Home Tours
2020 | agencywith Alessandro Fonte, Ottonie von Roeder, Anastasia Eggers
Home Tours is a travel agency that offers de-touristic experiences at the traveller’s own home. After asking a few questions about personal idea of a vacation, Home Tours creates a customized tour for each traveler/home: an experience that takes place within the four walls but guides the traveler to unexpected places and trigger exhilarating thoughts, leading to a completely new way of encountering the most known place: home.
Home Tours is an experimental project by Alessandro Fonte, Anastasia Eggers, Ottonie von Roeder and Silvia Susanna.
The project is supported by Goethe Institut Milan and funded by the Cultural Foundation of the Free State of Saxony. This measure is co-financed by tax funds on the basis of the budget decided by the Saxon state parliament.
Home Cultural Home
july 2019 | public eventparticipants:
Giovanni Gaggia / Artista, Performer, Fondatore di Casa Sponge (Pergola)
Alvise Giacomazzi / Architetto, Fondatore di 2.73 (Venezia)
Tobia Tomasi / Promotore Culturale, Fondatore di Casa Punto Croce (Venezia, Italia)
Jean Lorin / Ricercatore, scrittore, artista e performer Fondatore di Lorgean Theatre and homemade culture
Alessandro Fonte / Architetto, Artista, Membro di nanotourism
Beatrice Meoni / Artista
A debate on the birth, development and goals of specific programs with a cultural vocation, established in inhabited houses and led by its dwellers.
In an extended confrontation between the protagonists of these initiatives and some experts in related fields, the talk aimed at tackling topics like cohabitation with art, the cultural production, the social spaces and everyday life between dwelling and environment and tourism.
The talk aimed at bringing out meanings and values generated by these projects and the consequent spatial, social, cultural, economic and political effects.
Home Cultural Home was part of Demanio Marittimo a summer event dedicated to arts and Architecture curated by Pippo Ciorra e Cristiana Colli
event curated by Cristiana Colli e Pippo Ciorra artribune.com
The Picnic Pavilion
2019 | Parallel
the 58th International Art Exhibition May
You Live In Interesting Times
co-curated with Gabriel Adams, Isadora Tomasi and Tobia Tomasi in collaboration with Casa Punto Croce, Venice (Italy)
The Picnic Pavilion was a rogue, experimental, exhibition combined with a series of events which re-contextualize artistic practice and art tourism in the heart of Venice during the 58th International Art Exhibition May You Live In Interesting Times, known as La Biennale di Venezia 2019.
The Picnic Pavilion acted as a platform to generate and realize new works within the city. It aimed at breaking the consumer based miasma which often accompanies visits to Venice through artistic actions. The ethos of The Picnic Pavilion was to contribute to the quality of everyday life in Venice, as well as to our humanity in general.
Why? Did you know that it is illegal to picnic in Venice?
Although all great ideas came about while either cooking or eating together, the Venetian public decorum has forbidden it. Therefore, we used the picnic as a symbolic form for a public and convivial program in order to re-contextualize artistic practice and art tourism in the heart of Venice during the Venice Art Biennale.
While the outside world looked with endless adoration on La Biennale di Venezia, the reality of the city and its inhabitants have a different story. They have to coexist with both Disneylandification and environmental degradation, all accompanied by the visitors’ delirious pressure of “I can’t miss it.”
The Picnic Pavilion offered the cure, or at least some shelter from this storm, with its inherent delirium! The Picnic Pavilion took on Art and invigorates the simple ritual moments of daily life where we come together to share a meal. In addition to the mix of contemporary art, urban projects, and interventions into city social life, an ongoing series of collaborative culinary events (such as picnics, dinner parties, apero, events) will take place within the experimental and underground ~ but above water ~ Casa Punto Croce.
Casa Punto Croce is an experimental cultural program in Venice which has been taking place in an inhabited apartment for 7 years. Born from the need to generate informal events, spontaneous exhibitions, and instinctive performances, its impetuous projects have made waves across the cultural Venetian agenda.
Participants within the Picnic Pavilion responded to an open call by presenting their work, making event or happening, creating or participating in a cooking project, or organising a picnic as an open invitation to art.
The Picnic Pavilion was an auto-produced, user generated project that operated on the engagement of all participants, both the artists and the audience. Outside of the exhibition and opening event, the project operated on improvisation and self driven initiatives.
Collectively we made this project what it was, but a huge thanks has to be addressed to the project Pranzetto by Gabriel Adams, and to Punto Croce without them the all Picnic Pavilion wouldn’t exist.
pictures by Rossella Damiani and Gabriel Adams
BIO50}hotel
2014 | research by design | in collaboration with Alessandro Fonteactivated at: BIO50, 24th Design Biennial of Ljubljana, 2014 (nanotourism)
exhibited at: Eindhoven Design Week, 2018; Vienna Design Week, 2018; Milano Design Week, Palazzo Clerici, 2015;
awarded at: BIO50 - 24th Biennial of Design of Ljubljana as part of nanotourism with The Best Collaboration Award (exhibition’s highest honour)
(jury: Saša J. Maechtig, Alice Rawsthorn, Konstantin Grcic).
BIO50}hotel was a temporary exhibition hotel established at MAO - Museum of Architecture and Design of Ljubljana director Matevž Čelik - during BIO50, 24th Biennial of Design curated by Jan Boelen.
As a part of the research theme nanotourism mentored by Tina Gregorič and Aljoša Dekleva, BIO50}hotel critically challenged the tourism connected to BIO50, actively interfering with its curatorial approach.
Guests were hosted in the museum free of charge, in exchange they activated site-specific projects, exhibitions, workshops, lectures and public presentations. BIO50}hotel challenged the museum as an underused cultural infrastructure.
Rather than consumers or passive spectators guests were actively implementing the contents interacting with the biennial program and instigating alternative uses during its usual closure.
In the course of the exhibition period, BIO50}hotel hosted a broad variety of foreign and local participants: artists, architects, craftsmen, curators, designers, professors,
researchers, scriptwriters, sound composers, students who contributed to the cultural discussion inaugurated with BIO50.
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