MenteLocale
MenteLocale sviluppa i propri progetti e laboratori partendo dall’interazione con il territorio. Ogni luogo è spunto di riflessioni e ricerche da esaurirsi attraverso i linguaggi dell’arte visiva, dell’architettura e dell’infografica.

MenteLocale develops its projects and workshops, starting from the interaction with the territory. Every place is starting to run out of ideas and research through the language of visual art, architecture and graphics design.

Valentina Bigaran
Sara Tessari
MenteLocale

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False Bottom
False Bottom, progetto ed installazione in collaborazione con Lorenzo Cianchi.
La ricerca è stata condotta sulle dinamiche di come e dove nasce l’idea di contrabbando e dei processi ideativi del “nascondere” la merce. Osservando alcuni spazi dedicati ai doppifondi, sono emersi una serie di sculture che si identificano con essi solo per le loro analoghe geometrie ma non per la loro funzionalità. Come, a loro volta, nella serie di mappe mute che rivelano ipotetici sentieri ma non i luoghi di transito.

False Bottom, project and installation in collaboration with Lorenzo Cianchi.
The research was conducted on the dynamics of smuggling and thought processes of “hiding” the goods. Observing some spaces of false bottoms, they have emerged a series of sculptures that identify with them for similar geometry but not for their functionality. As in the series of maps that reveal mute hypothetical paths but not the transit points.

Lorenzo Cianchi
Smuggling Anthologies

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NASR

Edicola
(latino aedicula) – Da aedes, che al singolare indica la casa dell’uomo, al plurale la dimora degli Dei, tempio, cioè la casa per eccellenza. Tempietto o baldacchino, sotto il quale era collocata la statua di una divinità, ed anche stipetto di legno in forma di tempio, nel quale si riponevano i busti di famiglia e le divinità tutelari […].
(Definizione tratta dal vocabolario etimologico Pianigiani)

a cura di
Saverio Verini

nasrkilowart2014.blogspot.it
www.kilowattfestival.it

Lorenzo Cianchi



Double Skin

Collaboration between Chimajarno (Chiara Trentin) and Michele Tajariol came from some analogies of their individual researches: aggregation and body. Since many years Chimajarno has been composing and combining shapes and colors, using buttons to create unique and intimate “aggregations”, to wear as unique jewelries. Aggregations of buttons in which you reflect and go through to see the fine workmanship of processing between plots and buttons, including wires and matter. Noticing some familiar nuances in Chimajarno’s work, Michele approached to the research between sculpture and body, making his body a vehicle for materials and masks, for the compulsive accumulation of objects and affectivity. His likeness is deleted and throw-in toward meaningful noise, trying to be different from himself. The fusion of these two expressive paths led to remove the boundaries between sculpture and aggregation, between decoration and metamorphosy, in which a single large structure predominates and embraces the bodies like protecting them. A wooden jewel to wear inevitably accompanied. For this work Michele produced some wooden buttons from a square rod and then Chiara assembled these buttons into a necklace, searching a form in their bodies’union.

chimajarno