “Green Platform. Arte, ecologia, sostenibilità”(2009), catalogo della mostra, ed. Moleskine, , pp. 26, 86‐
87, 137; AA.VV. "Eurasia. Dissolvenze geografiche dell'arte" (a cura di Achille Bonito Oliva), catalogo della mostra ‐ ed. Skira, Milano, 2008 AA.VV. “La sindrome di Pantagruel” (a cura di Carolyn Christov‐Bakargiev e Francesco Bonami), catalogo della mostra T1 ‐ Torino Triennale Tremusei, ed. Skira, 2005 “Dalla Land Art alla Bioarte”, atti del convegno internazionale di studi, a cura di Ivana Mulatero; Associazione culturale Parco d’Arte Vivente Torino. Hopefulmonster editore, 2007 “Energie Sottili della Materia”, (a cura di Marisa Vescovo), catalogo della mostra, Silvana Editoriale, 2007 AA.VV. “Foglie Scritte. Luoghi, arte, persone”; a cura di associazione culturale Asilo Bianco, Ameno (No), 2007 pp. 39‐51 Aperture n. 21 “Di che natura?”; Roma, 2006 “Natura: morte e resurrezione. Ventiquattro artisti internazionali verso un’ecologia della mente” , a cura di Associazione Culturale Seghetti Panichi, Ascoli Piceno, Otium edizioni, 2006 AA.VV.”Empowerment Cantiere Italia”, (a cura di M.Scotini), catalogo della mostra, Silvana Editoriale, 2004 AA.VV. “Ecosoft Art – Un parco in movimento”, catalogo della mostra, Eventi e Progetti, 2008 AA.VV.”Los limites del crescimiento” (a cura di Juan Antonio Alvarez Reyes), catalogo della mostra, Obra Social Caja Madrid, 2007 pp. 39‐41 e pp.109‐117 AA.VV. Paradossi dell’Amicizia – un dialogo sull’arte tra Svizzera e Italia, catalogo Electa, 2006 AA.VV. “ Dopopaesaggio ‐ Spazio sociale e ambiente naturale nell’arte contemporanea”, a cura di M. Scotini e L. Vecere, Regione Toscana (collana TRA ART Strumenti), 2006, pp. 170‐173; o
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Marcella Anglani, “Empowerment Cantiere Italia”, Segno n. 198, settembre/ottobre 2004, pp.46‐47; a.titolo, “Località, Critica in opera n. 29”, catalogo, Galleria Comunale di Arte Contemporanea di Castel San Pietro (Bo); a.titolo ( a cura di), Proposte XVI – Laboratorio 2: Pubblico‐Privato, catalogo, Regione Piemonte Assessorato alla Cultura, Torino, 2001; Virginia Baradel, Guido Bartorelli e Stefania Schiavon, Quotidiana 04, catalogo, Assessorato alla Cultura ed alle Politiche Giovanili del Comune di Padova; Chiara Bertola (a cura di), “FAME ‐ leggi in inglese, read in italian”, Fondazione Querini Stampalia ‐ Premio Querini Furla per l’Arte ‐ ed. 2003, Postmediabooks, Milano, 2003; Natalie Blank, Julie Ramos, “Ecoplasties : Art en environnement”, Manuella Editions, 2010 pp. 108‐117; Ilaria Bombelli (a cura di) “Focus Torino”, Flash Art n.248, ottobre‐novembre 2004; Ilaria Bonacossa (a cura di), ”How Latitudes Become Forms”, short guide, Fondazione Sandretto Re Rebaudengp, Torino, 2003; Francesco Bonami (a cura di), exIT. Nuove geografie della creatività italiana, catalogo, Fondazione Sandretto Re Rebaudengo ‐ Centro per l'Arte Contemporana, Torino; Mondadori, Milano 2002; P. Campiglio, “Le investigazioni naturalistiche di Andrea Caretto”, Titolo n. 40 dicembre 2002 – gennaio 2003; Paolo Campiglio, Angela Madesani, e Francesco Tedeschi (a cura di), Periscopio 2000, catalogo, Edizioni Mazzotta, Milano 2000; Valentina Costa, “Andrea Caretto e Raffaella Spagna”, Flash Art n. 256, febbr. – marzo 2006, pp. 114; Claudio Cravero et al., “Growing Out. Evoluzione di un parco in movimento”, Eventi & Progetti Editore, 2009, pp. 38‐45; Antonella Crippa, "Energie Naturali", Tema Celeste n. 90, 2002; Enrico Crispolti (a cura di), “Inchiesta sull’arte”, Electa, Milano 2008, pp. 229‐231; Guido Curto, “Presente, Futuro e Passato”, Flash Art n. 248, ottobre‐novembre 2004; Guido Curto, “Proposte in gioco”, TorinoSette de La Stampa, n. 662; 9‐15 novembre 2001; Guido Curto, “La discarica”, TorinoSette de La Stampa, n. 662; 9‐15 novembre 2001; Elena Di Raddo, recensione della mostra R‐Esitenze c/o Fabio Paris Art Gallery, Tema Celeste n° 102, 2004; Laura Fanti, “Natura Morte e Resurrezione”, EspoArte n° 43, 2006 Luigi Fassi, progetto Esculenta Lazzaro, I Love Museum, Padiglione Italia ‐ CeSAC, pp. 16‐17, Silvana Editoriale; Luigi Fassi, Chiara Leoni, Luca Beatrice, “La sindrome di Pantagruel”, Flash Art n. 256, febbr. – marzo 2006, pp. 100‐104; Marco Enrico Giacomelli, “Da Luciana L’arte è di casa”, Exibart.onpaper n.18, 2004 Anna Lagorio, “Un giardino nel museo” – Flash Art n. 259, Agosto‐Settembre 2006; Genius Loci, in Flash Art n. 247, agosto – settembre.2004; Daniela Lotta, “Località”, Flash Art n° 244 (Febbraio‐Marzo 2004), pag. 150; Ivana Mulatero (a cura di), "Dalla Land Art alla Bioarte", hopefulmonster, Torino, 2007 Ivana Mulatero, Anna d’Agostino, Bruna Genovesio, Giulia Vola (a cura di), “This turin dis”, Juliet 114, ottobre‐
novembre 2003; Marinella Paderni, “Paesaggio: corpo e energia nomadica”, in Exibart.on paper n. 38, marzo‐aprile 2007; “Assael, Caretto, Courbot Davila”, Arte e Critica 33 gennaio‐marzo 2003 Silvana Nota (a cura di) Centodiciotto artisti in biblioteca, catalogo, Edizioni d’Arte Fratelli Pozzo, Torino, 1995. Domenico Quaranta, “Caretto / Spagna ‐ Domesticazioni”, in Exibart, 19 dicembre 2005 http://www.exibart.com/notizia.asp/IDCategoria/46/IDNotizia/14831 Lucia Spadano, T1 Triennale Tre Musei, Segno, n. 205, nov. – dic. 2005, pp. 28‐3 Giovanna Uzzani, Alberto Salvadori (a cura di), “ Sensibili Energie”, catalogo della mostra, Edizioni Polistampa, 2010 pp. 52‐57 e 102‐107; Marisa Vescovo, “’900. Cento anni di creatività in Piemonte”, catalogo della mostra, SilvanaEditoriale, 2008, pp. 45, 204, 299; Marisa Vescovo, "Natura: morte e resurrezione", catalogo della mostra, Otium Edizioni, Acquaviva Picena, 2006 Marisa Vescovo, “Energia sottili della materia”, catalogo della mostra, SilvanaEditoriale, 2007, pp. 26‐27 o
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PUBLICAtIONS Raffaella Spagna (2011) Installazione Ambientale ‐ in Atlante delle Nature Urbane. Centouno voci per i paesaggi quotidiani, a cura di Maurizio Corrado e Anna Lambertini, Editrice Compositori, Bologna, 2011 Raffaella Spagna (2006) Parchi archeologici e industriali, in Edilizia per l’ambiente, sezione 02. Progettazione degli spazi verdi urbani, (a cura di Carlo Socco, Enrico Rivella, Alberto Mafiotti), UTET Edizioni, Turin Raffaella Spagna (2003) Catturare il tempo. L’uso della materia vegetale vivente nell’arte contemporanea, in Controspazio: “Progettare il paesaggio? Paesaggi dell’immaginazione”, n. 103, maggio ‐ giugno 2003, pp.31‐ 38 Raffaella Spagna (2003) “Scuole materne. Esperienza di progettazione partecipata”. In R. Baron, A. Masiero, S. Ranzato “Facciamo un giardino? Un’esperienza di progettazione partecipata nella scuola elementare di Pino torinese”, edizioni Tirrenia Stampatori, Turin Raffaella Spagna (2002) Database. Progetti di giardini e paesaggi. Pubblicato sul sito web dell’Osservatorio Città Sostenibili (Dipartimento Interateneo di Territorio della Facoltà di Architettura del Politecnico di Turin) www.ocs.polito.it/pubblicazioni/giardini/foto_2.htm Andrea Caretto – Raffaella Spagna E.S.C.U.L.E.N.T.A, azione collettiva di raccolta e consumo alimentare di materiali naturali, progetto pubblicato sul sito: www.esculenta.org Universitary Thesis Veronica Locatelli, “L’opera di Andrea Caretto e Raffaella Spagna nella prospettiva dei rapporti tra arte e natura”, Università Cattolica di Brescia, Facoltà di Lettere e Filosofia, Scienze e Tecnologie delle Arti e dello Spettacolo, AA. 2007‐2008 Lorenzo Mazza; “Creazione, mediazione e territorio sociale: materiali per un’indagine sull’arte partecipata in Toscana. Il progetto c.a.p. 55049 a Viareggio” Par. 7.4 “Workshop Movimento terra a Pelago (Florence) con Andrea Caretto e Raffaella Spagna”, pp. 115‐1123. Università degli studi di Bologna, Facoltà di Lettere e Filosofia, Coso di laurea in Scienze della Comunicazione, AA. 2005‐2006 Sara Costa; “Giuseppe Penone, il maestro del dialogo tra corpo e natura. Ricerche di prospettive penoniane delle prospettive recenti. Confronto e analogie con le ultime generazioni”. Cap. 14 “Andrea Caretto e Raffaella Spagna” pp. 84‐104 e 117‐126. Corso di laurea specialistica in storia dell’arte, Università degli studi Roma “La Sapienza”, AA. 2005‐2206 In Context:public.art.ecology - Food Edition
Artist residency and exhibition at Khoj International Artists' Association, New Delhi (India) – march/april 2012
While food composed the central theme of Caretto and Spagna's project only one dimension of their multifaceted
work related to its consumption. Instead, materials as cow dung, gold, silver, water, “super-grains”, soap and a street
vendor's cart became the ingredients of their concept, each representing a separate experience relating to food in a
broader sense. These materials were transformed into individual art pieces which were utilized together in two public
interventions. Caretto and Spagna's project illustrated the complex interrelations between people, materials,
organisms, ecosystems and society, pulling together all of the themes of the residency in a wonderfully understated
way.
Caretto and Spagna's vending cart became the stage for their project, serving as menagerie to their crafted objects,
mediator of commerce, and centrepiece to their performance. It also played into the social realities of street vendors
by becoming like them, however, the individualisation of their cart made gesture to the fact that they were playful
visitors in a world that they ultimately would not become a part of. The objects that Caretto and Spagna crafted
included:
- Cow dung casts of their bodies - in India, the valued commodity of cow dung is used as a cleaning agent2, fuel for
cooking fires, a building material and soil fertiliser (among other uses).
- “Silver Soap” –hand made soap with Neem Oil and real Silver Flakes, reference to the edible silver used in Indian
sweets as well as the necessity for habitual hand-washing (silver has antiseptic properties)
- “Golden Laddu”, gold-plated super-grains sweets- reference to the wealth of varieties of grains available in India
which are little-known in other parts of the world, as well as to the edible gold used in Indian sweets.
The use of pure gold and silver was also a way for giving back these metals to the earth (in reference with the
performance Zone de Sensibilité Picturale Immatérielle of Yves Klein) though the bodies of people.
- “Questions to the Yamuna River” - Drawings, dye on paper - highlighted the importance of the river in social and
ecological systems by engaging it as a living organism. The 'conversation' began by clearing a passageway through the
waste that encrusts the river's banks in order to scatter organic dyes over the water. Questions were then asked to the
river , such as “What is most disturbing for you amongst all that floats over the surface of your water?” They then
harvested the dyes patterns, which floated a reply, on sheets of paper.
These crafted objects were then placed into the cart and wheeled into a nearby street market where the artists
engaged the public by bartering their artworks in exchange for fruits and vegetables. On the night of the exhibition the
cart was placed into KHOJ's central courtyard where Caretto and Spagna transformed the food items that they had
acquired from the trade of their artwork into a meal which was served to guests ...
Ryan Bromley
top
center lef
> partial view of the exhibition
> Golden Laddu, 2012 - production of tipical indian sweets (laddu), made with popped amaranth and sugar
cane, covered with real gold leaves
bottom left > Silver Soap, 2012, production of soaps made with Neem Oil and real Silver Flakes
bottom right > Cow dung Bodies, 2012, we used cow dung as sculptural raw matter for making reproductions of parts of
our bodies (face, shoulder, feet, etc.).
Questions to the Yamuna River, 2012 - Performance on the occasion of «In Context: public.art.ecology - Food Edition I», artist residency and exhibition at Khoj International Artists' Association, New Delhi
(India)
Performance that took place along the Yamuna river in New Delhi, one of the most polluted river in the world. During the performance we asked 42 questions to the river pouring, for each question, a spoon of
natural pigments mixed with essential oils and linseed oil. With the floating color technique we produced 42 drawings, made by the river, that corresponded to the answers to our questions.
Questions to the Yamuna River, 2012 - Performance on the occasion of «In Context: public.art.ecology - Food Edition I», artist residency and exhibition at Khoj International Artists'
Association, New Delhi (India)
Some of the 42 drawings from the series Questions to the Yamuna River, 2012 deriving from the peformance on the Yamuna River on the occasion of «In Context: public.art.ecology Food Edition I», artist residency and exhibition at Khoj International Artists' Association, New Delhi (India)
Cow dung Bodies, 2012, cow dung,
We used cow dung as sculptural raw matter for making reproductions of parts of our bodies (face, shoulder, feet, etc.).
Delhi Hand Cart, 2012, performance in the streets of New Delhi, on the occasion of «In Context: public.art.ecology - Food Edition I», artist residency and exhibition at Khoj International Artists' Association,
New Delhi (India).
We bought and modified an hand cart, and then we used it in the street of Delhi to barter the artworks we produced during the residency with food (fruits and vegetable). On the night of the opening the cart
was placed into KHOJ's central courtyard and we transformed the food items that we had acquired from the trade of our artwork into a meal which was served to guests.
art 3 (Valence) et LE CAP (Saint-Fons)
Project «De la Vallée de la chimie au Port de Valence. Une expérience artistique à l’échelle du paysage»
andrea caretto / raffaella spagna
On ne peut pas descendre deux fois dans le même fleuve
exhibition at CAP (Centre d’Arts Plastiques), Saint-Fons, France
may - july 2011
Project supported by Europe FEDER (Région Rhône-Alpes – Plan Rhône), FNADT – Plan Rhône),
Région Rhône-Alpes. in partnership with Moly-Sabata artists residency – Fondation Albert Gleizes.
Ceromancy: 7 questions to the Rhône river, 2011, performance
Performance that took place along the Rhône riverside river just before the opening of the exhibition « On ne peut pas descendre deux fois dans le même fleuve”. During the performance
we asked 7 questions to the river pouring, for each question, some hot liquid wax in the river water. (Ceromancy is a divination system by dropping melted wax into water and interpreting
the figures made there)
Ceromancy: 7 questions to the Rhône river, 2011
Seven wax pieces resulting from the performance that took place along the Rhône riverside just before the opening of the exhibition. Each wax piece correspond to the answer to a question we
ask during the public performance.
Ceromancy: 7 questions to the Rhône river, 2011 - Installation for the exihibition «On ne peut pas descendre deux fois dans le même fleuve / You could not step twice into the same river»,
CAP - Centre D'Arts Plastiques, Saint-Fons, France (2011). Opening of the exhibition
Wood light-box, paraffin wax, 450x 50 x 85 cm
Production Art3 (Valence) and CAP (Saint-Fons)
Ceromancy: 7 questions to the Rhône river, 2011 - Installation for the exhibition «On ne peut pas descendre deux fois dans le même fleuve / You could not step twice into the same river», CAP - Centre
D'Arts Plastiques, Saint-Fons, France (2011)
Wood light-box, paraffin wax, 450x 50 x 85 cm
Production Art3 (Valence) and CAP (Saint-Fons)
Rectification trials_Floated wood wall, 2011 Installation for the exhibition «On ne peut pas descendre deux fois dans le même fleuve / You could not step twice into the same river», CAP - Centre D'Arts Plastiques,
Saint-Fons, France (2011) - Project «De la Vallée de la chimie au Port de Valence. Une expérience artistique à l'échelle du paysage» - Production Art3 (Valence) and CAP (Saint-Fons)
Floated wood, screws, 290 x 250 x 210 cm
Wall made of floated wood collected by the artists along the Rhône riverside. On one side of the wall the wood stick were cutted at the seme level of the pillar to form an architectural element, on the other side the
branches kept their natural form.
Being pebble, 2011 - Installation for the exhibition «On ne peut pas descendre deux fois dans le même fleuve / You could not step twice into the same river», CAP Centre D'Arts Plastiques, Saint-Fons, France (2011) – Production Art3 (Valence) and CAP (Saint-Fons)
Various artificial materials collected on the Rhône riversides - 120 x 90 cm
Assemblage of fragments of synthetic materials (polystyrene, polyurethane foam, etc.) collected by the artists along the Rhône riversides (France) during the
residency period. The pieces of artificial materials were eroded by the river in the same way as the natural pebbles and appear to be natural objects.
Beaver skin, 2011 - natural rubber, 105 x 80 cm - Exhibition «On ne peut pas descendre deux fois dans le même fleuve / You could not step twice into the same
river» - CAP - Centre D'Arts Plastiques, Saint Fons, France (2011) – Production Art3 (Valence) and CAP (Saint-Fons)
Natural rubber molud of the traces of beaver's teeth found on a tree trunk chipped by the beavers along the Rhône riversides, suspended from the roof.
Piombo e Galleggiante, 2011 - piombo, assemblaggio di palle raccolte sulle
rive del Rodano, filo di nylon
Sinker and Fishing float, 2011
leaded, assemblage of balls collected on the Rhône river banks, nylon string
Rectification trials_4 rectified branches, 2011
4 branches, photographic dossier
Production Art3 (Valence) and CAP (Saint-Fons)
We collected four tree branches from the Rhône and Po rivers banks and we tried to rectified them, cutting them in small pieces and then reassembling (with the glue) all the pieces from each single branch along a
straight line.
art 3 (Valence) et LE CAP (Saint-Fons)
Project «De la Vallée de la chimie au Port de Valence. Une expérience artistique à l’échelle du paysage» / Project «From
Chemical Valley to the Port of Valence, an art experience on a par with the landscape»
andrea caretto / raffaella spagna
Retour sans préavis /Back without Warning
Exhibition at art3, Valence, France
September - November 2011
Project supported by Europe FEDER (Région Rhône-Alpes – Plan Rhône), FNADT – Plan Rhône),
Région Rhône-Alpes. in partnership with Moly-Sabata artists residency – Fondation Albert Gleizes.
Back without Warning
From Chemical Valley to the Port of Valence, an art experience on a par with the landscape
In the wake of the first presentation, at the CAP in Saint-Fons, of the residency output of artists Raffaella Spagna & Andrea Caretto,
art3 is now welcoming the final stage of the project begun in autumn 2010. A number of encounters have added to their
interpretation of the highly varied landscape between Saint-Fons and Valence, and the artists have used samples taken directly
from the Rhône to create these visual forms reflecting its many-sided character.
This project sees them making contact with the river and using their presence on its territory to set up a relationship both physical
and conceptual. The resultant ephemeral works are part of a dynamic whose emphasis would seem to be on the testing out and
transmission of knowledge via a representational field (landscape) and its formal rendering (sculpture, images, performance).
Driven by the urge to « bring the river back » into the city that has been cut off from it, the artists have created for art3 a journey
intruded on by a near-imperceptible series of actions. Moving from the Rhone to the art3 exhibition space in Valence’s Old Town,
they have set out to provide a symbolic remedy for the radical break between the city and its river by building a fountain whose
water comes from the Rhone: a dynamic sculpture that will bring a breath of fresh air to the venue with its flowing movement and
its sound. Usually situated in the centre of town squares, fountains have played a social and political role, notably in the taming of
water. For the artists, « bringing back » the Rhône in the exhibition means blurring the boundary between indoors and outdoors,
between the domestication of water and its « natural » state. They have already tackled this duality in a number of earlier works.
A second segment has them reversing their approach by posting some of the many images collected during their residency on the
walls of the city. This « open air show » will be presented several times in the course of the exhibition, with the images suddenly
popping up as people turn a corner or walk down the street. Modified and fragmentary, they offer information about the city’s
history, past and present. Just as the river sometimes overflows its banks, these discreet black and white posters will slip into the
city as part of a poetic gesture of transformation and regeneration.
The artists have repeatedly stressed that our relationship with the river has so far been determined by the spirit of industrial
conquest that has shaped the Rhône and its setting. This relationship can now be seen as allied to observation of mute « invisible
forms » through which can be glimpsed a memory, a recollection waiting to be reactivated
Anne Giffon-Selle / Sylvie Vojik
Views from the exhibition «Retour sans préavis / Back without warning», art3 - Art Contemporain, Valence, France (2011)
A complex water system, fed with Rhône river water, innervate all the exhibition space, creating two interconnected installations concerning Rhône river domestication
and relation between Valence inhabitants and the Rhône river.
left and bottom right > Nineteen sluice gates fountain, 2011 - water from Rhône river, plastic boxes, submersed pump, hydraulic materials, transparent pipes, nylon
string, basin for garden pools
top right > Spring, 2011 - water from Rhône river, molten lead poured in water, salad bowl, nylon string
Production Art3 (Valence) and CAP (Saint-Fons) - more infos at www.art-3.org/projets-territoire/aaaart3-valence-et-le-cap-de-saint-fons-invite.php
Performance with a group of children from the primary schools of Valence, that took place on the opening day of the exhibition «Retour sans préavis / Back without warning», art3 - Art
Contemporain, Valence (France), 22th september 2011
We transported collectively 250 litres of river Rhône water, from the riverside to the art center, needed to supply the installation «Nineteen sluice gates fountain» in the exhibition.
Nineteen sluice gates fountain, 2011
Water from Rhône river, plastic boxes, submersed pump, hydraulic materials, transparent pipes,
nylon string, basin for garden pools.
Exhibition «Retour sans préavis / Back without warning», art3 - Art Contemporain, Valence, France (2011)
photo by Anna Brixner
Flyers distributed through a viral leafleting campaign in the city of Valence the days before the opening of the exhibition «Retour sans préavis / Back without warning»
Digue du Rhône, Valence (10-03-2011), Île de la Goulue Gervans (28-11-2010); Ecluse de Pierre Bénite (30-11-2010); carte postale de Valence © Collection Guy Dürrenmatt – archive Maison du Fleuve Rhône,
Givors; Île de la Table Ronde, Vernaison (22-11-2010); Tunnel de Valence (10-03-2011); Image extraite du film « Les Pirates du Rhône », Jean Aurenche, Pierre Charbonnier, 1933 – archive Maison du Fleuve
Rhône, Givors; Grottes Mandrin, Plateau de Lautagne, Valence (16-03-2011).
Tout pour l’eau, 2011
Light-box installed in the public space (tunnel Valence, France , powered by a little solar photovoltaic panel - 40 x 30 cm
Tout pour l’eau, 2011
Light-box installed in the public space (tunnel Avenue de la Cométe, Valence (France), powered by a little solar photovoltaic panel - 40 x 30 cm
day-time (left) and night-time(right)
We took a picture of a neon sign of a pools accessories shop sited near Sablons (France) and installed it in a light-box at the entrance of the tunnel in Avenue de la Cométe, Valence
(France), nowadays the only way of connection between downtown Valence and the Rhône riverside; indeed the highway A7, built in the ‘60 to connect Lyon to Marseille, constitute a
barrier that completely separate the city from the river.
andrea caretto / raffaella spagna
DE LA TRANSFORMATION DES CHOSES
CAIRN (Centre d'Art Informel de Recherche sur la Nature), Digne-les-Bains (France)
Commissariat d'exposition: Nadine Gomez-Passamar; textes de Jean-Denis Frater
juin/septembre 2008
“De le Transformation des Choses” - Mostra al CAIRN (Centre d'Art Informel de Recherche sur la Nature), Digne-les-Bains (France), 2008
Veduta della mostra
Renaissance Source, 2008
Installation for the exhibition “De le Transformation des Choses” CAIRN (Centre d'Art Informel de Recherche sur la Nature), Digne-les-Bains (France) - Wood,
mirrors, plastic sheet, irrigation pipes, plastic salad bowl - cm 400x120x160
Fountain realized channeling water from the source of Saint Benoit that gush out near the CAIRN Art Center. Water is conveyed into the exhibition hall by
transparent pipes to a fountain with four jets created assembling poors materials (raw woods, mirrors, plastic sheet, plastic salad bowl). The whole water
system works by gravit: water springing from the fountain is collected by a transparent plastic sheet and conveyed in a discharge tube that run through a wall
of the exhibition hall to an external area where it forms another little fountain.
Evaporitic Landscape, 2008
Installation at the exhibition “De le Transformation des Choses” CAIRN (Centre d'Art Informel de Recherche sur la Nature), Digne-les-Bains
(France) - Iron, glass, salt, oversatured salt water well of Moriez (Haute Provence, France). cm 110x110x110
Installation realized with rose salt resulting from the boiling of more than 200 liter of salted water, deriving from the salt water well of
Moriez (Haute Provence, France). During the time of the exhibition a multitude of cubic salt crystals precipitate from the oversaturated salt
water over the bottom of the basin colonizing all the surface of the basin walls.
FORMS OF EROSION 01 and 02, Malefiance, 2008 - gypsum cm 64x60x18 and cm 115 x 60 x 45 - Exhibition “De le Transformation des Choses” , CAIRN Art Center (Centre d'Art
Informel de Recherche sur la Nature), Digne-les-Bains (France)
Replica of two erosion surfaces outcropping in the gypsum quarry of Malèfiance (La Robine sur Galabre, Alpes-de-Haute-Provence), made of plaster obtained from the transformation
(firing, hand milling), made by the artists themselves, of the mineral gypsum coming from the quarry of Malèfience.
more infos at: www.esculenta.org/cairn.pdf
Gypsums MA01AM, MA03AM, SG03AM, SG04AM,TH02AM. CH01AM, 2008 - Installation for the Exhibition “De le Transformation des Choses” , CAIRN Art Center (Centre d'Art Informel de Recherche sur la Nature),
Digne-les-Bains (France)
Gathering of Gypsum blocks in ancient quarries > moulding of the blocks > gypsum blocks are cooked in the kitchen owen > blocks are milled with an hand millstone > Plaster Powder > Plaster Powder + H2O (transformation
process produces an increase of total volume) > Plaster poured in the moulds of original gypsum blocks + surplus > surplus of matter poured in a parallelepiped mould = 1 gypsum block > 2 plaster objects
more infos at: www.esculenta.org/cairn.pdf
P E D O G E N E S I S
PAV (Park of Living Art), Turin, Italy - 2009-2012
PEDOGENESIS is an art project developed by Andrea Caretto and Raffaella Spagna for the PAV – Parco d'Arte
Vivente (Park of Living Art) Contemporary Art Centre in Turin. Pedogenesis, from the Greek words πέδον,
«soil» and γένεσις, «birth», enquires the Soil, meeting point par excellence where geosphere, hydrosphere,
atmosphere and biosphere meet each other. Here organic and inorganic matter come into contact creating
metamorphic processes involving the different states of matter, solid, liquid and gaseous. Pedogenesis is a
system consisting of two strictly connected installations: the “Trasmutatore di Sostanza Organica” (Organic
matter transmuter), an organic matter transformer and the “OrtoArca” (Vegetable Garden-Ark), objects that
function as catalyzers for broad-spectrum relations among people, places and matter.
The installation “Trasmuter of Organic Matter” is a sort of composter consisting of a
ring shaped tunnel greenhouse made of zinc-coated iron where a group of citizens
from the surrounding area leave their organic waste. People participating to the
project receive, for each bag of organic waste left in the Transformer, some food and
a new biodegradable bag for organic waste.
In this way food and organic waste are put on the same level since both are made of
the same mutating matter.
The transformation from organic waste to compost takes place in the Transformer;
later the compost will be used to fertilize the soil of the Vegetable Garden-Ark, a
tunnel greenhouse made of zinc-coated iron and turned upside down, delimiting a
garden and a public area where people can rest on benches.
The tunnel greenhouse is a very common element of the rural landscape in the
Pianura Padana. This structure excludes the external environment, creating an
induced microclimate, however, when turned upside down, the tunnel greenhouse
becomes as a sort of big crib sunk in the earth, ready to welcome whatever comes
from the outside.
The portion of land delimited by the “Vegetable Garden-Ark”, which hangs in balance
between public and private dimension, was assigned to a small group of citizen from
Turin through a public lottery called «Estrazione del Lotto». Over 80 people, among
which several groups of young people, participated to this public contest.
The winner of the drawing had the opportunity to cultivate, for at least two years,
those piece of land to produce food. However, anybody can visit the Vegetable
Garden-Ark since it is situated in a public area within the PAV. Visitors can actually sit
on the benches located in the “Vegetable Garden Ark”, close to the cultivated area.
The project started in 2009 and ever since a small group of residents of PAV neighborhood regularly takes their organic waste to the installation/composter. For some of
them this is only a way to obtain free food; others instead participate to the project because it makes them feel part of a complex system, a transformation cycle in which
they are protagonist.
After more than two years, The “Vegetable GardenArk” is still active today.
This space of relations and confrontation revealed also some critical aspects that stimulate many reflections about the problematic nature of the coexistence of public
and private spheres.
Trasmuter of Organic Matter_Opening - 18th june 2009
OrtoArca (Vegetable Garden Ark)_construction, July 2009
Pedogenesis_VegetableGardenArk - Lotto Draw
Park of Living Art, Turin, Italy -2nd October 2009
photos by Stefano Serra
PEDOGENESIS_OrtoArca, September 2010
PEDOGENESIS_OrtoArca, September 2010
PEDOGENESIS_OrtoArca, October-November 2011
Artists
Michael Beutler
Simone Decker
Ann Veronica Janssens
Zilvinas Kempinas
Peter Kogler
Vincent Lamouroux
Raffaella Spagna & Andrea Caretto
Curators
Marie-Noëlle Farcy
Christophe Gallois
Enrico Lunghi
Clément Minighetti
MUDAM Luxembourg (Musée d'Art Moderne Grand-Duc Jean) has invited eight
artists to occupy the museum with projects specifically conceived for the occasion.
Through their diversity, the installations enhance different approaches to the
notion of space. Physical intervention to the architecture of Ieoh Ming Pei, game of
construction and deconstruction, relating the interior to the exterior of the
building, immersive environment, installation disorientating the viewer, response
to the institutional context...
Low energy transformations – Practices of experimentation on the origin of forms, 2010 - Installation for the exhibition «Sketches of Space», MUDAM, Musée d'Art Moderne GrandDuc Jean, Luxembourg, june / september 2010 - Production MUDAM Luxembourg.
Partial view of the installation.
The form is fully explicable in terms of design that gives rise to it? We are working on the idea that the form of an object could be intended as the expression of a "relational field" in which
the artist is only one of the agent factors. We were interested in creating "relational objects" that originate from our confrontation with different elements; in this work we investigate
the relationships with minerals, rocks and plants, experimenting directly and physically the relationship with them, analyzing their forms, pointing the attention on the forces field in
which these forms are generated.
For the exhibition Sketches of Space we created a link between the protected space of the museum and the exterior environment exposed to the elements, by bringing rainwater from
the roof of the museum to the exhibition hall thanks to a complex pipes system. Rainwater fallen during the exhibition was collected in a large water basin, the "Renaissance
Greenhouse-Fountain" (on the right of the image) . From here, water was pumped through a black irrigation pipe and micro- drippers to "feed" different elements of the installation.
More infos: www.esculenta.org/Mudam.pdf
For Sketches of Space, Raffaella Spagna and Andrea Caretto present an
installation conceived as a network of "islands", mainly concerning
morphogenesis. They create a link between the protected space of the
museum and the exterior environment exposed to the elements, by bringing
rainwater from the roof to the level of the “islands”, little installations that
provide shelter for living organisms.
The installation is a complex water system, suspended in the air, that feeds
several interconnected «islands» containing various natural elements
belonging to the mineral, vegetal and animal Kindom. A pump dipped in a water
basin (an iron drinking trough for animals) pumps water to each island through
transparent pipes and micro-irrigation drippers. The water is then conveyed by
funnels into a suspended discharge open channel and return back by gravity to
the main water basin. Even if it seems to be an high-tech system, actually it’s
created assembling very common and poor materials. The whole installation
constitutes a kind of hypertextual narration which talks about phenomena of
growth and transformation of the matter, from inorganic to organic and viceversa. All the elements of the installation are in relationship to each other in a
very complex, delicate and precarious equilibrium; anyway all this complexity
seems ridiculous and almost grotesque if compared with a real natural
ecosystem.
Here are duckweeds, which are equally well able to prevent the growth of other
organisms while covering the entire pond surface, and are also useful as fodder.
Further on, a revitalised cabbage evidences the astonishing ability of some
plants to “re-establish themselves” entirely after being cut back to the “heart”.
However, the new growth more closely resembles the original plant than a
standardised product of the food industry. Elsewhere, freshwater molluscs
demonstrate their ecological function of filtering water, while taking from it
their own food and the materials that construct their bivalve cabin. The growth
of salt crystals is one example of inorganic morphogenesis, and their regular
forms seem to have been produced by an artisan’s dexterity, while the
transformation of a rock of gypsum into a more voluminous block witnesses the
direct intervention of the two artists.
RENAISSANCE GREENHOUSE-FOUNTAIN, 2010
Galvanized iron agricultural greenhouse, rainwater collection from the Mudam roof, plastic cloth in PE, irrigation pipes, submerged pump
Installation LOW ENERGY TRANSFORMATIONS – Practices of experimentation on the origin of forms for the exhibition «Sketches of Space», MUDAM, Musée d'Art Moderne Grand-Duc Jean,
Luxembourg, june / september 2010.
SEAT, 2010
Raw bricks in clay from Carena Furnace, Cambiano (To), Italy, with the imprints of the artists’s body. Variable dimensions
Installation LOW ENERGY TRANSFORMATIONS – Practices of experimentation on the origin of forms for the exhibition «Sketches of Space»,
MUDAM, Musée d'Art Moderne Grand-Duc Jean, Luxembourg, june / september 2010.
VEGETAL STAINED GLASS_ Lemna minor, 2010
Galvanized iron industrial scaffold, glass basin, water lentils (Lemna minor),
lamps for indoor cultivation, ventilators
cm 170x60
Installation LOW ENERGY TRANSFORMATIONS
Practices of experimentation on the origin of forms
for the exhibition «Sketches of Space», MUDAM, Musée d'Art Moderne Grand-Duc Jean,
Luxembourg, june / september 2010.
EVAPORITIC STAINED GLASS, 2010
Glass basin, window, sea salt, oversatured solution, heating base, cm 234x125.
Crystal growth over the glass after 2 months of exhibition
Installation LOW ENERGY TRANSFORMATIONS – Practices of experimentation on the origin of forms for the exhibition «Sketches of Space», MUDAM, Musée d'Art Moderne Grand-Duc Jean, Luxembourg,
june / september 2010.
GYPSUM > PLASTER - Essays of transformation 03
Block of mineral chalk from the mine of Moncucco Torinese (Italy) transformed into plaster by the artists: cast of the original block + surplus of volume resulting from the transformation from
gypsum into plaster + residue of casting process - Variable dimensions
Installation LOW ENERGY TRANSFORMATIONS - Practices of experimentation on the origin of forms for the exhibition «Sketches of Space»
MUDAM, Musée d'Art Moderne Grand-Duc Jean, Luxembourg, june / september 2010.
MELTED ROCKS, 2010
Pebbles of river melted with blowtorch
Installation LOW ENERGY TRANSFORMATIONS – Practices of experimentation on the origin of forms for the exhibition «Sketches of Space», MUDAM, Musée d'Art Moderne Grand-Duc Jean,
Luxembourg, june / september 2010.
Food Islands, 2008 - Installation for the exhibition «O», RURART Art Center, Rouillé (Poitiers), France.
Water, iron drinking trough for animals, submersed pump, transparent polyethylene, oenological transparent pipes, micro-irrigation drippers, plastic Christmas decorations, plastic glasses, aquatic plants,
rocks (radiolarite and coal), bivalve molluscs, carnivorous plants, sod with wild plants - Variable dimensions.
Food Islands is a complex water irrigation system, suspended in the air, that feeds several interconnected little islands containing various natural elements belonging to the mineral, vegetal and animal Kindom. A
pump dipped in a water basin (an iron drinking trough for animals) pumps water to each island through transparent pipes and micro-irrigation drippers. The water is then conveyed by funnels into a suspended
discharge open channel and return back by gravity to the main water basin. Even if it seems to be an high-tech system, actually it’s created assembling very common and poor materials. The whole installation
constitutes a kind of hypertextual narration which talks about phenomena of growth and transformation of the matter, from inorganic to organic and vice-versa. All the elements of the installation are in relationship
to each other in a very complex, delicate and precarious equilibrium; anyway all this complexity seems ridiculous and almost grotesque if compared with a real natural ecosystem.
more infos: www.esculenta.org/Rurart.pdf
Food Islands, 2008
Details of the installation
Exhibition “O”, Rurart Art Center, Rouillé, France
Food Islands, 2008
detail of the installation: coal block (anthracite) from the quarry of Plaisance
Exposition “O”, Rurart Art Center, Rouillé, France
Food Islands, 2008
detail of the installation: Carnivorous plants island - truk of Chestnut tree (Castanea
sativa), carnivorous plants (gen. Nepentes, Sarracenia, Drosera,Pinguicola sp.) and local
mosses, expanded clay
Exhibition “O”, Rurart Art Center, Rouillé, France
Food Islands, 2008
detail of the installation: plastic container, water, water lentils (Lemna minor)
Exhibition “O”, Rurart Art Center, Rouillé, France
andrea caretto / raffaella spagna
SATIVA (2008)
www.esculenta.org
Production MART
Museum of modern and contemporary art,
Rovereto, Italy
foto: Succo d’era d’orzo / barley grass juice
SATIVA, 2008, MART (Contemporary and Modern Art Museum of Trento and Rovereto), 2008 installation for the exhibition «Eurasia. Geographic cross-overs in art». Production
MART - Barley grass fiber, clay, straw, photo on aluminium.
The installation comprises three elements: Hordeumscape_ Susa Valley, Seats and Inverted greenhouse. Hordeumscape_Val di Susa is a landscape made from barley grass fibre
and reproduces the surface of the Susa Valley region (in Piedmont, Italy) like a skin. The valley is divided into Lower, Mid and Upper Valley, each characterized by different social,
political and economic conditions. For a few months, starting at the beginning of 2008, the two artists transformed their studio-home into a place in which to cultivate barley
(Hordeum vulgare): every available horizontal space was covered with soil and barley seed, and in time produced a dense grassy covering. The barley 'fields' were progressively
harvested and subsequently crushed, producing a dense green juice consumed as a beverage by the two artists. The grass juice of the cereals (wheat, barley…) is defined
“superfood”; indeed, it contains all the amino acids essential for human life, together with a large quantity of chlorophyll and vitamins, elements that progressively purified the
blood of the two artists during the months in which the project was under way. The fiber used for the construction of the Hordeumscape_Susa Valley is the waste from this process
and constitutes the tangible counterpart to the organic (chemical and physical) transformation of the quality of the blood and bodies of the two artists. The remains of this
landscape rebuilt in memory – similar to the faeces of a herbivore that grazes solely on grass –silently recount the events of a territory undergoing strong social tensions because
of divergent interests between the inhabitants and the authorities, a place for which every choice and future decision should be deferred until a profound individual and collective
renewal. The barley grass landscape is flanked by two other elements evoking different levels of relationship with the territory: seats of earth and straw, on which the public is
invited to sit, and a photographic print showing an agricultural tunnel-shaped greenhouse overturned in a clay quarry for the production of bricks.
more infos: www.esculenta.org/Eurasia.pdf
Serra rovesciata, 2008
serra agricola a tunnel in ferro; cava di argilla della fornace di Cambiano
Inverted greenhouse, 2008
iron agricultural greenhouse; clay quarry at the Cambiano furnace
S E M I N A > C O L T I V A Z I O N E > C R E S C I T A > M I E T I T U R A > S P R E M I T U R A > C O N S U M O A L I M E N T A R E > N U T R I M E N T O > S C A R T O > H O R D E U M S C A P E
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H O R D E U M S C A P E
Sedute, 2008 / Seats, 2008
blocchi di terra cruda e paglia / clay and straw bricks
Cerealia – Hordeumscape_Val di Susa, 2008 / Cerealia Hordeumscape_Susa Valley, 2008
Fibra di erba d’orzo, residuo del consumo alimentare di 27,7 kg di succo di erba d’orzo (Hordeum vulgare) bevuto dagli artisti
Barley grass fiber, residue from the alimentary consumption of 27,7 kg of barley (Hordeum vulgare) grass juice drunk by the artists
CS_Collezione Sistemica, 2012, installation at GAM (Modern and
Contemporary Art Gallery, Turin, Italy)
Wood, transparent PVC sheet, artworks of different contemporary artists.
left > the wood structure containing the artworks of the Systemic Collection
bottom left > borrowing of an artwork of the Systemic Collection to a visitor of the exhibition
botton right > Claudia Losi work installed at home by a person who borrowed it during the
exhibition.
Called CS_ Collezione Sistemica (i.e. SC_ Systemic Collection) and structured
as a dynamic interaction between the different components of contemporary
art world – in this case the public, artists, collectors and museum – Andrea
Caretto and Raffaella Spagna’s project is aimed at conjuring critical
speculation on the art system and how it works in terms of systemic relation
between all its parts.
The heart of Vitrine fifth instalment is a process of relation and exchange
between GAM public and a collection of artworks by different contemporary
artists organized and presented by Caretto and Spagna. The works, displayed
and preserved in a special wood structure made for the occasion, form the
growing core of a private collection owned by Caretto and Spagna, created
with the intent of stimulating an interaction with the public through artistic
experiences of different kind and sensitivity. With different media and
techniques, the works in the collection all have one thing in common, i.e.
they are condensations of forces and processes activated by artists during
their creation. Each work is accompanied by a conceptual text focusing on
the story and context in which it was conceived, and they are all made
available to the public by the artists, who on a specific request shall remove
them from the museum display to lend them individually to those who ask
for them. Therefore the public becomes the direct protagonist of the
information flow triggered by this exhibition relational device, by raising
responsibility and participant awareness toward the works, at the same time
redefining the exhibition contents, accordingly to works coming in and going
out of GAM space.
Luigi Fassi
20 JUIN / 28 SEPTEMBRE
DE LA TRANSFORMATION DES CHOSES
ANDREA CARETTO / RAFFAELLA SPAGNA
Mousse polyéther «érodée» par les intempéries
Artefact trouvé
Carrière de Maléfiance
Andrea Caretto / Raffaella Spagna
DE LA TRANSFORMATION DES CHOSES
CAIRN centre d’art
20 juin - 28 septembre
L’un des aspects singuliers du CAIRN, en tant que lieu de production et de diffusion
de l’art contemporain, est la proposition faite aux artistes de venir séjourner à Digne,
au sein de ce formidable territoire qu’est la Réserve Géologique de Haute-Provence
afin de nourrir leur travail et de construire des passerelles entre leur pratique et cet
espace scientifique et humain de 230 000 Ha dédié aux sciences de la terre et, plus
largement, aux problématiques environnementales.
Le travail d’Andrea Caretto et Raffaella Spagna est intimement lié aux rapports
unissant l’être humain à son environnement. Ils utilisent le langage et les instruments
des sciences (biologie, anthropologie, ...) pour créer des installations centrées sur
leur passion de la collecte, de la transformation, de la classification et de l’étude
d’éléments naturels. A Digne, ils se sont emparés avec une grande justesse et
un enthousiasme certain des paysages de la Réserve Géologique et du rapport
socio-historique de l’homme avec le minéral, au cœur de ce territoire où l’action de
l’érosion est intimement liée à l’action jouée par l’homme dans la transformation du
paysage. Comme en témoignent les anciennes carrières de gypse dans lesquelles
Andrea Caretto et Raffaella Spagna ont mené une partie de leurs recherches.
L’exposition De la transformation des choses s’articule autour de trois éléments
principaux identifiés et collectés par Andrea Caretto et Raffaella Spagna : le gypse,
la marne calcaire et le sel de la source salée de Moriez. L’eau joue également un
rôle essentiel, tant sur le plan physique que symbolique. Ces éléments fonctionnent
comme autant de matières premières qui vont faire l’objet d’un ensemble
d’expérimentations, de transformations, de changement d’états tenant à la fois de
la sculpture, de l’artisanat, voir de l’alchimie. D’ailleurs Andrea Caretto et Raffaella
Spagna nomment «M.P. Matières Premières» un ensemble de projets qui traitent
de la frontière entre l’état de nature d’un matériau et le moment de sa mutation en
matière première destinée à satisfaire un besoin humain comme se nourrir ou se
vêtir par exemple. Cette exposition est aussi pensée par les artistes comme une
réflexion sur le temps à travers l’idée de travail, d’effort et d’énergie que nécessite
la mutation de la matière brute en objet artistique.
Vue de la Bléone depuis la résidence d’artistes du CAIRN
Musée-Promenade
Digne-les-Bains
L’EAU
L’eau et sa présence physique traverse toute l’exposition comme un lien, un liant, entre les
différents éléments.
L’eau, c’est celle du cours de la Bléone et de ses affluents qui irriguent le territoire nord de
la Réserve Géologique.
L’eau, c’est aussi celle du puits d’eau salée de Moriez qui évoque irrémédiablement les
quelques 200 Ma qui nous séparent des rivages de la mer qui baignait alors la région et
qui abritait toutes les espèces dont les représentants fossiles constituent aujourd’hui le
patrimoine d’exception de la Réserve Géologique. Dans une toute autre temporalité, cette
eau salée renvoie également à la présence de la Méditerranée dont on imagine la Baie des
Anges au bout de la mythique ligne de chemin de fer du Train des Pignes dont les voies
passent à proximité de la source salée. Ce train qu’Andrea Caretto et Raffaella Spagna ont
emprunté. Ce trajet vers et depuis la mer qu’ils ont filmé, comme la quête d’une autre route
du sel, comme un pied de nez à cette disposition légale qui interdisait de transporter de l’eau
de mer.
L’eau, c’est encore celle que les artistes vont ajouter au gypse pour obtenir du plâtre, celle
ajoutée à la marne pour tenter d’obtenir du ciment. C’est l’eau de tous les jours, celle du
labeur quotidien de la gâchée de plâtre. C’est la molécule H2O présente partout et pourtant
souvent invisible comme ici dans les moulages. Ce qui compte ici ce sont les propriétés
physico-chimiques de l’eau comme sa capillarité, son évaporation ou son pouvoir solvant.
Mais, pour Andrea Caretto et Raffaella Spagna, l’eau c’est surtout celle de la source
Saint-Benoît qui façonne le paysage du Musée-Promenade où est implantée la galerie
du CAIRN. En faisant littéralement entrer la source dans la galerie les artistes effacent la
frontière entre le parc et le centre d’art comme lieu sanctuaire de l’art, refermé sur lui-même.
Cette perméabilité entre le dedans et le dehors, entre le naturel et le culturel, est au cœur de
la recherche des deux artistes italiens et traverse bon nombre de leurs projets. En utilisant le
motif de la fontaine ils renvoient aussi à l’image de l’eau comme source de vie. La fontaine,
présente partout au cœur des villages, témoigne du rôle social - voir sociétal - fondamental
que joue l’eau d’un point de vue ethnologique et sociologique. Cette installation - éphémère
par nature - impose par ailleurs une réflexion sur la fragilité de la ressource en eau, enjeu
important du développement soutenable des territoires.
LE GYPSE
minéral composé de sulfate hydraté de calcium de formule CaSO4, 2(H2O) ainsi que d’une roche
évaporitique. Le nom vient du latin gypsum, emprunté au grec gypsos: de même sens. Le gypse peut
cristalliser sous des formes très diverses. Les formes les plus connues sont les cristaux en pied d’alouette, ou
le gypse saccharoïde (à aspect de sucre).
Pour Andrea Caretto et Raffaella Spagna les différents sites d’anciennes carrières
de gypse visitées fonctionnent comme le paradigme de leur résidence et par
extension d’une grande partie de leur travail. Le gypse était largement exploité
autour de Digne pour la fabrication d’un plâtre destiné à réaliser des décors de
gypseries.
Andrea Caretto et Raffaella Spagna envisagent la carrière, lieu de nature transformé
par l’homme, comme l’espace de l’interdépendance de l’homme avec les choses.
Vierge de végétation, la carrière permet de rendre encore plus tangible le travail de
l’érosion et de tisser un lien sous-jacent entre la géologie et l’histoire contemporaine
de la planète au moment où l’érosion liée à l’activité humaine est de loin supérieur à
celle liée aux phénomènes naturels. La carrière devient pour les artistes le symbole
de ce qu’ils nomment une «géologie appliquée» à la frontière entre paysage et
friche artisanale, entre nature et anthropisation.
A partir de quatre anciennes exploitations de gypse, Andrea Caretto et Raffaella
Spagna ont mis en place un protocole artistique complexe. Il ont, dans un premier
temps, collecté des morceaux de gypse sur les différents sites. Chaque pierre est
photographiée puis transformée en plâtre qui va ensuite être moulé en forme de
parallélépipède, codifié en fonction du lieu de provenance. Chaque pierre est ainsi
«rectifiée» par ce geste artistique qui se veut une sorte de degré 0 de la sculpture.
L’objet qui apparaît sur les photographies n’existe alors plus que par la matière qui
le composait. Ce geste, cette transmutation, évoque une pratique quasi alchimique
tout aussi tangible que conceptuelle. L’échec fait partie intégrante du processus de
création comme en témoignent les plâtres ratés posés sur le sol.
Cette mutation va encore plus loin avec les grands moulages de blocs de gypse de
la carrière de Maléfiance. Les artistes vont choisir - selon des critères esthétiques un bloc dont on va prendre l’empreinte pour le restituer, ailleurs, en plâtre de gypse.
Transformé par lui-même et en lui-même par un simple changement de structure
moléculaire, l’objet devient polysémique: à la fois sculpture, copie, et manifeste.
LE SEL
la halite (du grec hals: sel et lithos: pierre) est un minéral, composé de chlorure de sodium de formule
NaCl. On l’appelle aussi sel gemme. Il est incolore dans sa forme cristallisée (cubique), mais la présence
d’impuretés lui donne parfois une couleur différente. La halite est un composant de nombreuses roches
évaporitiques, provenant de l’évaporation de lacs ou mers salées. La halite se présente sous la forme d’un
réseau cubique d’ions hexacoordonnés, c’est-à-dire que chaque anion est entouré de façon octaédrique
par six cations et vice-versa.
Les vallées de l’Asse de Clumanc et de l’Asse de Moriez, en amont de Barrême,
ont la particularité de posséder plusieurs puits d’eau salée. L’un appartient à la
commune de Tartonne, l’autre à celle de Moriez (où une exploitation du sel est déjà
en place au néolithique). C’est ce dernier, dont l’eau a la plus forte concentration en
sel, qu’Andrea Caretto et Raffaella Spagna ont choisi d’investir. Ces deux gisements
d’eau salée aujourd’hui inutilisés ont constitué pendant des siècles une ressource
précieuse et très convoitée. Dans les régions éloignées de la mer, la présence
de sel, indispensable à la vie humaine et animale était un atout considérable,
c’est pourquoi les habitants ont toujours cherché à exploiter cette ressource.
Sous l’Ancien Régime, les responsables de ces exploitations locales rentrèrent
rapidement en conflit avec les souverains détenteurs du monopole du sel.
C’est dans cette historicité que s’inscrit le travail d’Andrea Caretto et Raffaella
Spagna sur le sel - qu’ils utilisent pour la première fois. A travers leur «paysage»
de sel - qui a nécessité le transport par leur soin et la transformation de plusieurs
centaines de litres d’eau - ils proposent une relation renouvelée avec un produit
banal du quotidien. Une relation qui engage physiquement leurs corps à travers
l’effort déployé pour produire, au sens artisanal, un objet à partir d’une ressource.
Dans la plupart des processus créatifs d’Andrea Caretto et Raffaella Spagna, il
s’agit de tendre vers une prise de conscience de la mesure des choses. Il s’agit
de comprendre et de mettre à l’épreuve l’ensemble des glissements physiques,
sémantiques, historiques et culturels qui transforment un ensemble de données
brutes (ici la nature géologique du sel gemme dissout dans l’eau) en un concept
universel et vecteur de civilisation (une recherche du mot «sel» sur le moteur de
recherche Google retourne plus de 72 millions de réponses). Les installations
d’Andrea Caretto et Raffaella Spagna sont des «machines» empiriques, des outils
conceptuels pour penser la matière, pour voir la nature devenir culture.
Récolte de marne calcaire
lieu-dit Les Combes
Prads-Haute-Bléone
LA MARNE
roche sédimentaire contenant du calcaire CaCO3 et de l’argile en quantités à peu près équivalentes (35 %
à 65 %).
Au XIXe siècle on industrialisa la production de chaux. La marne avec sa composition
calcaire élevée et son abondance était un ingrédient idéal pour les usages qui
ne requéraient pas au final une chaux d’un haut niveau de pureté, l’élaboration
de mortier par exemple. Le ciment Portland d’aujourd’hui utilise toujours la marne
comme ingrédient principal.
Avec le gypse, les marnes - en particulier les marnes noires, ou robines - sont
sans conteste parmi les roches plus emblématiques des paysages de la Réserve
Géologique de Haute-Provence.
Andrea Caretto et Raffaella Spagna se sont également emparés de ce matériaux
pour expérimenter sa capacité à le transformer en ciment. Mais contrairement au
plâtre, la fabrication du ciment induit un ensemble de procédures qui relève de
l’industrie et qu’il est difficile de reproduire avec des moyens plus modestes. Par
exemple, la cuisson du mélange minéral à la base du ciment se réalise dans des
fours dont la température atteint 1450°C. Ce processus, la clinkerisation, permet
d’obtenir les réactions physico-chimiques nécessaires à la stabilité du ciment. Cette
température n’est pas atteinte dans les fours de la briqueterie au sein de laquelle
Andrea Caretto et Raffaella Spagna ont installé leur atelier près de Turin et qui a
servi à expérimenter les matériaux collectés dans la Réserve Géologique.
Ainsi, bien que peu concluante du strict point de vue de la production,
l’expérimentation d’Andrea et Raffaella sur la marne fait partie intégrante du
processus final. Ils présentent ce ciment «hybride» à nouveau comme un paysage
semblant naître du sol en béton de la galerie. Mais là où le paysage de sel n’est
paysage que par analogie, puisque il ne représente aucun lieu réel, le paysage de
marne lui est directement moulé dans une carte en relief de la région. On retrouve
là encore toute la perméabilité des notions de culture et de nature, de paysage et
de représentation, de création et de production dans le travail d’Andrea Caretto et
Raffaella Spagna.
jardin
ESCULENTA Lazzaro 02
lycée Pierre-Gilles de Gennes
route de Marseille
Digne-les-Bains
Dans le cadre de leur résidence au CAIRN, Andrea Caretto
et Raffaella Spagna ont animé un workshop avec un groupe
d’élèves du lycée Pierre-Gilles de Gennes. Ce projet a permis
de réaliser une installation pérenne au sein même du Lycée : le
jardin ECULENTA Lazzaro 02.
Le projet ECULENTA Lazzaro («esculenta» est un mot
latin signifiant «ce qui est comestible») est conçu par
Andrea Caretto et Raffaella Spagna comme une action
collective et participative - non limitée dans le temps ouverte à toute personne ou institution souhaitant mettre
en œuvre le protocole créé par les artistes.
Ce protocole consiste à «ressusciter» le cycle organique
(croissance, floraison, germination, mort) qui est contenu
à l’état latent dans certains fruits et légumes que nous
achetons quotidiennement. La première étape vise à
libérer - physiquement et intellectuellement - le légume
ou le fruit de son statut d’objet de consommation, de
produit fini, pour le replacer dans le champ du vivant
en réactivant son processus de croissance par diverses
techniques très simples jusqu’à la production de
nouvelles semences pouvant être utilisées pour créer
des jardins comme c’est le cas au lycée Pierre-Gilles
de Gennes.
Cet ensemble d’actions, très simples en apparence,
questionne cependant les innombrables aspects de la
«chose cultivée» : de l’histoire de la sédentarisation de
l’Homme aux règles du commerce et la distribution des
fruits et des légumes en tant que produits, en passant par
le commerce des graines, les manipulations génétiques,
l’agriculture, ...
Andrea Caretto / Raffaella Spagna
Andrea Caretto (Turin, 1970) est diplômé en sciences naturelles de
l’Université de Turin.
Raffaella Spagna (Rivoli, 1967) est diplômée d’architecture du Politecnico
de Turin.
Ils collaborent régulièrement ensemble depuis 2003 et ont exposé dans de
nombreuses institutions publiques et privées en Italie et ailleurs.
Expositions personnelles (sélection) : De la Transformation des Choses (2008),
CAIRN (Centre d’Art Informel de Recherche sur la Nature), Digne-les-Bains ;
M.P. - Matières Premières (2007) Centre d’Art Contemporain Le Parvis, Tarbes
(Commissariat: Odile Biec) ; Azioni 2000-2006, Museo Marino Marini, Florence,
Italie (Commissariat: Alberto Salvatori et a.titolo) ; Domesticazioni (2005) Fabio
Paris Art Gallery, Brescia, Italie.
Expositions collectives (sélection) : Eurasia. Dissolvenze geografiche dell’arte,
MART Rovereto (Tn), Italie - en préparation - (Commissariat: Achille Bonito Oliva,
Lorenzo Benedetti, Iara Boubnova, Cecilia Casorati, Hu Fang, Christiane Rekade,
Julia Trolp) ; Energie sottili della materia (2008), Urban Planning Exhibition Center,
Shanghai et China National Academy of Painting, Beijing, Chine (Commissariat :
Marisa Vescovo) ; Los Limites del Crescimiento (2007) Sala Alcalà 31, Madrid,
Espagne (Commissariat: Juan Antonio Alvarez Reyes) ; Living Material, strumenti
e processi dell’arte del vivente (2007) Pav – Parco d’Arte Vivente, Turin, Italie
(Commissariat: Ivana Mulatero) ; The Pantagruel sindrome (2005) T1 Torinotriennale
tremusei, Castello di Rivoli, Turin, Italie (Commissariat: Carolyn Christov-Bakargiev
et Francesco Bonami) ; Chronos. Il tempo nell’arte dall’epoca barocca all’età
contemporanea (2005) CeSAC – Centro Sperimentale per le Arti Contemporanee,
Caraglio (Cn), Italie (Commissariat : Andrea Busto, Alberto Cottino, Francesco
Poli) ; Empowerment: Cantiere Italia (2004), Museo d’Arte Contemporanea di
Villa Croce e Villa Bombrini, Gênes, Italie (Commissariat : Marco Scotini) ; How
Latitudes Become Forms. Art in a global age (2003), Fondazione Sandretto Re
Rebaudengo, Torino (Commissariat : Philippe Vergne).
T- +33 (0)4 92 36 70 83 / F- +33 (0)4 92 36 70 71 / E - cairn@musee-ga
Le CAIRN est membre de d.c.a. Association française de développement des centres d’art - www.dca-art.com
Le CAIRN bénéficie du soutien du Ministère de la Culture et de la Communication - DRAC PACA / du Conseil Régional PACA / du Conseil Général
des Alpes de Haute-Provence / de la Ville de Digne-les-Bains.
Le CAIRN est un programme de la Réserve Géologique de Haute-Provence en partenariat avec le musée Gassendi
ssendi.o
MUSÉE-PROMENADE - BP 156 - 04005 DIGNE-LES-BAINS CEDEX
rg
Photographies Andrea Caretto et Raffaella Spagna, textes et conception graphique J.-D. Frater @ CAIRN centre d’art
Direction artistique du CAIRN, Nadine Gomez-Passamar assistée de Jean-Denis Frater
Régie technique : Jean-Paul Desideri & Roger Zerubia, Médiation : Emilie Respriget, Christelle Nicolas, Administration : RGHP
CENTRE D’ART