PETER FEND CHANGE OF THE WORLD STARTING IN TEL AVIV - FONDAZIONE ZIMEI
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PETER FEND
CHANGE OF THE WORLD
STARTING IN TEL AVIV
a cura di Massimiliano Scuderi
FONDAZIONE ZIMEI
In 1978, Fend began showing how to build, as practical structures, plans of Beuys, Earth Artists, Matta-Clark, Schneemann,
Sharits, Paik. A team emerged, advertising practical services to non-art clients: The Offices of Fend, Fitzgibbon, Holzer, Prince
& Winters. Not legal, so a successor formed: Ocean Earth Construction and Development Corporation. Heizer/De Maria had
similar plans; we’d follow through. Sharits became biggest artist-investor. We plunged into satellite-monitoring, to gain access
to sites. Two Documentas, Venice Apertos and other biennials passed: much geopolitical news coverage, some casualties, little
progress, due to resistance.. so far. All is discovered to be a practice of architecture meeting four requirements listed by Leon
Batista Alberti, for a city to have air, water, circulatory space, defense.
Peter Fend
PETER FEND. FOR AN ECOLOGICAL, RESPONSIBLE AND FUTURIST ART* is to be the avant-garde. As Les Levine explained to me early in my art life, artists
break the barriers of permission and establish new areas of legitimate or permitted
by Massimiliano Scuderi activity. They break through the barriers of prohibition. Or simply of unknown. I
experienced this most acutely in New Zealand. I developed there a practice of
harvesting aquatic plants to make methane gas, or biodiesel if one prefers, and
Peter Fend lives in Berlin and New Zealand, travels without settling trying to give after a year of ridicule this has become a “standard” scientific endeavor. I have
concrete answers on the many issues that beset the world, beyond the art system, pioneered many activities which are now customary, for example showing crisis
within reality and with great ethical engagement. Some questions to sketch out zones on mass media with satellite data. Whether the avant-garde gets to take
a manifesto of what could be the guidelines of a new season of modernity in art credit for the innovations, or participates in the financial and social gains from the
and elsewhere innovations, is another matter. In my experience, very often not. Indeed, those who
discover the transformations and breakthroughs made by artists try very hard to
1. Responsibility parade to the world that no artist or artwork exists which gave them the idea and
With art, responsibility is held by all who commit time and money to any given cleared the way. Perhaps this explains the phrase to me from Ingo Guenther, my
work or project, the artist, the curator, the patron or collector. Nowadays, such colleague in the very treacherous work of pioneering satellite-based news stories,
responsibility is not recognized. Most of the time, sometimes tragically, the patron “The pioneers are the ones with the arrows in their backs”. Or, to use a fairy tale
or collector, and even the curator, thinks that they have no responsibility for the as analogy: the society benefits from the Pied Piper, but neither wants to pay or
content or intention of the artist. They think it’s all a form of commodity trading, or acknowledge the Piper’s work. This harsh fact of human nature compels a much
amusement. As a result, serious lessons to be gleaned from the efforts of artists more aggressive public practice of shouting to the world, in ways the world could
are ignored. This means that no progress ensues from the hard work and mental- accept, what the Pied Piper piped. The world wants to characterize the avant-garde
transformatory role of the artist. person as “crazy”. This was precisely the message attempted by a scientist at the
I cite in particular the case of patrons for Art, Ecology & The Politics of Change. same university which now broadcasts that the same idea, in standardized and not
They asked for artists to deal with such serious issues, and some artists truly did, artistic garb, is wonderfully theirs.
but they chose to ignore most of what came out. Indeed, they went further to
contradict what the artists said, by deciding to build a nuclear power plant in their 5. Futurism
country. In my case, I was befriended by the Pakistani workers, and they asked for a Futurism reflects what art should always do, point to the future. The opposite,
further modeling of the Indus Basin. This would include meanders in the mountains, tragically, is asserted by Jeff Koons, that the artist must “embrace the past”. The
designed to slow down flood waters. They took special interest in such construction qualities extolled by futurism should also be qualities in art: scientific accuracy, no
possibilities in their country. A proposal for working on the Indus was invited by sentiment or pathos, no morality, only an attempt to register and act on the truth.
the curator, daughter of the sponsor, part of the ruling family, and smiles were A recent axiom from Futurism, asserted in Milan in the 1970s, was the “art is the
exchanged all around. But nothing happened. Three years later, Pakistan suffered appropriate response to recognized conditions”. The term “appropriate” is time
devastating floods, precisely from a complete lack of attention to the basin as unit based. All art should be made in response to recognized conditions, at that time,
and the need for engineering works in the uplands. How much is the patron to in attempts to change the course of events during that time.
blame for the lost opportunity, particularly since they claimed to be representing For a time, what we now call “Russian Constructivism” was known as “Russian
the theme, for their region in Southern Asia, of art, ecology and the... politics of Futurism”. We all know that art in those days was heady, reaching for and realizing
change. There was no change, after all. This is profoundly irresponsible. much more power and vigor than, say, now. One could better not consign the term
“futurism” to only then, early in the 20th century, but to any time in human history
2. Bigness when vast strides are made in the depiction and treatment of material, i.e., art.
People often say that I think big. This is true only because the art world thinks small.
The scale of what I propose or model is the same scale adopted by powers that 6. Ocean Earth
be. One cannot address the problems caused by the Three Gorges Dam without An attempt in human evolution to execute the ideas emerging in the Twentieth
thinking on the scale of the Three Gorges Dam. If one can operate on a local scale, Century, starting with Morton Shamberg and Duchamp, and proceeding through
if the region in question is a bay, for example, I will think on that scale. One thinks Earth Art, Kinetic and Conceptual Art, as compiled in books like “Great Western
on the scale of the problem and its feasible solutions. One does not ask whether Salt Works” and “Beyond Modern Sculpture.” All of earth art and ecology art is
the scale is “big“ or “small”. One asks if it is responsive. subsumed in this phrase, related to the central icon of the Duchamp’s Urinal,
now deemed by art historians to be the most influential art work of that century:
3. Beauty “Freshwater Impact on Saltwater Bodies, and the Site Technology to Improve It”.
Healthy Nature. When animals and plants and ecosystems are all vigorous and The firm Ocean Earth recognizes the planet as mostly covered in ocean, with all
healthy, they exude beauty. lands sloping and draining into either the ocean or salt lakes, and then develops an
The sensation occurs not just visually but also in the nose, ears and immuno- art-based practice of monitoring, measuring, mapping and deploying structures on
electrical field, or “vibes”. site to benefit the ocean or salt lakes. Many of the structures, or site-technology,
are deployed on land, from high mountain ranges down to alluvial plains. Urban
4. History structures are also included, being lightweight, body-like megastructures that are
The gravest error today in the art world is a supposition, promulgated recently by flexible, changeable and very little impacting on what all sea-basins need, good
some writers, that history is finished. More precisely, that the avant-garde is dead, groundwaters. The firm was founded in 1980 as a legal successor to another
and that it does not or should not exist. First, history exists. It exists just as much as attempt by artists to address real-world problems and real-world clients, The
evolution exists. It is part of evolution. All human events are part of a world which Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. It has yet to succeed.
is transforming, very rapidly these days, and evolution, which includes history, has But it certainly has made many ripples in the world, from the UN to the US Congress
been proceeding at a very high rate. to the world nuclear-power industry.
Artists, as Ezra Pound wrote, are “the antennae of the race”. They are the foreseers,
the pioneers, the ones who first scout out and flesh out what will eventually be *Published on “Arte e Critica” n. 64, Sept-Nov 2010
incorporated in the technology, industry and media of a society. Their function
Nel 1978, Fend iniziò a mostrare come costruire fattivamente strutture progettate da Beuys, Earth Artists, Matta-Clark, Schnee-
mann, Sharits, Paik. Ne nacque una squadra che pubblicizzò servizi di ordine pratico a clienti che non erano artisti. The Offices of
Fend, Fitzgibbon, Holzer, Prince & Winters. Dal momento che tutto ciò non era legale, si costituì una società rilevante, la Ocean
Earth Construction and Development Corporation. Heizer/De Maria avevano progetti simili; noi andammo avanti. Sharits diven-
ne il maggiore investitore-artista. Ci tuffammo nel monitoraggio satellitare per ottenere l’accesso dei siti. Si avvicendarono due
Documenta e Aperto di Venezia ed altre biennali: molta copertura da parte di notiziari di natura geopolitica, alcune vittime, poco
progresso per via di una certa resistenza, fino ad ora. Si tratta di una pratica nel campo dell’architettura che incontra quattro
requisiti elencati da Leon Battista Alberti, affinché una città abbia aria, acqua, spazio in cui muoversi e difesa.
Peter Fend
PETER FEND. PER UN’ARTE ECOLOGICA, RESPONSABILE E FUTURISTA* sono gli artisti a infrangere le barriere del consenso e a stabilire nuove aree di
legittimazione e approvazione. Sono loro a sfondare le barriere della proibizione.
di Massimiliano Scuderi O più semplicemente dell’ignoto. L’ho provato intensamente in Nuova Zelanda.
Lì ho sviluppato una pratica che consiste nel raccogliere piante acquatiche per
produrre gas metano, o biodiesel se si preferisce, e dopo un anno di scherni,
Peter Fend Vive tra Berlino e la Nuova Zelanda, viaggia senza dimora cercando di questa è diventata una pratica scientifica “standard”. Ho sperimentato per primo
dare risposte concrete ai tanti problemi che affliggono il pianeta, oltre il sistema tante attività che oggi sono comuni, come ad esempio mostrare le zone a rischio
dell’arte, nella realtà e con grande impegno etico. Alcune domande per tracciare sui mass media attraverso i satelliti. Se l’avanguardia riesca a prendersi il merito
un manifesto di quelle che potrebbero rappresentare le linee guida di una nuova per l’innovazione o partecipi ai vantaggi finanziari e sociali che da essa derivano,
stagione della modernità, nell’arte e non solo questa è un’altra questione. In base alla mia esperienza, spesso ciò non accade.
In realtà, coloro che intercettano le conquiste e i cambiamenti determinati dagli
1. Responsabilità artisti cercano con molta difficoltà di mostrare al mondo che non c’è stato alcun
In arte, la responsabilità è di tutti coloro che investono tempo e denaro in un dato artista o opera d’arte a ispirarli o a spianargli la strada. Forse adesso mi è chiara
lavoro o progetto, siano essi artisti, curatori, mecenati o collezionisti. la frase di Ingo Guenther, mio collega nel lavoro insidioso di sperimentazione di
Oggi tale responsabilità non è riconosciuta. Il più delle volte, malauguratamente articoli relativi alle notizie fornite dai satelliti, “i pionieri sono quelli con le frecce
spesso, il mecenate o il collezionista e anche il curatore credono di non essere sulle spalle”. O usando una fiaba per analogia: la società si serve del Pifferaio
responsabili del messaggio o dell’intenzione dell’artista. Sono convinti che tutto Magico ma nessuno vuole ripagare o riconoscere il lavoro del Pifferaio. Questo
sia una forma di mercificazione o di passatempo. Di conseguenza, gli insegnamenti fatto sgradevole tipico della natura umana induce a una pratica pubblica ben più
che dovrebbero venire dagli sforzi dell’artista sono ignorati. Ciò significa che dal aggressiva, quella di gridare al mondo, in modo che questo possa riceverlo, ciò
complesso lavoro e dal ruolo intellettuale e di cambiamento che l’artista esercita che il Pifferaio ha suonato. Il mondo punta a identificare l’uomo d’avanguardia
non scaturisce alcuna evoluzione. Cito in particolare il caso dei promotori di come “pazzo”. Proprio questo era il messaggio dato da uno scienziato della stessa
Art, Ecology & The Politics of Change. Essi chiesero agli artisti di occuparsi di università che oggi comunica come la stessa idea, in chiave standardizzata e non
problematiche complesse, e alcuni di loro lo fecero davvero, salvo poi scegliere artistica, sia prodigiosamente la loro.
di ignorare la maggior parte di quello che emerse. In realtà si spinsero oltre il
contrastare ciò che questi affermavano, decidendo di costruire nel loro paese 5. Futurismo
una centrale nucleare. Nel mio caso, fui assistito da lavoratori pachistani i quali Il Futurismo riflette ciò che l’arte dovrebbe fare sempre, guardare al futuro. Ad
chiedevano un progetto aggiuntivo per l’Indus Basin (Bacino di Indus). Questo affermare il contrario è Jeff Koons, il quale sostiene che l’artista debba “abbracciare
avrebbe riguardato la creazione di meandri nelle montagne, progettati per il passato”. Le qualità esaltate dal Futurismo dovrebbero essere anche qualità in
rallentare l’acqua dei fiumi. La gente del luogo era particolarmente interessata al arte: scrupolosità scientifica, assenza di sentimento o pathos, nessuna moralità,
progetto che riguardava il loro paese. Una proposta di intervento venne sollecitata ma soltanto il tentativo di registrare e agire sulla verità. Un principio recentemente
dalla curatrice, figlia degli sponsor, membro della famiglia al governo, e poi, sorrisi ripreso dal Futurismo, affermato a Milano nel 1970, recitava che “l’arte è l’adeguata
ovunque…, ma non accadde nulla. Tre anni dopo, il Pakistan venne devastato dalle risposta alle situazioni riconosciute”. Il termine “adeguata” si riferisce al tempo.
alluvioni proprio a causa del totale disinteresse verso la struttura del bacino e della Tutta l’arte dovrebbe rispondere a situazioni date, in quel particolare momento,
necessità di lavori di ingegneria nel territorio montano. Quanto è responsabile il nel tentativo di cambiare il corso degli eventi in quella precisa fase.
mecenate per la mancata opportunità, e in particolare data la sua pretesa di farsi Per un certo periodo, quello che oggi chiamiamo Costruttivismo Russo
interprete della tematica Art, Ecology & The Politics of Change, per la propria fu conosciuto come Futurismo Russo. Tutti sappiamo che allora l’arte era
regione nell’Asia meridionale? In conclusione, non c’è stato alcun cambiamento. entusiasmante, diciamo molto più forte e vigorosa di oggi. Si dovrebbe evitare di
Ciò è profondamente irresponsabile. consegnare il termine “Futurismo” esclusivamente a quel momento storico, l’inizio
del XX secolo, utilizzandolo anche ogni volta che nella storia si procede a grandi
2. Grandezza passi nella rappresentazione e trattazione della materia arte.
Spesso si dice che io pensi “in grande”. Questo è vero solo in quanto il mondo
dell’arte pensa in piccolo. La dimensione di ciò che propongo o progetto è la stessa 6. Ocean Earth
adottata dalle autorità costituite. Non si possono affrontare i problemi provocati Un tentativo nell’evoluzione umana di mettere in pratica le idee emerse nel XX
dal Three Gorges Dam (Diga delle Tre Gole) senza ragionare col metro del Three secolo, a partire da Morton Shamberg e Duchamp, procedendo per la Earth Art,
Gorges Dam. Se si può operare su una precisa scala, se la zona in questione è una l’Arte Cinetica e Concettuale, così come appare nei testi “Great Western Salt
baia ad esempio, penserò in base a quella scala. Si pensa in rapporto alla misura Works” e “Beyond Modern Sculpture”. Tutto ciò che riguarda l’arte della terra e
del problema e alle sue possibili soluzioni. Non ci si chiede se la scala sia “grande” l’arte ecologica è racchiuso in questa frase, in riferimento a quella che è l’icona
o “piccola” ma se sia efficace. fondamentale, l’Orinatoio di Duchamp, ormai considerato dagli storici dell’arte
l’opera più autorevole del secolo: “L’impatto dell’acqua dolce sui corpi di acqua
3. Bellezza salata e la tecnologia geologica per perfezionarlo”. La società Ocean Earth
Natura vigorosa. Quando animali, piante e ecosistema sono forti e sani, essi valuta come il pianeta sia in gran parte ricoperto dall’oceano, con tutte le terre
emanano bellezza. propendenti verso di esso o verso i laghi salati. È così che si sviluppa allora una
Questa sensazione si ha non solo sul piano visivo ma anche su quello olfattivo e pratica artistica di monitoraggio, misurazione, mappatura e utilizzazione di strutture
uditivo, e in un campo privo di onde elettriche e vibrazioni. in situ al fine di trarre vantaggio dall’oceano e dai laghi salati. Molte delle strutture,
o tecnologie geologiche, sono utilizzate sulla terra ferma, dalle montagne giù fino
4. Storia alle pianure alluvionali. Sono incluse inoltre le strutture urbane, essendo di scarso
Oggi l’errore più grande nel mondo dell’arte sta nella convinzione, recentemente peso, megastrutture flessibili, modificabili e a basso impatto su ciò di cui bacini
diffusa da alcuni scrittori, che la storia sia conclusa. Più precisamente, che marini necessitano, ovvero di buone acque freatiche. La società è stata fondata nel
l’avanguardia sia morta, che non esista più o che non dovrebbe esistere. Per prima 1980, ed è subentrata a un altro tentativo ad opera di artisti – The Offices of Fend,
cosa, la storia esiste. Esiste tanto quanto esiste l’evoluzione. È parte dell’evoluzione. Fitzgibbon, Holzer, Nadin, Prince & Winters – di rivolgersi a problemi e clienti del
Tutti gli eventi umani sono parte di un mondo in continua trasformazione, oggi mondo reale. Il progetto deve ancora dare i suoi frutti, ma ha certamente creato
sempre più rapida, e l’evoluzione, che include la storia, procede a ritmi elevati. molte increspature nel mondo, dal Congresso delle Nazioni Unite e degli Stati Uniti
Gli artisti, come scrive Ezra Pound, “sono le antenne della razza umana”. Sono i all’industria nucleare mondiale.
precursori, i pionieri, coloro che per primi esplorano ed elaborano quello che alla
fine apparterrà alla tecnologia, all’industria e ai media della società. Loro sono *Tratto da “Arte e Critica” n. 64, sett-nov 2010
l’avanguardia. Come mi spiegò Les Levine all’inizio della mia esperienza artistica,
La mostra si presenta avvolta da un grande mistero legato ad una oscura vicenda di The exhibition is surrounded by a great mystery linked to an obscure story of a package
un pacco contenente materiale di studio dell’artista statunitense a Tel Aviv. containing study material of the American artist in Tel Aviv.
Nel pacco erano contenuti i materiali di un’esposizione di Fend con la sua organiz- The package contained the materials of an exhibition by Fend with its TVGOV (televi-
zazione TVGOV (television government) presso il museo Artport che sembrano sion government) organization at the Artport Museum, which seem to be closely linked
strettamente collegati alla copertina della rivista Economist del 20-26 Maggio 2017 to the cover of the Economist magazine of 20-26 May 2017 regarding the resolution
relativa alla risoluzione del conflitto israelo-palestinese. Il pacco inviato in Italia viene of the Israeli-Palestinian conflict. The parcel sent to Italy is sent back twice and then
rimandato indietro per ben due volte per poi essere recapitato, con la sorpresa di be delivered, to everyone’s surprise, to an art gallery in Basel. Beyond the dilemma,
tutti, ad una galleria d’arte di Basilea. Al di là del dilemma, la mostra presenta parte the exhibition presents part of the studies related to the research of the artist who
degli studi relativi alla ricerca dell’artista che da decenni, tra considerazioni di natura for decades, including geopolitical considerations and architectural and bioenginee-
geopolitica e progetti di architettura e bioingegneria, presenta in contesti interna- ring projects, presents in international contexts his transdisciplinary visions for a new
zionali le sue visioni transdisciplinari per un nuovo destino delle nazioni e del mondo. destiny of nations and world.
Tra i lavori esposti anche un video dell’artista intitolato “Grazie Mille”, dedicato al Mare Among the exhibited works a video of the artist entitled “Grazie Mille”, dedicated to
Adriatico e all’artista Vito Acconci. the Adriatic Sea and to the artist Vito Acconci.
Pacco Originale di Tel Aviv, 2017
materiali vari/mixed media, 300x 280 cm
Argentina, 2017, matita su carta/pencil on paper, 100 x 70 cm Dagli Usa, 1992/2017, materiali vari/mixed media
Dalle Falklands, 1992, video
Sei Unità Del Mare, 2017, collage e grafite su carta/collage and graphite on paper, 99 x 88 cm
Grecia, 2017, collage su tavola/collage on wood, 260 x 63 cm
A valley where I traveled, Response to Ai Wei Wei, 2017,
collage su cartoncino/collage on cardboard, 20 x 14 cm
Word Stacks, 2017, stampa a getto d’inchiostro su carta, prova d’artista in serie da 16 pezzi/ink-jet on paper, set of 16 pieces artist’s proofs, 32 x 32 cm cad/each one
video e backstage di “Grazie Mille”
La conferenza, organizzata nel mercato Ittico, uno dei punti nevralgici della vita della città legata al mare, nasce dalla volontà comune della Fondazione Zimei e del FLAG Costa di Pescara di inaugurare una stagione progettuale condivisa tra le realtà più propositive del territorio in questo caso sui temi della sostenibilità, del lavoro, dell’arte e del mare. In questo senso Peter Fend, interessato da sempre alle innumerevoli possibilità derivanti dall’impiego delle ricchezze marine, intende sottolineare come la città di Pescara possa avere un ruolo trainante nell’economia dell’Eurocontinente, offrendo a tutti una proposta progettuale di sviluppo delle potenzialità del Mare Adriatico, per la tutela e la valorizzazione degli habitat marini e per la promozione delle attività legate al mare. The conference, organized in the fish market, one of the focal points of the city’s life linked to the sea, stems from the common desire of the Zimei Foundation and the FLAG Costa di Pescara to inau- gurate a planning season shared by the most proactive areas of the territory in this case on themes of sustainability, job, art and the sea. In this sense, Peter Fend, always interested in the countless possibilities deriving from the use of marine wealth, intends to underline how the city of Pescara can have a leading role in the economy of the Euro-continent, offering everyone a project proposal to develop the potential of the Adriatic Sea, for the protection and enhancement of marine habitats and for the promotion of activities related to the sea.
PETER FEND Potenza del mare: Perché Pescara a cura di / curated by Massimiliano Scuderi mercoledì 14 giugno 2017 / Wednesday 14 June 2017 ore 18.30 Conferenza | Mercato Ittico - Pescara 6.30 pm Conference | Fish Market - Pescara
Libertè – Egalitè – Fraternitè, 2017, 43 x 28 cm
For Irena Bilic, 2017, 30 x 42 cm
Sail - Propelled Bulk- Transport Sub, 2014, 61 x 48 cm
Flag Emilia – Romagna, 2017, 110 x 80 cm
Scheldt- Rhein- Ems/Weser/Elbe, 70 x 50 cm, 2017
Black Sea Basin, 2017, 140 x 102 cm
Catamaran Algae-Cutting Scull, 2014, 61 x 48 cm
Athens Eco-tax District, 2017, 43 x 28 cmFrom Oberdon via Ilovija and Volga to Aral Sea, 2017, 30 x 21 cm
Adriatic Bacin, 2017, 43 x 28 cm
Pescara Slope, 2017,
46 x 33 cm
Hiberia, 2017, 101 x 151 cm
Sites for action, for the outflows through Pescara, 2017, 70 x 50 cm
Proposal for restoring the Gulf of Triton, 2011-2017,175 x 160 cm
Three potential eco-tax districts in the Po basin, 2017, 100 x 100 cm
The Aral Sea, 2015, 43 x 28 cmPETER FEND
Born 1950, Columbus, Ohio Lives and works in New York
EDUCATION
1973 BA, Carleton College, Northfield, Minnesota
SOLO AND COLLABORATIVE EXHIBITIONS
2017 Change of the world starting in Tel Aviv, Fondazione Zimei, Montesilvano (PE), curated by
Massimiliano Scuderi
Potenza del Mare: Perché Pescara, Mercato Ittico di Pescara, curated by Massimiliano
Scuderi
FONDAZIONE ZIMEI Shadow Cabinet: A Loyal Opposition Response, Cuchifritos Gallery + Project Space, New
York, New York (PF)
2015 To Be Built, Galerie Barbara Weiss, Berlin, Germany (PF)
PET ER FE ND Afrika Europa Brücke, Oracle, Berlin, Germany (PF)
CHANGE OF THE WORLD 2014 Rebels Are Reasonable, Essex Street, New York, NY (PF)
STARTING IN TEL AVIV Lomonosov Furthered, with Shane Munro, LISTZ, Berlin, Germany (PF)
2012 Über die Grenze: May Not Be Seen Or Read Or Done, Essex Street, New York, NY (PF)
A cura di / curated by Massimiliano Scuderi What To Do Next, Peanut Underground Art Projects, New York, NY (PF)
2011 Arab Springs/ Atlantic Wealth: Trading Room, White Box / MA.P.S, New York, NY (OE)
Ricchezza D’Italia, Galeria Cesare Manzo, Pescara, Italy (PF)
giugno/luglio 2017 2010 Situation Room, 391 Victoria Street, Hamilton, New Zealand (PF)
june/july 2017 2009 Situation Room: Technology Change Climate Stability, Arnolfini, Bristol, UK (OE/PF)
2007 Elbegas, Galerie für Landschaftskunst, Hamburg, Germany (PF)
Fondazione Zimei, via Aspromonte, 4
Bet and Win: Way Out Too, Unit 2 Gallery, London, UK (PF)
Montesilvano (PE) - Italy 2005 Parallel Projects: Proposals for Condoleezza Rice / Parallelprojekte: Vorschläge für Condoleezza
Rice, Christian Nagel, Berlin, Germany (PF)
2004 Reverse Global Warming, Spacex, Exeter, UK (OE)
Si ringraziano/Thanks to One to Another (foreign policy proposal), American Fine Arts, New York (PF)
Comune di Montesilvano Correspondence, American Fine Arts, New York (PF)
Comune di Pescara 2003 Independence from Big Oil, Dublin City Council and Fingal County Council, Dublin, Ireland
Flag Coste di Pescara (OE)
Giacomo Cuzzi Proposals for Arabia, Galeria Marta Cervera, Madrid, Spain (PF)
2002 Global Gas / Super Gas, Ocean Earth vis-à-vis Superflex, Kunstruimte Wagemans, The
Mauro D’Andreamatteo
Netherlands (OE)
Federica De Robertis 2001 Naval Action, Mars Gallery, Tokyo, Japan (PF)
Nicola Dragani Big Deal: Revival of the Americas, Nikolai Fine Art, New York (OE)
Alessandro Falco Sea Change, Spacex Gallery, Exeter, UK (OE)
Barbara Lunettini Ocean Earth: Policy Models, Rockford Art Museum, Rockford, IL (OE)
Andrea Mammarella Economic Potential, Roger Smith Gallery, New York (OE)
Vanessa Sòquerser Felìz 2000 Rapid: Post-Petroleum Gas Stations, Launching a Brand, American Fine Arts, New York (OE)
Francesca Vinci Eurafrica/Americas/Mondo, Galeria Marta Cervera, Madrid, Spain (PF)
Donatella Zimei News Room New York (Chaikin, Fend, Lehman, Lombardi, RR), Roger Smith Gallery, New York
(NR)
Grand Hotel Adriatico 1999 Global Warming: A Rapid Response Remark, at Chelsea Exxon station, Nikolai Fine Art, New
York (PF)
Grand Hotel Montesilvano
Chase Scene, American Fine Arts, New York (OE)
Eurhotel 1998 News Room Graz, Kunst und Neue Medien, Steirischer Herbst, Graz, Austria (NR)
1997 Spiral Ramp, Woodlawn Cemetery, The Bronx, NY (PF)
1996 Chernobyl Solutions, Steffany Martz Gallery, New York (PF/OE)
Un ringraziamento particolare a/Special Thanks Art Meets Science, Charlottenborg, Copenhagen, Denmark
Daniela Bigi e Roberto Lambarelli 1995 Landkraft/Swiss Split, Ars Futura, Zurich, Switzerland (PF) Landkraft, Kunstlerhaus Palais
st
Arte e Critica, Roma Thurn & Taxis, Bregenz, Austria (OE) Architecture for the 21 Century, Artspace, Sydney,
Galleria Pinksummer, Genova Australia (OE)
Essex Street Galery, New York 1994 Eurasian Scenario, Marc Jancou Gallery, London, UK (PF)
Peter Fend Startbahn Oesterreich, Galerie Metropol, Vienna, Austria (PF)
Global Spiral, installation at Global Forum, G-Mex Centre, Manchester, UK (PF/OE)
Ocean Earth, Strauss & Adamopolous, Frankfurt, Germany (OE)
News Room Copenhagen, with Globe, Copenhagen, Denmark (NR)
Layout 1993 Strategie Globale: Giant Algae System for France, FRAC Poitou-Charentes, Angouleme,
YBrand, Franco Mancinelli France (OE)
Habitus, Galerie Anne de Villepoix, Paris, France (OE)
Foto Ocean Earth: For A World Which Works, Neue Galerie am Landesmuseum, Graz, Austria
Alessandro Falco cover, back cover, pp 10-11. (OE)
Massimo Camplone pp 4, 5, 6, 7, 8, 9 (in alto/on top), 13, 14. News Room Paris, Galerie des Archives, Paris, France (NR)
1992 Site Simulator, Tivat Bay, American Fine Arts, New York (OE)
Stampa/Print Beach Party Deutschland, Galerie Esther Schipper, Cologne, Germany (PF)
Modular, Francavilla al mare (Ch) Beach Party Yugoslavia, Riverside Studios, London, UK (PF)
Documenta Flags, Galerie de Marseille, Marseille, France (PF)
Documenta Flags, Le Case D’Arte, Milan, Italy (PF)
Espace Circulant/Spinning Room, Galerie Roger Pailhas, Paris, France (PF)
Floriade, The Hague, The Netherlands (OE)
Corse Divise, Assemblee Nationale, Paris, France (PF)
NICAF, Yokohama, Japan (PF)
Means to Wealth/Mittel und Wohlstand, Galerie Tanja Grunert, Cologne, Germany (OE)
1991 Europa, Kunstraum Daxer, Munich, Germany (OE)
Beach Party, American Fine Arts, New York (PF)
News Room Stockholm, Galerie Nordenstad-Skarstedt, Stockholm, Sweden (NR)
Salle du Monde, long-term installation at L’Hôpital éphémère, Paris, France (PF)
1990 City of the Dead / Die Totenstadt, Galerie Tanja Grunert, Cologne, Germany (OE)
FONDAZIONE ZIMEI Cities as Bodies / Staedte als Koerper, Esther Schipper, Cologne, Germany (OE)
NEWS ROOM FRANKFURT, Institut fuer Neue Medien / Pavilion Varisella, Frankfurt, Germany
(NR)
Sabrina Zimei
NEWS ROOM NEW YORK/NEWS ROOM AMSTERDAM, American Fine Arts, New York and
Presidente Museum Fodor, Amsterdam, Netherlands (NR)
Progetto Adriatico, Le Case D’Arte, Milan, Italy (OE)
Katia Zimei, Pasquale Zimei Einheiten, Galerie Ryszard Varisella, Frankfurt, Germany (PF)
Co-fondatori e membri del Comitato direttivo Kleine Fragen, Galerie Christian Nagel, Cologne, Germany (PF/NR)
1989 Completion of the War, American Fine Arts, New York (PF)
Global Monitoring and Assessments: Towards the 21st Century, Fondazione Cini, Venice, Italy
Massimiliano Scuderi (OE)
Direttore Artistico 1988 BODY, American Fine Arts, New York (OE)
Peter Fend, Scott Hanson Gallery, New York (PF)
Art at the End of the Social, Rooseum, Malmo, Sweden (PF)
1985 Bacino Torbido, Museo Santa Barbara, Calabria, Italy (OE)
Sede Residenze: Via Aspromonte, 4 – 65016 Montesilvano colle
1983 Image/Process, The Kitchen, New York
1982 Space Force in Action, Kunsthalle Dusseldorf, Dusseldorf, Germany (OE)
Sede Legale: C.so V. Emanuele II, 10 – 65121 Pescara Art of the State, The Kitchen, New York (SF/OE)
Global System, Chase Manhattan Plaza, sponsored by Lower Manhattan Cultural Council,
www.fondazionezimei.it | info@fondazionezimei.it New York (OE)
T +39 3801443816 | F +39 085 46832701979 IRON LUNG: A ROOM DEFINED NOT BY ITS WALLS BUT BY A PUMP, Peter Nadin Gallery, 1997 The Experimenters, curated by Kenny Schachter, Lombard-Fried Fine Arts, New York (PF)
New York (PF) French Pavilion TV Studio, with Fabrice Hybert, Venice Biennale (PF/OE)
WEALTH OF BASINS, DEATH OF NATIONS, Peter Nadin Gallery, New York (PF) Cartographers, Museum of Contemporary Art, Zagreb
World Space: Political Economies After Oil, Peter Nadin Gallery, New York (PF) Géographiques: territoires vécus, territoires voulus, territories figures, FRAC Corse, Corsica,
France (PF)
1996 Atopic Site, curated by Yukiko Shikata, Tokyo International Exhibition Center, Tokyo, Japan
GROUP EXHIBITIONS (OE)
2017 EUtopia | 28, Museumcultuur Strombeek/Gent, Strombeek, Belgium (PF) Tomorrow Will Still Art Meets Science, in conjunction with “Copenhagen, European City of Culture,” Charlot-
Be Ours, Gavin Brown’s enterprise, New York, New York (PF) Aubades. Land Art for Aliens, tenborg, Copenhagen, Denmark (OE)
Weiss Falk, Basel, Switzerland (PF) 1995 Faith, Hope, Love, Death, Kunsthalle Wien, Vienna, Austria (PF)
Water Worlds #1, Centre international d’art et du paysage, Beaumont-du-Lac, France (PF) Mapping: A Response to MoMA, curated by Peter Fend, American Fine Arts, New York (PF/
Earth Day, Ramiken Crucible, New York, New York (PF) OE/NR)
Blue Crush, DEPART Foundation, Los Angeles, California (PF) On Board, Aperto, Venice Biennale (PF)
2016 World Made By Hand, Andrew Edlin Gallery, New York, New York (PF) Photography After Photography, Siemens Kulturprogramm, Munich; travelling to Kunsthalle,
Changing Circumstances: Looking at the Future of the Planet, FotoFest Biennial, Houston, Krems, Austria; Städtische Galerie Erlangen, Brandenburgische Kunstsammlungen, Cottbus,
Texas (PF) Germany; Museet for Fotokunst, Odense, Denmark; Fotomuseum, Winterthur, Switzerland;
History Made By Artists, C L E A R I N G, Brooklyn, New York (PF) ICA London, UK; ICA Philadelphia, PA (OE)
Tomorrow’s Man, Sheppard Contemporary, University Galleries, University of Nevada, Reno, Infrasound, Kunst im öffentlichen Raum, Hamburg, Germany (PF)
Nevada (PF) 1994 Cloaca Maxima, curated by Hans Ulrich Obrist, Stadtentwasserung, Zurich, Switzerland
You Cannot Do Nothing, Galerie Alte Schule, Berlin, Germany (PF) (PF)
Oceans After Nature, Yerba Buena Center for the Arts, San Francisco, California (PF) Bifurcations, Centre d’art Contemporain, Meymac, France; travelling to Musée des
Politics of Nature, Fondazione Zimei, Pescara, Italy (PF) Beaux-arts de Dole, France; Cimaise et portique, espace d’art contemporain, centre culturel
Global Terror, Nagel Draxler Kabinett, Berlin, Germany (PF) de l’Albigeois Albi, France (PF/OE)
Mean Machine (Up Jumped the Devil), The Meeting, New York, New York (PF) Mission Impossible, Gashouder, Amsterdam (OE)
2015 Territories: Alighiero e Boetti and Peter Fend, Le Case D’Arte, Milan, Italy (PF) 1993 Aperto, Venice Biennale, Italy (PF/OE)
Globale – Exo-Evolution, ZKM, Karlsruhe, Germany (PF/OE) Kunst in Weltmasstab, Kunsthalle zu Kiel, Kiel, Germany (PF)
The Fountainhead, Fondazione Zimei, Pescara, Italy (PF) Fontanelle, Potsdam, Germany (PF)
to expose, to show, to demonstrate, to inform, to offer: Artistic Practices around 1990, Mumok, Kontext Kunst, Neue Galerie am Landesmuseum Joanneum, Graz, Austria (PF/OE)
Vienna, Austria (PF) First Europeans, Schloss Charlottenberg, Berlin, Germany (PF) Antwerp Cultural Center,
2050. A Brief History of the Future., Royal Museums of Fine Arts, Brussels, Belgium; travelling European City of Culture. (OE)
to Palazzo Reale Milan, Italy (PF) The Edge of Chaos: New Ways of Seeing, Louisiana Museum for Modern Art, Humlebaek,
Dojima River Biennale 2015: Take Me To The River - currents of the contemporary, Dojima River Denmark (OE)
Forum, Osaka, Japan (PF) Viennese Story, Wiener Secession, Vienna, Austria (PF)
Anthems for the Mother Earth Goddess, Andrew Edlin Gallery, New York (PF) Tutto Tondo, Monika Sprüth Galerie, Cologne, Germany (PF)
Drawings | Fridges, Greene Exhibitions, Los Angeles (PF) 1992 Documenta IX, Kassel, Germany (PF)
DUMP! Multispecies Making and Unmaking, Kunsthal Aarhus, Aarhus, Denmark (PF) Documatter, Andrea Rosen Gallery, New York (PF)
Decolonized Skies, organized by High&Low Bureau, ADN Platform, Barcelona, Spain (PF) Il Faut Construire Hacienda, curated by Nicholas Bourriaud, CCC Tours Multiplici Culturali,
For Troedsson Villa, curated by Tam Ochiai and Anne Eastman, Troedsson Villa, Nikko, Japan selected by Angela Vettesse, Rome, Italy (PF) Floriade, The Hague, The Netherlands (OE)
(PF) Corse Divise, Assemblée Nationale, Paris, France (PF)
Eco-Tax, Cannonball and Dimensions Variable, Miami (PF) Nippon International Contemporary Art Fair, Yokohama, Japan (PF)
Looking Back / The 9th White Columns Annual, selected by Cleopatra’s, White Columns, New Reconnaissance, Simon Watson Gallery, New York (PF/OE)
York (PF) 1991 Teorici Americani, Ottagano, Milan, Italy (PF)
Hollywood Hills House, curated by Pierre-Alexandre Mateos and Charles Teyssou, ltd los Wiener Festwochen, subway station installations, Vienna, Austria (OE) FRAC Corse, Corsica,
angeles, Los Angeles (PF) France (PF)
Essex Street @ Essex Street, Essex Street, New York (PF) Iberian Current, FRAC Pays de la Loire, France (OE/PF)
2014 Work It Out, Momenta Art, Brooklyn, New York (PF) 1990 Around the World, PS 1, Long Island City, NY
Decolonized Skies, organized by High&Low Bureau, Apexart, New York (PF) The Köln Show, Galerie Daniel Buchholz, Cologne, Germany (PF) California Project, Terrain
TEDxVaduz redux, T293, Rome, Italy (PF) Gallery, San Francisco, CA (PF) Reconnaissance, Simon Watson Gallery, New York, NY (PF)
The Real Estate Show Was Then: 1980, James Fuentes, New York (PF) 1989 Art at the End of the Social, Rooseum, Malmo, Sweden (PF)
2013 Looking Back / The 7th White Columns Annual, selected by Richard Birkett, White Columns, Video Works, Galerie Nordenstadt, Stockholm, Sweden
New York (PF) Competition Diomede, The Clocktower, New York and sites in the US & USSR
Scott Burton, curated by Oscar Tuazon, Fondazione Giuliani, Rome, Italy (PF) On-Site: Response to Conditions, Anne Plumb Gallery, New York
Yes Naturally: How Art Saves The World, Gemeentemuseum Den Haag, The Hague, The Jet Lag, Turon Travel, New York (PF)
Netherlands (PF) Project DMZ, Storefront for Art and Architecture, New York, NY
2012 OilScapes, Peacock Visual Arts, Aberdeen, UK (PF) Completion of the War, American Fine Arts, New York, NY (PF)
2010 Islands and Ghettos, Heidelberger Kunstverein, Heidelberger, Germany (PF) Global Monitoring and Assessments: Towards the 21st Century, two-part presentation in
2008 This is the Gallery..., Eastside Projects, Birmingham, UK (PF) conference sponsored by UN Food & Agriculture Organization and UN Environment
Come Out & Play, apexart, New York (PF) Program, Fondazione Cini, Venice.
2007 Green Dreams, Kunstverein Wolfsburg, Wolfsburg, Germany (PF) 1988 The New Poverty II, Meyers-Bloom Gallery, Los Angeles, CA (PF) International Landscape,
Aussen vor/On The Outside, ACC Galerie, Weimar, Germany (PF) XPO Gallery, Hamburg, Germany (PF) International Landscape, Galerie Christoph Duerr,
Still Life. Art, Ecology & The Politics of Change, Sharjah Biennial 8, Emirate of Sharjah (PF) Munich, Germany (PF)
Arrêt sur Images, FRAC Provence Alpes Côte d’Azur, Marseille, France (PF) 2006 Computer Images of Architecture, NY Chapter, American Institute of Architects, New York
The Drop, Exit Art, New York (PF) (OE)
2005 Gotik und Moderne, Fraenkische Galerie, Bayerisches Nationalmuseum, Kronach, Germany (PF) Competition Diomede, The Clocktower, New York (PF)
Temporary Spaces, Ausstellungsraum Glue, Berlin, Germany (PF) Kunstrai, Amsterdam, The Netherlands (PF) Public Discourse, Real Art Ways, Hartford, CT
Mirage, curated by Martin Beck and Julie Ault, Alexander and Bonin, New York (PF) The Drawing Show, Cable Gallery, New York
Dry Wells that Upwell Groundwater to Revive Margins of Salt Lakes, Harper Dry Lake, CA (PF) 1987 Documenta VIII, Kassel, Germany (OE, attributed to Ingo Gunther)
Waterways, Venice Biennale, Italy (PF) The New Poverty, John Gibson Gallery, New York (PF)
2004 Election, American Fine Arts, New York (PF/GF) Corporate Crime, alternative spaces, San Francisco and San Diego, CA
Hortus, Independent Section, Liverpool Biennial, UK (GF) 1986 Surveillance, LACE Gallery, Los Angeles, CA (OE)
Wonderful, Cornerhouse, Manchester, UK (PF) 1985 Deutsche Kunst, 1945-1985, Nationalgalerie, Berlin, Germany (OE, attributed to PF and Ingo
Le Dessus des Cartes, ISELP, Brussels, Belgium (PF) Gunther)
Adaptations, Apexart, New York (OE) 1984 Kunst und Medien, Kunsthalle Berlin, Berlin, Germany (PF)
2003 Attack: Art and War, Kunsthalle Wien, Vienna, Austria (PF) Via Satellite, Amerika Haus, Cologne, Germany (PF)
Banquete/Bankett, Barcelona Cultural Center, Barcelona, Spain; travelling to Zentrum fuer The International Show, curated by Michael Smith, Baskerville & Watson, New York
Kunst und Medientechnologie (ZKM), Karlsruhe, Germany; Medialab, Madrid, Spain (OE) 1983 1984 Show, Ronald Feldman Fine Arts/Village Voice, New York (SF/OE)
GNS, Palais de Tokyo, Paris, France (OE) Hardcore, Palais de Tokyo, Paris, France (OE) Image/Process, The Kitchen, New York (OE)
Utopia Station, Venice Biennale, Italy (PF/OE) Documenta VII, Kunsthalle Dusseldorf, Germany (SF)
Collaborations, Centre d’art Contemporain, Meymac, France (OE/PF) 1982 Natural History, curated by Scott Cook, Grace de Borgenicht Gallery, New York (PF)
2002 Ars Electronica 2002, Ars Electronica Center, Linz, Austria (PF/OE) 1981 New York, New Wave, curated by Diego Cortez, PS 1 Contemporary Art Center, Long Island
Oekonomien der Zeit, Museum Ludwig, Cologne, Germany; travelling to Akademie der City, NY (PF)
Kunste, Berlin, Germany; and Migros Museum, Zurich, Switzerland (PF) Forrest Avenue Maze, on-site project, Forest Avenue School, The Bronx, NY (PF)
Ecovention, Contemporary Art Center, Cincinnati, OH (OE) Jamaica Fish/Bird Port, Urban Animals II, ABC No Rio / Collaborative Projects (PF)
Ways Out, Stroom, The Hague, The Netherlands (OE) 1980 The Real Estate Show, New York (PF) Ruhrgebiet Projects, Duisburg, Germany The Times
Empire/State: Artists Engaging Globalization, Whitney Independent Study Program, New Square Show, New York (PF)
York (PF) Public Policy: Architecture Propositions, organized by Peter Fend, 626 Broadway, New York
2001 The South Bronx Story, James Fuentes / The Point, The Bronx, NY (PF) 1979 World Space: Political Economies After Oil, Peter Nadin Gallery, New York
Cartographie des artistes, Galerie Anne de Villepoix, Paris, France (PF) Manifesto Show, New York, NY and Milan, Italy
Sao Paulo Biennale, Azerbaijan/Armenia/Georgia Pavilion, Sao Paulo, Brazil (PF) Participation in Urban Animals shows, South Bronx and ABC No Rio, NY Participation in
2000 Ecologies, The Smart Museum, The University of Chicago, Chicago, IL (PF) Collaborative Projects shows (1978-83, 1979 being the peak year)
Undo, Theater for the New City, New York Dystopia, Tribes Gallery, New York (PF) World 1978 Poetry of Systems, Baxter Art Museum, California Institute of Technology, Pasadena, CA
Trade, Roebling Hall, Brooklyn (PF) (PF)
Carnival in the Eye of the Storm, Pacific Northwest College of Art, Portland, OR (OE)
1999 Post-War Architecture, Venice Biennale, Italy (OE)
Crash, ICA, London, UK (PF) COLLABORATION NOTATIONS
1998 Your Utopia, Momenta Art, Brooklyn, NY (PF) (PF) – Peter Fend
Hey, You Never Know, Kenny Schachter / ROVE, New York (PF) (OE) – Ocean Earth Development Corporation (NR) – NEWS ROOM
Cartographers, Center for Contemporary Art, Ujazdowski Castle, Warsaw, Poland (OE) (GF) – GLOBAL FEED
Cartographers, Umnetnosta Galerie, Maribor. Entrance display (OE) (RR) – Rapid Response (CH) – Swiss Defense (SF) – Space Force
Desert Flood, ROVE, New York, NY (PF)You can also read
