Carey Duncan’s project was carried out in the Noor solar complex in Ouarzazate, Morocco, entitled Zhuzh literally means to change something to make it more interesting or attractive. Two loose soil stocks were transformed after the leveling of the platform for the installation of one of the solar plants. The visitor from the sculpted tumoli will be able to enjoy a 360 ° view of the solar systems and the nearby valley, accompanied by a stimulating silence, literally feeling “on top of the world”.
The spiral path that allows for gentle access to the summit was also a feature that helped ensure stability by breaking the slope into multiple segments. Spectacular views of the natural and industrial landscapes were obtained, silhouetted against the thick blue sky of Ouarzazate.

Testo realizzato dalla studentessa Joelle Lupi, Accademia di Belle Arti Santa Giulia di Brescia

The installation La porta is a slender iron structure accompanied by seven pink stones from Mottarone, taken from the Pescone river, in Val Mengasca on Lake Orta. A view over the entire chain of the Alps, immaculate for the snow, but which leaves room for the bright green of the grass that covers the mountain in summer and then for the infinite possibilities of the sky, with its changing conditions due to an element of magic like clouds. Without ever possessing, the human being has intervened more and more violently on it and its ecosystems, arriving today at a point of no return. Only this deep understanding will allow the birth of a true ecological conscience even among ordinary people, accompanied by daily choices and not left only to the awareness of great enlightened minds.

Says the artist Monica Gorini: “We are Nature too, like the Mountain. We keep star crumbs… ”.

Testo realizzato dalla studentessa Joelle Lupi, Accademia di Belle Arti Santa Giulia di Brescia

Since ancient times, man has put his intellect to work in all disciplines such as religion, science and art to identify the relationship between himself and the Universe. This project by Itami Hiroshi intends to raise the level of information within all consciousness on Earth by emitting high vibrations from the body through physical and material energy, from the mouth through acoustic energy and from the spirit through non-material energy, to any space where consciousness exists. The scale of this energetic land art can be freely adjusted, which means that in addition to enhancing the living space, urban space or the entire earthly environment, this artwork can speak to the importance of enhancing human consciousness. Energy Accumulation was created in 2008 as part of the project to rectify the planet’s magnetic field started in 1993

Testo realizzato dalla studentessa Joelle Lupi, Accademia di Belle Arti Santa Giulia di Brescia

A large part, almost 60% of the Netherlands is under the sea level, therefore to protect the territory from possible floods and protect it from rising sea levels, one of the biggest problems facing the country , a network of dams has been built, which must be increased to keep the nation safe and dry. For this Ben van der Meer and Lambert Kamps were commissioned to create a land art project in the port of Lauwersoog. In this area, the theme of sea level rises and the plain behind the dam is clearly visible and it was a relevant reason for the authors to start creating an observation point on the dam, making this problem visible to others as well. people.

Testo realizzato dalla studentessa Joelle Lupi, Accademia di Belle Arti Santa Giulia di Brescia

In October 2019 the artist Kura Kazunori before moving to another city decided to engrave two writings “Please don’t disappear even if I don’t remember you” and “Please let me believe even if you don’t exist” on the ground a Munich, where he spent the previous four years. The focus of the work was the connection between “memory” and “existence”, concepts that arose in the artist various questions, for example: If I forget something and I can’t remember it, or if I can’t believe that there was something, those existences will disappear ?, What happens to unrecognized things? Where does the existence that vanished from my consciousness come from? The traces are still present on the ground, but within a few years they will disappear completely also due to the regeneration of the lawn. However, the act of creation should always be present, the work, the artist and the audience were present.

Testo realizzato dalla studentessa Joelle Lupi, Accademia di Belle Arti Santa Giulia di Brescia

Món Dotze refers to the history of the monastery of Sant Benet de Bages founded in the middle of the 10th century. It is part of the work that I group in the work program that I call Architecture and Landscape, referring to the architectural materiality, the landscape and the cultural tradition of the territory where they are located.

It links with the idea expressed by Món Sant Benet to value the cultural space that surrounds the Monastery. It is designed and carried out in a large grass meadow located between the Monastery and the cultural complex. It is characterized by the social and participatory function that promotes its historical conceptualization. Its existence creates a reason for visiting and attracting the days of open doors.

Món Dotze (World Twelve) refers to the historical and cultural route of twelve centuries of existence of the Monastery of Sant Benet de Bages and the functions it has developed throughout its existence as a monastic enclosure, feudal entity, farm, summer house and cultural center. In this sense, the monastery is shown as a symbol of durability, government, sociability, knowledge and culture. Each of the twelve circumferences that make up Món Dotze symbolizes a century of history of the monastery (X-XXI centuries), the whole recreates the historical process, the experiences and events that have happened. The circumferences were filled with bright yellow mulberry leaves, collected one by one from the garden that planted the family of the modernist painter Ramon Casas, owner of the monastery. They arranged around each other forming a large circle that gives meaning to the historical concept.

Golden Earth is an itinerant installation project.

The golden foil on the rock recalls the ancient Kitsugi technique, the Japanese art of scars that make broken objects even more precious, and the concept of resilience. It also emphasizes Earth’s sacral essence and its forgotten vulnerability. Joining fragments and giving them a new aspect thanks to the embellished scars, gives the opportunity to tell a story – different every time – through the golden breaks.

The work insists on threshold and limit values, it highlights the void created by Earth’s traumatic events.

Broken landscapes, unrepairable in their geographies, are the focus of the study that investigates system’s ability to respond to the environmental crisis: ecological resilience seems to be contrary to socio-economic resilience.

The narrative of Earth in recent decades has emphasized biosphere’s vulnerability and highlighted the urgent need to seek a holistic and systemic vision in which both humanity and nature can coexist.

Golden Earth is the emancipation of Earth spirit’s feelings.

Gold grabs the rock and testifies the inability of recreate and bring back to the original state what is now broken.

Still, landscapes’ beauty gives hope for a change towards humanity that will take care of what remains on our planet, of its irregular and unrepeatable patterns.sed.

Placed in a natural environment, the installation per se aims to be a walkable space that generates the experiential effect of human entity passing through a given, allocated space. Peressini’s work is a structural work that expresses the metaphysical dialogue naturally embedded between what pertains as functional and what can be read as a work of art. Text by Ricardo Gomes. This installation was created within the context of Walk&Talk Arts Festival, Public Art Circuit, São Miguel, Azores.

A long row of, 61 identical-size cubes, is stretched toward the horizon, composing a string of:  matter cube – space cube – matter cube – space cube….

The cubes are made of ice, placed in the desert on a hot summer day on June 2016. The defrosting process is documented, from the air and from the ground, using 5 stills cameras in time-lapse mode.

When the process is complete, a row of 61 identical cubes remains: space cube – space cube – space cube – space cube….

The art-work refers to the relationship between matter and space in the field of art in general and Sculpture in particular.

The project accentuates – formative, climatic, physical, mathematical and geomorphologic – contrasts.

This land-art project discusses:  global warming, radical climate changes, icebergs defrosting and desertification.

Why use π?

The project is a creation of contrasts. The Cube is the opposite of a sphere from both a geometrical and functional sense.

π is used as a mathematical constant to calculate the dimensions of a sphere.    Using it to describe the dimensions of a cube is contrary to practiced conventions.

The number 31 was chosen since it equals – 10 times π

61 is the sum of all the cubes:  31 matter cubes + 30 space cubes placed in between.

This art work is a land art project that relates to the power of nature: the desert earth, the heat of the sun, the presence of the vast clear sky above, water and the absence of it, temperatures from scorching heat to frozen ice, the force of the wind blowing in our ears, the effect of light and shade and the time dimension. Inherently we feel that the axis along which the action of the artwork progresses is an inseparable player in its development. Time based dynamic changes of:  mass – space, phase-state, light and shade, and the water absorption in the ground, are all present in the works’ essence.

31 Cubes sounds an alarm to the world about the damages we humans inflict on this planet. The topic of climate change and the danger to the Globe occupies me greatly.

The intervention is located in the Gothic church of Squillace whose facade was affected by architectural grafts made during the nineteenth century. Innesti intends to bring out integrations already inherent in the place, underlining them in their being a vehicle of light. The single-lancet windows were in fact implanted in a subsequent phase of redefinition of use of the structure, here interpreted as voids grafted into built blocks. The crossings of these cracks, materialized in beams of light, spread in the space emphasizing the voids.