Tag Archives: social movement

Nanni Balestrini Political Art Retrospective Exhibition Includes Early Computer Works

CENTER FOR ITALIAN ART ANNOUNCES NEW EXHIBITION: 
NANNI BALESTRINI: ART AS POLITICAL ACTION ONE THOUSAND AND ONE VOICES ON VIEW NOW UNTIL- JUNE 22, 2024
Nanni Balestrini, Cavallo, 1963. Collage on paper. Private collection, courtesy Frittelli arte contemporanea, Florence
(New York, February/March, 2024) – The Center for Italian Modern Art (CIMA) has launched its new exhibition, NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES, curated by Marco Scotini. This is the first retrospective exhibition in the United States of Nanni Balestrini (1935-2019), an Italian experimental visual artist, poet, and novelist known for his revolutionary artistic practice and passionate involvement in the social-political movements of the 1960s and 1970s. 
Born in Milan in 1935, Balestrini was a key protagonist of post-WW2 Italian literary and social avant-garde movements: he approached experimental poetry with a visual sensibility stemming from the artistic use of collage, and with a compositional practice that gave importance to the editing and recombining of existing texts (especially newspapers, magazines, and political slogans) in search for the expression of a collective enunciation.

Nanni Balestrini born July 1935 died May 2019

Nanni Balestrini, 65000 Ètudiants, 1972. Mixed media on panel. Collezione Emilio Mazzoli, Modena
Nanni Balestrini, Cronogramma, 1960s. Collage on paper. Private collection.
He worked side by side with contemporary composers interested in the creative potential of stochastic music and the relationship between computer technology and art. Much of his radical artistic and literary research also developed in dialogue with his participation in the student and workerist movements of the late 1960s and 1970s, and their explosive political charge. Much emphasis has been placed on the exclusively typographical character of writing in Balestrini’s artistic works. This exhibition will instead draw attention to the double acoustic and visual level of Balestrini’s word or, better yet, to what Paolo Fabbri described as its “phonic-optic indiscernibility.”

NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES, curated by Marco Scotini, focuses on two crucial decades in the career of Balestrini, the 1960s and the 1970s. It includes over 70 works by the artist, along with a range of documentary material. The works from the 1960s illustrate a creative phase when Balestrini shared research interests with Luigi Nono, one of the most important 20th-century experimental composers, and when the neo-avant garde literary movement Gruppo 63 was also founded. The creative relationship between Balestrini and Nono lasted an entire decade, and the exhibition sheds light on the search for the disalienation of the word pursued by both, as well as on their use of technology as a way to seize and subvert the means of industrial production and explore their artistic potential.

The final works in the exhibition date back to the late 1970s; some of them were conceived in connection with a poem dedicated to the New York City electricity blackout of 1977. Planned as an “action for voice” to be performed by Greek-Italian lyricist and vocal experimenter Demetrio Stratos in May 1979, the work was never performed due to the premature death of Stratos and Balestrini’s indictment surrounding the political movement Autonomia Operaia.

The exhibition also includes a reconstruction of Balestrini’s Tape Mark I (1961), one of the earliest examples of computer-generated art. A combinatory poem produced by an algorithm written in the Unix programming language on a massive IBM mainframe computer, Tape Mark I anticipates many of the contemporary questions surrounding Artificial Intelligence, and was featured in the 1962 edition of the Bompiani Literary Almanac, which was dedicated to “the application of computers to ethics and literature”, a theme of utmost relevance today. 

To provide context to Balestrini’s work, the show features a selection of early words-in-freedom works by Futurist artist Carlo Carrà, a form of avantgarde visual poetry that liberated words and letters from the conventions of grammar and syntax, making them part of visual and performative compositions. This technique was co-opted by the Italian Neoavanguardia in the 1960s, due to the revolutionary potential of the early Futurist movement.
NANNI BALESTRINI: ART AS POLITICAL ACTION. ONE THOUSAND AND ONE VOICES is on view at CIMA (421 Broome Street, 4th Floor, New York, NY 10013) from February 22nd – June 22nd, 2024. See visiting hours below. 

Python reconstruction of 1961 electronic poem “TAPE MARK 1”

Nanni Balestrini, Giornale di bordo (La partita a carte), 1964. Collage on paper. Private collection, Mirano (Venezia)
CIMA OPEN HOURS: • Friday and Saturday: 11am to 6pm with guided tours at 11am and 2pm (last entry at 5pm)• Members-only hours: Monday-Thursday by appointment• General admission: $15usd for guided tours; $10usd for open hours• Members & students: free
ABOUT CIMA:Founded in 2013, CIMA is a public non-profit dedicated to presenting modern and contemporary Italian art to international audiences. Through critically acclaimed exhibitions—many of them bringing work to U.S. audiences for the first time—along with a wide variety of public programs and substantial support for new scholarship awarded through its international fellowship program, CIMA situates Italian modern art in an expansive historic and cultural context, illuminating its continuing relevance to contemporary culture and serving as an incubator of curatorial ideas for larger cultural institutions. CIMA works to add new voices to scholarship on modern Italian art with annual fellowships that open fresh perspectives and new avenues of research. A visit begins with a complimentary espresso, followed by an informal exhibition tour with one of the resident fellows. Visitors are welcome to linger for additional viewing and conversation.

ABOUT CURATOR MARCO SCOTINI: Marco Scotini is an art critic and curator. He currently is artistic director of FM Centro per l’Arte Contemporanea in Milan, a center specializing in the preservation and enhancement of private collections, artists’ archives and the promotion of contemporary art. Since 2004, he has been director of the Department of Visual Arts at Nuova Accademia di Belle Arti of Milan and Rome. He is scientific director of the Gianni Colombo Archive, the Bert Theis Archive, the Clemen Parrocchetti Archive and the Nanni Balestrini Archive. Since 2014, he has been responsible for the exhibition program of PAV- Parco Arte Vivente in Turin. He was artistic director of the 2nd Yinchuan Biennale in 2018 and was a member of the Italian Council from 2019 to 2021. He has curated exhibitions for leading national and international art institutions, including the Albanian pavilion at the Venice Biennale (2015), three editions of the Prague Biennale (2003, 2005, 2007), Anren Biennale (2017), 2nd Yinchuan Biennale (2018) and was advisor for Bangkok Biennale (2020 and 2022). He took part in the 17th Istanbul Biennale (2022) and the BETA Timișoara Biennale (2022). He has been part of the project TV Politics at documenta 14 (2017). Scotini’s project Disobedience Archive is part of the 60th Mostra Internazionale d’Arte della Biennale di Venezia (2024), curated by Adriano Pedrosa.

United Nations Sustainable Development Goals Are Shared Vision Of Humanity

A few years ago, in September 2015, 193 countries signed up to support the UN’s 17 sustainable development goals for our planet and the people that live on it. The all-encompassing plan included promises to end poverty, feed everyone, create stability and peace, provide quality education and protect the future of our world. Every man, woman and child on the planet were invited to play their part to turn 17 goals into action and the promises into reality.

Goal 4 promised to achieve inclusive and equitable quality education for all. “OECD countries have generally been successful in guaranteeing adequate infrastructure and near-universal access to basic education,” says Andreas Schleicher, Director for Education and Skills at the OECD. But he notes that participation in education is not enough “to ensure the knowledge, competence, skills and attitudes that are necessary to increase individuals’ well-being and the prosperity of modern societies.” He adds that the OECD’s programs have a key role to play “in the achievement of – and measuring progress towards – SDG 4 and its targets, as well as other education-related SDG targets.”

Richard Branson Save Our Oceans

“Just because poverty or pollution or climate change happen in another country far away, that does not mean that we are not part of the cause of these problems and their necessary solution.” — Thomas Gass
Since September 2015, education leaders and other influencers around the world have encouraged schools to promote all the goals. We’ve talked to teachers that acknowledge there’s nothing like real world challenges and case studies which allow students to apply the knowledge skills and dispositions they will need to succeed in an interconnected world.

How are we all doing so far? What have leaders learned from the implementation journey, and as a new school year begins, how can we build on those lessons to improve our efforts to achieve our planet’s plan moving forward?

Thomas Gass was appointed by the UN Secretary-General as Assistant Secretary-General for Policy Coordination and Inter-Agency Affairs in UN DESA and he took office on 3 September 2013. The Global Search for Education welcomes Thomas Gass.

Educators Have Sustainability Role

“Educators have an essential role in making sure the SDGs become a real social contract with the people.” — Thomas Gass

Thomas, please share one or two of the most important lessons you have personally learned spearheading the SDG’s implementation process thus far? It’s simple: The SDG’s are not a run-off-the-mill development strategy for big international organisations to fix the problems in the South… The SDGs are a shared vision of humanity – they are the missing (vision) piece of our globalization puzzle! This means that they can only be implemented if everyone is involved: Governments of course, but also municipalities, private companies, schools and universities, local organisations and individuals – everyone. Now, that can only happen if the people know about them… So mobilization and advocacy are crucial. The SDGs must become a new social contract between leaders and the people.

Leaders agreed that we must change the way we deal with the weakest among us, i.e. that we take the greatest care of those who are weak. What more would you ask of the leaders of rich and poor countries in terms of being good role models for this important part of the vision?

The promise to leave no one behind is the most difficult commitment of this new social contract. It requires that we all seek to understand who the most vulnerable people are and what risks they face, and then systematically empower these people and build their resilience. Political as well as economic leaders need to understand that sustainability has been redefined: If a significant economic or social group is left behind, our development is not sustainable. By the same token, we are fooling ourselves if we think that any single country or private company can be “sustainable” by itself. The SDGs demand that we are honest with ourselves about our ecological and social footprint! Just because poverty or pollution or climate change happen in another country far away, that does not mean that we are not part of the cause of these problems and their necessary solution.

United Nations Global Goals

“Know your #SDGs/#GlobalGoals and hold adults and leaders accountable for them, push back if they try to make you believe that your country, language, tribe or family is greater or more deserving than the others, and look for opportunities to make a difference yourselves.” — Thomas Gass

What more would you ask of educators in the work that lies ahead?

Educators have an essential role in making sure the SDGs become a real social contract with the people. I have the highest esteem for those committed educators who are bringing the SDGs into the classrooms, and educating younger generations to become global citizens. I firmly believe that this can be done as part of any teaching subject or class. I encourage all educators to join movements and co-create resources such as teachsdgs.org, GCEDclearinghouse.org, etc., and to encourage OECD/PISA to align their Global Competency criteria to the SDGs by 2018.

And finally, perhaps most important – what is your message to youth for the school year ahead on their part in the planet’s plan?

C.M. RubinHere is my message: This world is your world to share and enjoy. As Mahatma Gandhi said: “The world has enough for everyone’s need, but not enough for everyone’s greed.” Know your #SDGs/#GlobalGoals and hold adults and leaders accountable for them, push back if they try to make you believe that your country, language, tribe or family is greater or more deserving than the others, and look for opportunities to make a difference yourselves. Thank you Thomas.  For the Silo, C. M. Rubin.

Supplemental- Is Canada following United Nations Global Sustainable Development Goals?  

Global Search for Education