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	<title>Marina Caneve</title>
	<link>https://marinacaneve.com</link>
	<description>Marina Caneve</description>
	<pubDate>Sun, 22 Oct 2023 17:20:03 +0000</pubDate>
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		<title>Home 2</title>
				
		<link>https://marinacaneve.com/Home-2</link>

		<pubDate>Mon, 07 Jun 2021 15:20:09 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

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1.On the ground among the animals&#60;img width="1500" height="1200" width_o="1500" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1794ac778ac6ac112760218146ad06138eb51335678ed52137472b1f84a6ff84/MC_OTG_06.jpg" data-mid="221213563" border="0"  src="https://freight.cargo.site/w/1000/i/1794ac778ac6ac112760218146ad06138eb51335678ed52137472b1f84a6ff84/MC_OTG_06.jpg" /&#62;



2.Are They Rocks or Clouds?&#60;img width="1500" height="1213" width_o="1500" height_o="1213" data-src="https://freight.cargo.site/t/original/i/4be971edf65240011ee41857bb4d5c5ef7c107f3b339555f3fb4c4c461565b13/06.jpg" data-mid="119365242" border="0"  src="https://freight.cargo.site/w/1000/i/4be971edf65240011ee41857bb4d5c5ef7c107f3b339555f3fb4c4c461565b13/06.jpg" /&#62;



3.Crolla la diga. Le voci si contraddicono&#60;img width="1500" height="1200" width_o="1500" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2c4da7bad9bd757e4dd8eac122b4fd71bc61e921753324aacde8acfd8810a45e/Marina-Caneve_01.jpg" data-mid="221213948" border="0"  src="https://freight.cargo.site/w/1000/i/2c4da7bad9bd757e4dd8eac122b4fd71bc61e921753324aacde8acfd8810a45e/Marina-Caneve_01.jpg" /&#62;



4.La Sapienza, or a discourse on knowledge&#60;img width="1500" height="1200" width_o="1500" height_o="1200" data-src="https://freight.cargo.site/t/original/i/b5b52ce89764b0d151a6aa5608387fb58e11c353067c7a0a34209c9fcdd2d271/MC_Sapienza_100x125_02.jpg" data-mid="208026863" border="0"  src="https://freight.cargo.site/w/1000/i/b5b52ce89764b0d151a6aa5608387fb58e11c353067c7a0a34209c9fcdd2d271/MC_Sapienza_100x125_02.jpg" /&#62;

5.Entre chien et loup
&#60;img width="1500" height="1200" width_o="1500" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d969bf170796c036c45fdf1d062752eb8bba684efd40f5fe9a0a0071dfc9fe49/1920_CANEVE_Entre-Chien-et-Loup_02.jpg" data-mid="119375486" border="0"  src="https://freight.cargo.site/w/1000/i/d969bf170796c036c45fdf1d062752eb8bba684efd40f5fe9a0a0071dfc9fe49/1920_CANEVE_Entre-Chien-et-Loup_02.jpg" /&#62;

6.Manifesto frammentario della città di Venezia&#60;img width="700" height="560" width_o="700" height_o="560" data-src="https://freight.cargo.site/t/original/i/98fae6233c5679952b2cd48b267cb4c12bdb582af237b8d4b577b14349cdbb64/01.jpg" data-mid="119375541" border="0"  src="https://freight.cargo.site/w/700/i/98fae6233c5679952b2cd48b267cb4c12bdb582af237b8d4b577b14349cdbb64/01.jpg" /&#62;

&#38;nbsp;

7.Athens Metro Line 3 Extension &#60;img width="1000" height="800" width_o="1000" height_o="800" data-src="https://freight.cargo.site/t/original/i/a314482f0b2f0219acca965fac31275a649e1c8150ec11e77a3ec350d7e1d885/Ghella_Caneve_07.jpg" data-mid="119375601" border="0"  src="https://freight.cargo.site/w/1000/i/a314482f0b2f0219acca965fac31275a649e1c8150ec11e77a3ec350d7e1d885/Ghella_Caneve_07.jpg" /&#62;

8.A fior di terra 
&#60;img width="960" height="1200" width_o="960" height_o="1200" data-src="https://freight.cargo.site/t/original/i/7e4928d77e298e388186aa8f14d88c2f13dda3a8f797c33a01f1cf47343f813b/21_MC_A-fior-di-terra_05.jpg" data-mid="119375662" border="0"  src="https://freight.cargo.site/w/960/i/7e4928d77e298e388186aa8f14d88c2f13dda3a8f797c33a01f1cf47343f813b/21_MC_A-fior-di-terra_05.jpg" /&#62;

9.Osservatorio Cortina 
&#60;img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/727f550854835f08427d0f1af84134e0765ce93e5f3420107aa789e85705f82c/47-libro.jpg" data-mid="119375716" border="0"  src="https://freight.cargo.site/w/1000/i/727f550854835f08427d0f1af84134e0765ce93e5f3420107aa789e85705f82c/47-libro.jpg" /&#62;

10.Survey for ICCD and UNESCO 
&#60;img width="1200" height="960" width_o="1200" height_o="960" data-src="https://freight.cargo.site/t/original/i/df202832c06e5dec07a4c9c0f81859b4911405e7a78e2a96b5162b8c2c36a5f9/Marina-Caneve_Opere-di-Diefesa_Bergamo_02.jpg" data-mid="119375749" border="0"  src="https://freight.cargo.site/w/1000/i/df202832c06e5dec07a4c9c0f81859b4911405e7a78e2a96b5162b8c2c36a5f9/Marina-Caneve_Opere-di-Diefesa_Bergamo_02.jpg" /&#62;

11.Atlante Architettura Contemporanea 
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12.The Shape of Water Vanishes in Water 
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 13.Porto Marghera&#38;nbsp;14.Portraits&#38;nbsp;15.Architecture&#38;nbsp;16.Books&#38;nbsp;17.Archive&#38;nbsp;
&#60;img width="700" height="560" width_o="700" height_o="560" data-src="https://freight.cargo.site/t/original/i/c24601e071a0afaadd03a9c14e7c172f92135a230fe940611b1ca82402e4bb38/04.jpg" data-mid="119376361" border="0"  src="https://freight.cargo.site/w/700/i/c24601e071a0afaadd03a9c14e7c172f92135a230fe940611b1ca82402e4bb38/04.jpg" /&#62;
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		<title>Info</title>
				
		<link>https://marinacaneve.com/Info</link>

		<pubDate>Thu, 11 Mar 2021 12:25:07 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

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	Marina Caneve explores the interaction between photography and research. She emphasises the stratification between disciplines and languages, and her projects mainly arise from questioning stereotyped and direct narratives.
She is currently researching the idea of ecosystems, both environmental and cultural.

She is a finalist for the Prix Pictet, and her work will tour internationally as part of an exhibition beginning at the Victoria &#38;amp; Albert Museum in London. In 2023, Caneve received the Italian Council fellowship to complete On the Ground Among the Animals (2015-2024), promoted by FMAV (Fondazione Modena Arti Visive) and UGM (Maribor Art Gallery, Slovenia). This project has toured several venues as a solo exhibition including FMAV, UGM and CAP Centre d’art de Saint-Fons near Lyon, France. It was also shown at Paris Photo in 2024.Her first project Are they Rocks or Clouds? has won numerous awards including the Giovane Fotografia Italiana, now the Luigi Ghirri Award, and the Dummy Award at Cortona on the Move, Italy, both in 2018. It was published as a photobook by Fw:Books and won the Bastianelli Award for best Italian photobook in 2020. It was also nominated for the Prix du livre at Les Rencontres d’Arles, France in 2020.

Caneve’s work has also been exhibited in institutions including Victoria &#38;amp; Albert Museum in London (2025 - upcoming), Fotohof in Salzburg, Austria (2019); La Triennale, Milan (2021) and MAXXI, Rome (2021 and 2023). Her work has entered major public and private collections, including CAP Saint-Fons, MAXXI in Rome, MuFoCo in Milan, ICCD in Rome, and Fondazione Ago in Modena, National Mountain Museum. In recent years, Caneve has developed a number of commissioned artistic research projects, among them Roma in the World (MAXXI), iNest (Ca’ Foscari University), Ankara: Italian Perspectives in the capital (Embassy of Italy in Ankara and Bilkent University), Tredici sguardi sui Musei Lombardia (Mufoco and Direzione Musei Lombardia), Atlante Sapienza 22 (MAXXI), Italia Inclusiva (MAECI), Atlante Architettura Contemporanea (MiC and MUFOCO), UNESCO (ICCD), and Marghera on Stage (Padiglione Venezia, La Biennale di Venezia).

Her major publications include On the Ground Among the Animals, published by Fw:Books (2024), selected for Best Dutch Book Designs in 2025; and CALAMITA/À, an investigation into the 1963 Vajont dam disaster in Italy, Fw:Books (2024) and Are they Rocks or Clouds?, Fw:Books (2019). Publications from commissioned artistic researches include Io sono contemporaneamente Dario Cimorelli Editore (2024), A fior di terra, self-published (2022), Di roccia, fuochi e avventure sotterranee, Quodlibet/Ghella (2021), The Valley Between Peaks and Stars, Quodlibet (2021), The Shape of Water Vanishes in Water, A+M (2018).

Caneve is co-founder of CALAMITA/À, an interdisciplinary platform focusing on catastrophes, awarded the Strategia Fotografia fellowship in 2023.
 She combines her practice with teaching at LABA Art Academy in Brescia, Spazio Labo’ in Bologna, CISA Film Academy in Locarno and giving workshops for different institutions. 

	Marina Caneve is represented by Montrasio Arte

Marina Caneve  is currently shortlisted for the Prix Pictet. In 2023 she was awarded of the Italian Council program (12th edition, 2023), which aims to promote Italian contemporary art worldwide. 
Publishers:&#38;nbsp;
Fw:Books;&#38;nbsp;Quodlibet; a+mbookstore edizioni;&#38;nbsp;Dario Cimorelli editore
 
Her books are designed by:Hans Gremmen; Leonardo Sonnoli; Filippo Nostri; Metodo Studio;  SYB.&#38;nbsp;
Caneve is co-founder of CALAMITA/À (2013 -ongoing), project awarded of the Strategia Fotografia grant in 2023.
Teaching: 
LABA - Libera Accademia di Belle Arti Brescia;&#38;nbsp;Spazio Labo’;&#38;nbsp;CISA Film Academy


	Solo Exhibitions
/ L’erba è verde, Montrasio Arte, Milano (2025, it)
/ On the ground among the animals, CAP • Centre d’art de Saint-Fons (Lyon) , curated by Alessandra Prandin (2024-2025, fr)/ On the ground among the animals, solo booth in the Emergence sector curated by Anna Planas, Paris Photo, Montrasio Arte (2024, fr)/ On the ground among the animals, BDC Catalog, Colonne28, curated by Daniele De Luigi (2024, it)/ On the ground among the animals, IIC Prague, curated by Daniele De Luigi (2024, cz)

/ A terra tra gli animali, FMAV - Fondazione Modena Arti Visive, curated by Daniele De Luigi (2024, it)/ A terra tra gli animali, UGM - Umetnostna galerija Maribor, curated by Daniele De Luigi (2024, sl)

/ Are They Rocks or Clouds?, IIC Bucharest and Switch Lab Bucharest, Double-solo show curated by Alessandro Dandini de Sylva and designed by Etaoin Shrdlu Studio (2023-2024, ro)


Collective Exhibitions
/ Prix Pictet Storm, TOP - Tokyo Photographic Art Museum (2025, jp - upcoming)/ Roma in the World, MAXXI (2025, upcoming)/ Prix Pictet Storm, Ishara Art Foundation, Dubai (2025, ae - upcoming)
/ Prix Pictet Storm, V&#38;amp;A - Victoria&#38;amp;Albert Museum (2025, uk - upcoming)
/ Camera Italia, works from the Luigi Ghirri Award, IIC Stockholm (2025, se)/ CALAMITA/À, Photoszene, Cologne (2025, de)
/ Veggenti.&#38;nbsp;New Visual Research on the Italian Landscape, curated by Matteo Balduzzi, MUFOCO -&#38;nbsp;Museo di Fotografia Contemporanea (2024-2025, it)
/ Atlante Sapienza, curated by Simona Antonacci in Fuori tutto curated by Baetolomeo Pietromarchi, MAXXI, (2023-2024, it)
/ Future Perfect, curated by&#38;nbsp;Katharina Zimmermann, Fotodoks, Munich (2023, de)
/ Risk, curated by Julia Bunneman, RAW Photo Triennale, Worpswede (2023, de)
/ TRE·DI·CI Sguardi sui Musei Lombardia, curated by Matteo Balduzzi, Emanuela Daffra, Gabriella Guerci and Giulia Valcamonica, Palazzo Reale, Milan (2023, it)
/ 
FOTOGRAFE! Dagli archivi Alinari a oggi, curated by Emanuela Sesti and Walter Guadagnini, Forte Belvedere, Florence (2022, it)
/ Eyes on tomorrow. Fotografia italiana nel mondo, curated by Ilaria Campioli and Daniele De Luigi, IIC Algeri, Algiers (2022, dz)
/ Atlante Architettura Contemporanea, curated by Matteo Balduzzi, Alessandra Cerroti and Luciano Antonino Scuderi, Palazzo Abatellis, Rome (2022, it)
/ Fosfeni, curated by Carlo Sala, Fondazione Francesco Fabbri, Pieve di Soligo (2022, it)
/ Nature Future, curated by Collectif Fetart, Prague, Berlin, Stuttgart (2022, cz, de, de)
/ Ridisegnare lo spazio. Marina Caneve, Andreas Gefeller, Giulia Marchi, Massimo Vitali, 
curated by Angela Madesani, Labs Contemporary Arts, Bologna (2022, it)

/ Di roccia, fuochi e avventure sotterranee, curated by Alessandro Dandini de Sylva, MAXXI L’Aquila, L’Aquila (2022, it)
/ Earthlings, curated by Jenny Smets, Atelier Neèrlandais, Paris (2021, fr)

/ Atlante Architettura Contemporanea, curated by Matteo Balduzzi, Alessandra Cerroti and Luciano Antonino Scuderi, Triennale, Milan (2021, it)/ Di roccia, fuochi e avventure sotterranee, curated by Alessandro Dandini de Sylva, MAXXI, Rome (2021, it)
/ Bridges are Beautiful, curated by Jon Uriarte, GETXOPHOTO (2021, es)
/ Reset, curated by MAPS, De Markten, Brussels (2021, be)/ 
Not only history, but our memories, curated by Carlo Sala, Podbielski Contemporary, 
Milan (2021, it)/ Photo Open Up, curated by Carlo Sala, Museo Eremitani, Padua (2020, it)
/ Qui c’è un mondo fantastico, curated by Giangavino Pazzola and Veronica Lisino, Museo Nazionale della 
Montagna, Turin (2020, it)/ Sguardo lucido, curated by Andrew Phelps and Herman Seidl, Fotohof, Salzburg (2019, at)
/ Cortona On The Move, curated by Arianna Rinaldo, Cortona (2019, it)/&#38;nbsp;F4 Un’idea di fotografia, Fondazione Francesco Fabbri, curated by Carlo Sala, (2019, it)/ Looking On, MAR – Museo d’Arte Ravenna, curated by Osservatorio Fotografico, Ravenna (2019, it)
/ Emerging Talents, Mattatoio (ex Macro Testaccio), Rome (2018-2019, it)/ ACTIVISM – Giovane Fotografia Italiana, curated by Daniele de Luigi, Fotografia Europea – Reggio Emilia (2018, it)/ Step, Kneel, Rub, Touch, Look, Grasp, Repeat, Page Blanche Gallery, Paris (2018, fr)
/ Photo London and Photo Espana Book Dummy Award exhibition (2018, uk – es)/ 101ma Collettiva, Fondazione Bevilacqua la Masa, Venice (2017, it)/ Unseen Dummy Award, Unseen, Amsterdam (2017, nl)
/ Prospettive Trasversali, curated by 
Fondazione Marangoni, Le Murate, Florence (2017, it)/ The Power of the Single Image, Melkweg Expo, Amsterdam (2017, nl)/ CALAMITA/À, Matèria gallery, Rome (2016, it)
/ Abitare il Deserto, curated by Osservatorio Fotografico and Giovanni Zaffagnini,&#38;nbsp;Museo San Rocco, Fusignano (2016, it)
/ Survey of the industrial area of Porto Marghera, Venice Pavilion for the 15th Architecture Biennale, La Biennale di Venezia (2016, it)
/ ALT+1000, curated by Beatrice Andrieux, Rossiniére (2015, ch)/ Premio Nascimben, Fondazione Benetton, Treviso (2014, it)
/ CALAMITA/À &#38;amp; Landscape Stories/ Guardians, SI Fest23, Savignano (2013, it)/ Investigazioni private, curated by Carlo Sala, La Fornace, Asolo (2013, IT)
	Awards &#38;amp; Grants


Prix Pictet, shortlised (2025,&#38;nbsp; uk/ch)
Italian Council - Edizione 12, International art commission and acquisition, with Fondazione Modena Arti Visive and UGM &#124; Maribor Art Gallery (Umetnostna galleria Maribor, Slovenia), (2023, it, sl)

Strategia Fotografia, Calamita/à, with FAST (2023, it)PAC - Piano per l'arte contemporanea 2023, Comune di Savignano sul Rubicone (2023, it)

L’italia è un desiderio, MUFOCO (2023, it)
Italia Inclusiva, Ministry of Foreign Affairs (2022, it)
C/O Berlin Talent Award, Finalist (2021, de) &#38;nbsp;
FUTURES, artist selected by Camera Torino, (2020, eu) 
Prix du Livre, Rencontres d’Arles Book Awards, Finalist (2020, fr) 
Premio Marco Bastianelli (2020, it)
IAlp, Museo Nazionale della Montagna, Torino (2019, it)Atlante Architettura Contemporanea, MUFOCO e MiBACT (2019, it)Cortona On The Move Dummy Award (2018, it)Giovane Fotogafia Italiana, Fotografia Europea – Reggio Emilia (2018, it)Docking Station, Artist Residency (2018, nl)101ma Collettiva Giovani Artisti, Fondazione Bevilacqua la Masa, Finalist (2017, it)La Fàbrica – Photo London Book Dummy Award, Finalist (2017, es - uk)Unseen Dummy Award, nominata, Amsterdam (2018, nl)Premio Francesco Fabbri, nominata (2015, it)Rovinj Photodays – Artistic Concept, Winner (2015, hr)ALT+1000, Photography Festival of Rossiniére (2015, ch)Premio Nascimben, 2nd Prize (2014, it)97ma Collettiva Giovani Artisti, Fondazione Bevilacqua la Masa, Finalist (2013, it)Fondazione Francesco Fabbri Artist Residency curated by Francesco Jodice (2013, it)



CollectionsCAP Saint-Fons - Saint-Fons, FranceCollezione Farnesina - Rome, ItalyICCD, Central Institute for Cataloguing and Documentation – Rome, ItalyGalleria Civica Collection, Comune di Modena - Modena, ItalyMAXXI &#124; Museo nazionale delle arti del XXI secolo - Rome, ItalyMufoco &#124; Museo di Fotografia Contemporanea - Milan, ItalyMuseo Nazionale della Montagna “Duca degli Abruzzi” – Turin, Italy
Private collections


Books (personal)&#38;nbsp;On the ground among the animals, Fw:Books (2024)
Are They Rocks or Clouds?, Cortona On The Move/ Fw:Books (2019)
Books (collective and curated)
CALAMITA/À. An investigation into the Vajont catastrophe, Fw:Books (2024)The Valley Between Peaks and Stars, Quodlibet (2021)The Walking Mountain, CALAMITA/À (2016)
Books (commissions)Io sono contemporaneamente Dario Cimorelli Editore (2024)A fior di terra, self-published (2022)Di roccia, fuochi e avventure sotterranee, Quodlibet/Ghella (2021) The Shape of Water Vanishes in Water, A+M (2018)

Books (collective and catalogues - selection)
Veggenti. New Visual Research on the Italian Landscape,&#38;nbsp;Skinnerboox,&#38;nbsp;curated by Matteo Balduzzi and designed by Sonnoli Studio (2024)Tre-di-ci sguardi sui musei di Lombardia, curated by&#38;nbsp;Emanuela Daffra, Matteo Balduzzi, Gabriella Guerci, Giulia Valcamonica (2024)
10 viaggi nell'architettura italiana, SilvanaEditoriale, curated by Matteo Balduzzi, Alessandra Cerroti, Luciano Antonino Scuderi and designed by Studio Folder (2021)


Teaching 

 LABA - Libera Accademia di Belle Arti Brescia (2024-present)CISA Film Academy (2024-present) 
Spazio Labo’, Bologna (2020-present)&#38;nbsp;Master IUAV in Photography, IUAV University, Venice (2019-2023)

Workshops

FAQ &#124; FotoArchivio di Quartiere, Napoli,&#38;nbsp;CUT &#124; Circuito Urbano Temporaneo e Sottospazio (2024)

Masterclass Artistic Research, FMAV (2024)_CONFINE_ Possibilità e declinazioni, Savignano Immagini&#38;nbsp;(2024)
Researching, Unlearning, Returning, ACCA Academy (2023)
Equilibri tra lo spettacolare e l'ordinario, Osservatorio OMNE (2023)
Equilibri, SOU -&#38;nbsp;Scuola di Architettura per Bambini, Farm Cultural Park (2022)
Progetto Processo, Lunigiana Landart (2022)
Photography workshop, AHO&#38;nbsp;Oslo School of Architecture and Design (2021)
CALAMITA/À interdisciplinary workshop, Parco Naturale delle Dolomiti Friulane (2015, it)

Lectures, Workshops, Talks (selection)
Photographies de catastrophes en montagne, passées et à venir in Arts contemporains &#38;amp; anthropocène, international conference curated by Danièle Méaux, Université Jean Monnet (2021, Saint-Étienne, FR)
Immagini di immagini. Luigi Ghirri, Paesaggi di Cartone. Joan Fontcuberta, Marina Caneve e Davide Trabucco dialogano con Michele Smargiassi, Fotografia Europea Reggio Emilia, (2021, it)










Book Club 21, curated by Rob Honstra and Fotodok, Utrecht, (2020, nl)
Living Room, curated by Daria Tuminas, Unseen, Amsterdam (2019, nl)










CALAMITA/À, Fonderia 20.9, Verona (2018, it)


CALAMITA/À ,Vajont in collaboration with LATITUDE platform, RIGA Summer Intensive Workshop (2014, it)

Scuole di Venezia: la fotografia, Università IUAV Venice, Phd departement (2014, it)
I luoghi della fotografia. La fotografia come strumento conoscitivo e interpretativo, OAPPC Mantova, Mantova Architecture University (2014)





Publications (selection)Vesper, Quodlibet (2022)
Abitare il deserto, Osservatorio Fotografico (2016)RICICLI. Teorie da concetti nomadi e di ritorno, a cura di Sara Marini e Vincenza Santangelo, Aracne (2014)


Education 
BA Photography, Royal Academy of Arts, KABK Den Haag (nl, 2017) 
MA Architecture and Sustainability, IUAV Architecture University Venice (it, 2013)Selected interwievs and articles: ASX, Artribune, ATP Diary, FOAM, GUP, Vogue.

Website by Gluqbar Studio






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		<title>Are They Rocks or Clouds?</title>
				
		<link>https://marinacaneve.com/Are-They-Rocks-or-Clouds</link>

		<pubDate>Fri, 12 Mar 2021 08:21:49 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

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Nature failure is inevitable,we can only face it.
Photography usually documents a catastrophe that has just happened or records the traces
of events far back in time. Are They Rocks or Clouds? is rather an attempt to foresee a future catastrophic event. It blends research with photography and&#38;nbsp;is based on the hypothesis of a large-scale hydrogeological disaster in the Dolomites.

The project refers to the possibility of the floods and landslides that devastated the region in 1966 repeating themselves after a&#38;nbsp;hundred years. Confronting the spectre of a disaster that could happen within the next fifty years — close but not immediate — gave Caneve the opportunity to go beyond
documenting an event as it happened. She avoided recreating traditional imagery of&#38;nbsp; the mountain that amplifies its sublime and monumental aspects. She instead created a new, uncertain imagery that allows us to explore, decode and re-observe the landscape.
Caneve pushes us to face our vulnerability in living and experiencing our place in the environment. She also addresses her&#38;nbsp;questions to the medium of photography itself, interrogating its possibilities and its limits.


Are They Rocks or Clouds? oscillates between the documentary and the poetic. Its variations are a metaphor for the stratification of different rocks that represent the internal structure of mountains, revealing their geological epochs and other peculiarities. At the same time, these features show the fragility of the mountains by exposing how at various points their slopes have collapsed. Events have taken place, are taking place in ways that are often barely visible, and will continue to take place into an incalculable future. As Georges Didi-Huberman, the French philosopher and art historian, wrote in Sentir le grisou (Smell the Firedamp), ‘We can expect that thinkers, history and perhaps artistic activity will alert us to the looming catastrophes.’
Caneve’s camera is directed towards the landscapes of her childhood and towards the people who live in and with the mountains and who know perfectly well the dangers of living in such an environment, framing and organising these temporal modulations. For Caneve, seeing and imagining this vulnerability is a way of relating materially to it.



(..) as the mountain as metaphor is poetry while the mountain recognized as a real source of danger alludes to the documentary, for which evidence is to be mounted to account for the monitoring of its moving, or testimonies to be gathered after an accident or a catastrophe. - Taco Hidde Bakker, Are They Documents or Poems?
‘Are They Rocks or Clouds?’ addresses the history of hydrogeological events in the Dolomite mountains and, more broadly, how our cultural memories of such incidents are shaped. The work explores how human habitation persists in locations that have established patterns of landslides, floods, and other such possible catastrophes and therefore comprises a blend of research and archival images, texts, and recent photographs woven together to address the themes of Destruction, Protection, Experience, Representation and Resilience in areas with centuries-long cycles of human vulnerability in the face of natural disasters. ‘Are They Rocks or Clouds?’ balances information, history and visual pleasure as the reader is asked to confront the risks we take, as humans, in our effort to live comfortably while also pushing the limits of how we interact with the natural world.
- Lesley A. Martin, The Dummy Photobook Prize, Cortona On The Move, 2018Are They Rocks or Clouds? is a multifaceted series of photographs that benefits from the indeterminacy that, on the one hand, underpins poetry and, on the other, is the boundary of science, all without succumbing to the ambiguity of the one or the presumption of the other, because, to cite the science historian D. Graham Burnett, “conclusions should, as a rule, be treated with suspicion. - Raffaele Vertaldi, Domus 1034





‘Are They Rocks or Clouds?’ book is designed by Hans Gremmen and is published by Fw:Books and OTM.The photobook blends images and text; are included three essays and a Coda.Essays:Taco Hidde Bakker (Writer and curator), Are They Documents or Poems?Emiliano Oddone (Geologist), The Gravity of BeautyAnnibale Salsa (Anthropologist), The Knowledge Defect
Selected writings:&#38;nbsp;
ASX American Suburb X - Essay by&#38;nbsp;Eugenie Shinkle &#38;amp; Sunil Shah


GUP Magazine - Book review by Tim van DijkIl Post, Sono rocce o nuvole? - Article by Alessia Mutti

Vogue - Interview by Chiara Bardelli Nonino

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Exhibitions:Are They Rocks or Clouds?, Switch Lab and IIC Bucharest, solo show, curated by Alessandro Dandini de Sylva (Bucharest, ro, 2023)Earthlings, Atelier Néerlandais, curated by Jenny Smets (Paris, fr, 2021)Not only history, but our memories, curated by Carlo Sala, Podbielski Contemporary (Milan, it, 2020)Sguardo Lucido, Fotohof, curated by Andrew Phelps and Herman Seidl (Salzburg, at, 2019)Are They Rocks or Clouds?, Cortona On The Move, curated by Arianna Rinaldo (Cortona, it, 2019)F4 Fondazione Francesco Fabbri, curated by Carlo Sala (it, 2019)Looking On – MAR Ravenna, curated by Giulia Ticozzi and Osservatorio Fotografico (it, 2019)Emerging Talents, Mattatio, Roma, curated by Arianna Catania and Sarah Carlet (it, 2018-2019)Giovane Fotografia Italiana, Fotografia Europea Reggio Emilia, curated by Daniele De Luigi (it,2018)
Awards:Prix Pictet, Shortlisted (2025, uk/ch)
Premio Graziadei VII Edition, Special Mention, (2020, it)
Prix du Livre, Rencontres d’Arles Book Awards, Finalist (2020, fr) Premio Marco Bastianelli (2020, it)Cortona On The Move Book Dummy Award (2018)Premio Giovane Fotografia Italiana, FOTOGRAFIA EUROPEA – Reggio Emilia (2018, it)Unseen Dummy Award 2017 e La Fàbrica – Photo London Book Dummy Award, Shortlisted (2018, es-uk)

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	<item>
		<title>On the ground among the animals</title>
				
		<link>https://marinacaneve.com/On-the-ground-among-the-animals</link>

		<pubDate>Fri, 12 Mar 2021 11:26:08 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

		<guid isPermaLink="true">https://marinacaneve.com/On-the-ground-among-the-animals</guid>

		<description>On the ground among the animals
2015-2024
On the ground among the animals is a research based artistic project exploring the possibility of a
“visual ecocriticism”.With On the Ground among the Animals, Marina Caneve explores the ambiguities inherent in the
dominating role played by human beings over nature and the tensions that emerge from their
relationship with other animals. The artist takes her cue from an analytical study of the Natura 2000
project, the network of ecological corridors to preserve biodiversity promoted by the European
Union. Caneve creates a visual link between the infrastructures connecting the wild animals, the
videos generated by the monitoring systems and the nature reserve landscapes. She touches on key
themes such as migration and freedom of movement, non-human animal rights, ecosystem
conservation and ultimately the possibility of rethinking human beings’ role in the world.


					
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The title of the project is taken from one of the letters written to Felice Bauer by Franz Kafka, the
centenary of whose death falls this year.


	However, I do want to interpret your dream. Had you
not been lying on the ground among the animals, you
would have been unable to see the sky and the stars
and wouldn’t have been set free. Perhaps you wouldn’t
have survived the terror of standing upright.

					
				
			
		
	


	
		
		
	
	
		
			
				
					
						
	
— Franz Kafka, Letters to Felice, 1915
	

The project introduces the topic of
the conflict between human desires and needs and the order of natural space. A large series of
colour photographs focus on the landscape of the nature reserves, paying particular attention to the
presence of animals, barriers and flow monitoring systems. In parallel, the artist starts from
theoretical research to present a series of photographs responding to cultural, technical and social
investigation into the topics of infrastructure, design, animals and their depiction, policies, freedom
of movement and preservation of biodiversity. The visual research includes architecture built by the
animals such as termite mounds. The photographic works are combined with extensive captions
permitting to explore all the research made by the artist in the nine years while she developed the
work.

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Exhibition views, On the ground among the animals, solo exhibition, curated by Alessandra Prandin, CAP • Centre d’art de Saint-Fons, 14.02.2024-22.02.2025

					
                    
                    
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&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/670c601ea5196623e65fa82ce949b83898fb6d568516836b3467136edc188c0d/00_MarinaCaneve_ATerraTraGliAnimali_FMAV.jpg" data-mid="221215211" border="0"  src="https://freight.cargo.site/w/1000/i/670c601ea5196623e65fa82ce949b83898fb6d568516836b3467136edc188c0d/00_MarinaCaneve_ATerraTraGliAnimali_FMAV.jpg" /&#62;

Exhibition views, On the ground among the animals, solo exhibition, curated by Daniele De Luigi, FMAV - Fondazione Modena Arti Visive, installation design Etaoin Shrdlu Studio, 07.06.2024-06.10.2024

Some of the most important infrastructures in the network are the bridges&#38;nbsp; — wildlife crossing devices  — which help the animals
get around architectural barriers: fencing directs the paths the animals take and monitoring cameras
trace their movements, calling into question their effective freedom. The bridges were
photographed by Caneve on the field in several EU countries. The black-and-white images conjure
up the idea of documents or a typology of architecture.&#38;nbsp;


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Then, taking inspiration from the footage of “camera traps” and “thermal cameras” set up by the
researchers to document and monitor the animals on the bridges, Marina Caneve has created a
three-channel video installation (loop), whose animal and human presence suggests that we reflect
on contemporary migration policies, surveillance and intrusive images. The videos are accompanied
by an original sound track composed by Renato Rinaldi, inspired by Kafka’s short stories as
“Josephine the Singer, or the Mouse Folk”, sounds from nature, and deterrence sounds to keep
animals away from danger.

&#60;img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/e8d69a9bef4255d30f3c1356ca99783f6175cf633592fe2d3bc9bf7b7c619fdd/MarinaCaneve_ATerraTraGliAnimali_FMAV_008.jpg" data-mid="221215582" border="0"  src="https://freight.cargo.site/w/1000/i/e8d69a9bef4255d30f3c1356ca99783f6175cf633592fe2d3bc9bf7b7c619fdd/MarinaCaneve_ATerraTraGliAnimali_FMAV_008.jpg" /&#62;
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Exhibition views, On the ground among the animals, solo exhibition, curated by Daniele De Luigi, FMAV - Fondazione Modena Arti Visive, installation design Etaoin Shrdlu Studio, 07.06.2024-06.10.2024

The project includes a homage to writer Vitaliano Trevisan and a triptych of images with a
passage taken from his I quindicimila passi (The Fifteen-thousand steps), introducing the topic of
the conflict between human desires and needs and the order of natural space.
 


				
			
		
	

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The project comes also with a book designed by Hans Gremmen an published by Fw:Books. It is a is a 288 pages book with images by Caneve and texts by Taco Hidde Bakker, James Bridle, Daniele De Luigi, Gian Piero Frassinelli, Serenella Iovino, Hélène Soubelet, Vitaliano Trevisan, 2050+.




&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/612ac149e26754befa464ca171add68ceef64a1c91604e05d1a6a034f5be643e/MARINA_ANIMALS01.jpeg" data-mid="221215605" border="0"  src="https://freight.cargo.site/w/1000/i/612ac149e26754befa464ca171add68ceef64a1c91604e05d1a6a034f5be643e/MARINA_ANIMALS01.jpeg" /&#62;
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On the ground among the animals, Fw:Books,&#38;nbsp;
17 x 24 cm / 288 p / softcover / ills colour / Design Hans Gremmen / Text by Taco Hidde Bakker, James Bridle, Daniele De Luigi, Gian Piero Frassinelli, Serenella Iovino, Hélène Soubelet, Vitaliano Trevisan / English, Italian. The book is awarded with the&#38;nbsp;Best Dutch Books Design 2024.
The project is supported by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture under
the Italian Council program (12th edition, 2023), which aims to promote Italian contemporary art worldwide. The project, curated by Daniele De Luigi, is supported by FMAV - Fondazione Modena Arti Visive in collaboration with UGM Umetnostna galerija Maribor. Project partners include CAP - Centre d’Art Contemporaine, Saint-Fons (France), Fotodok, Utrecht (The Netherlands), FOMU - Fotomuseum Antwerp (Belgium), FRB - Foundation for Biodiversity Research, Paris (France), Fw:Books, La Triennale, Milano and Ghella.
ExhibitionsOn the ground among the animals, CAP Saint-Fons, curated by Alessandra Prandin (2024, fr) On the ground among the animals, solo booth in the Emergence sector curated by Anna Planas, Paris Photo, Montrasio Arte (2024, fr)On the ground among the animals, BDC – Bonanni Del Rio Catalog, Fragile, Colonne28, curated by Daniele De Luigi (2024, it)On the ground among the animals, IIC Prague, curated by Daniele De Luigi (2024, cz)On the ground among the animals, FMAV - Fondazione Modena Arti Visive, solo show, curated by Daniele De Luigi (2024, it)On the ground among the animals, UGM Umetnostna galerija Maribor, solo show, curated by Daniele De Luigi&#38;nbsp;(2024, it)Eyes on tomorrow, Giovane Fotografia Italiana nel Mondo, curated by Ilaria Campioli and Daniele De Luigi, Algeri (2022, dz)’Nature Future’, curated by Collectif Fetart, Prague, Berlin, Stuttgart (2022, cz, de)GETXOPHOTO ‘To Share’, curated by Jon Uriarte, Getxo (2021, es)
AwardsItalian Council, Ministry of Culture (2023, it)C/O Berlin Talent Award, shortlisted (2021, de)Gabriele Basilico - Prize in Architecture and Landscape Photography, shortlisted (2019, it)Docking Station, Artist residency, Amsterdam (2018, nl)

Selected writings
Marina Caneve, Ponti, migrazioni, una sola terra &#124; Bridges, Migrations, One Land, in Esili e esodi &#124; Exiles and Exoduses, «Vesper» No. 4, 2021
</description>
		
	</item>
		
		
	<item>
		<title>Crolla la diga – Le voci si contraddicono</title>
				
		<link>https://marinacaneve.com/Crolla-la-diga-Le-voci-si-contraddicono</link>

		<pubDate>Fri, 12 Mar 2021 11:21:15 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

		<guid isPermaLink="true">https://marinacaneve.com/Crolla-la-diga-Le-voci-si-contraddicono</guid>

		<description>Crolla la diga – Le voci si contraddiconoVajont territories, (2013-2024)
The project ‘Crolla la diga. Le voci si contraddicono’ is realized for CALAMITA/À and it is accompained by a text by curator Alessandra Prandin.&#38;nbsp;
 

	CALAMITA/À is a collective research project based on the Vajont catastrophe founded by Gianpaolo Arena and Marina Caneve in 2013.&#38;nbsp;
For several years CALAMITA/À invited artists to explore the Vajont area and produce short term site specific works which were published online and came all together in 2016 in the book The walking mountain, beutifully designed by SYB.
	Since 2016 CALAMITA/À have been develping six long term photographic projects — including Gianpaolo Arena, Marina Caneve, Céline Clanet, François Deladerriere, Petra Stavast, Jan Stradtmann —&#38;nbsp; and collaborated with the label Silentes on the production of a double vynil.



In an hour the desert, it was said. But can Vajont really be traced back to an instant: 10:39 p.m.? Or is it not perhaps the result of a system and the emblem of a very articulated situation? Since childhood I have heard about this catastrophe in different places: family, school, literature and media. This experience led me to develop an interest in the differences and inconsistencies in the story. My research consists of a dialogue between inconsistencies in the contemporary landscape and a sort of disobedient archive, as Prandin describes it in her text. Both in the landscape and in the archive I explore some basical instances of photography as focus, repetion, shift and tilt and as well the presence of text in the images and their relationship with captions.



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 ‘Crolla la diga. Le voci si contraddicono’, accompained by a text by curator Alessandra Prandin, is published on&#38;nbsp;CALAMITA/À. An investigation into the Vajont catastrophe, Fw:Books. The book is a 512 pages softcover including works by Gianpaolo Arena, Marina Caneve, Céline Clanet, François Deladerriere, Petra Stavast, Jan Stradtmann and essays by Olga Smith, Alessandra Prandin, Marcelline Delbecq, Perrine, Lamy-Quique, Roberta Agnese, Eugénie Shinkle, Gianpaolo Arena and Marina Caneve. Design: Hans Gremmen.

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Exhibitions
CALAMITA/À. An investigation into the Vajont catastrophe, Spazio Labo’, curated by Laura De Marco, Bologna (2024, it)
CALAMITA/À. An investigation into the Vajont catastrophe, M9 - Museo del ‘900, Mestre (2024, it)
CALAMITA/À. An investigation into the Vajont catastrophe, FAST - Foto Archivio Storico della Provincia di Treviso, Treviso (2024, it)CALAMITA/À, Double dummy, Arles (2021, fr)
CALAMITA/À, Fonderia 20.9, Verona (2018, it)CALAMITA/À, Alt. +1000, curated by Béatrice Andrieux, Rossiniére (2015, ch)


BooksCALAMITA/À. An investigation into the Vajont catastrophe, Fw:Books (2024)
The Walking Mountain, Calamita/à (2016)
Awards
Strategia Fotografia 2023

* About Vajont&#38;nbsp;
On October 9th, 1963 at 10:39pm 260 million cubic meters of rock broke off from the top of Monte Toc.It fell into the reservoir of the Vajont Dam producing an enormous wave of at least 50 million cubic meters of water.The wall of water pushed an air pocket before it.It was more powerful than the Hiroshima bomb.So strong, in fact, that almost all the victims were found naked, their clothes blown off by the blast. The dam, completed in 1959 and the biggest in the world at the time, did not suffer any serious damage. However, the flooding destroyed several villages in the valley and killed almost 2000 people.It was, according to the UNESCO, one of the worst man-made environmental catastrophes of all time. The disaster wasn’t due to the evil nature of man but more to human negligence. 
</description>
		
	</item>
		
		
	<item>
		<title>La Sapienza, or a discourse on knowledge</title>
				
		<link>https://marinacaneve.com/La-Sapienza-or-a-discourse-on-knowledge</link>

		<pubDate>Sun, 22 Oct 2023 17:20:03 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

		<guid isPermaLink="true">https://marinacaneve.com/La-Sapienza-or-a-discourse-on-knowledge</guid>

		<description>Marina Caneve uses photography as a
means of exploration, giving shape to a project that functions as an organism,
an articulated system of stratified relations and meanings. Starting with a
reflection on the relationship between the Arts and the Sciences, as evoked by Mario
Sironi’s fresco in the Rector’s Hall, the author develops a broad reflection on
the theme of knowledge. By observing the collections used for teaching purposes
in various Faculties and moving through objects ranging from an early 20th-century
tattoo to 18th-century Herbaria, from the plaster casts of the
Museum of Classical Art to the exhibits of the Museum of Pathological Anatomy,
the author questions the construction of doctrine knowledge, classification
systems, the nature of exhibition devices and their scientific, cultural,
educational and aesthetic implications.
- Simona Antonacci

This project is made for Atlante Sapienza_22 - Collezione Fotografia MAXXI Architettura








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</description>
		
	</item>
		
		
	<item>
		<title>Entre chien et loup</title>
				
		<link>https://marinacaneve.com/Entre-chien-et-loup</link>

		<pubDate>Fri, 25 Jun 2021 12:06:13 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

		<guid isPermaLink="true">https://marinacaneve.com/Entre-chien-et-loup</guid>

		<description>
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Entre chien et loup is common expression used nowadays
in the French language, which has existed since the 7th century in the Latin
form infra horam vespertinam, inter canem et lupum; it draws that moment in the day
when the light declines and we may not be able to distinguish a dog from a
wolf. This image triggered my imagination and my fascination for the structures
of knowledge; the resulting series comes from the desire to re-discuss the ways
in which we create the cultural memory of the Mountain. For doing that I
confronted myself, rather than with a single stereotyped image, with the
multiple stereotypes of the image of the mountain.



The first
stereotype questioned was suggested by the title of the exhibition for which
the work was made: What a Fantastic World Here! A Contemporary Gaze at the
Museomontagna Archives. This sentence represents Heidi's bucolic stereotype of
the mountain, which however soon reveals itself in contrast with the multitude
of others.




&#60;img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/8ef5ffd6e7edbc09d17b8317a9cd8c028bf7c029394726384588d46c94928ca6/1920_CANEVE_Entre-Chien-et-Loup_03.jpg" data-mid="112314072" border="0"  src="https://freight.cargo.site/w/1000/i/8ef5ffd6e7edbc09d17b8317a9cd8c028bf7c029394726384588d46c94928ca6/1920_CANEVE_Entre-Chien-et-Loup_03.jpg" /&#62;
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I would define Entre chien et loup as a stratification of different experiences, where I built a sort of
path of entrances, windows, metaphorical peepholes, which gradually led the
viewer from one stereotype to another. The images and the installation of the
work force us to move in an exploratory way through misunderstandings, confirmations
and epiphanies, weaving a web of relationships between disciplines and ways of
looking, at times inverting and confusing the roles between archive and
landscape, construction and artifact, scientific and imaginary.
Furthermore,&#38;nbsp;Entre chien et loup is a project animated by a question about the images
through which we construct our idea of the mountain, which is not a mountain in
itself but is a symbol of something extremely stereotyped. To address the
question, I wanted not only to work in the archive of the Mountain Museum, but
also to choose a place where to go. Through a peregrination of research I
identified Mount Cervino as an incubator of almost all the stereotypes I had
discovered. The Matterhorn has become a mountain symbol of all mountains as,
ironically, is confirmed by the large number of mountains around the world
called “the Cervino of…”.





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The curator
Giangavino Pazzola writes: "Passing from archive pictures to superimposed
meanings, her work speaks of a breakdown in knowledge, a perceptive
catastrophe, that is reflected in the dispersal of certainties”. My aim was to explore the Mountains with a gaze as open as possible in order to
introduce themes and elements to the contemporary discussion on the mountain;
themes which often are taboo in many contexts: the ascension, the fall, the
game, the death, the bucolic, the depopulation, the heroes.. “The inside and
the outside, the true and the false, the artificial and the natural, the
vernacular and the scientific, the cultural and the popular, and the real and
the pretence are then discussed again and resignified in a single environmental
installation that seems as mocking as it is subtle. Mixing all the material
types, it redefines an undeclared geography inhabited by a new (and perhaps
highly unlikely) ethnography, telling us of a world as fantastic as it is
ambiguous, one that we have probably visited but that now seems different.”



Entre
chien et loup is a
body of work made of interferences, aimed at undermining our, my, certainties
regarding a landscape so iconic that it has almost become an image of itself.
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	<item>
		<title>Manifesto frammentario della città di Venezia</title>
				
		<link>https://marinacaneve.com/Manifesto-frammentario-della-citta-di-Venezia</link>

		<pubDate>Fri, 12 Mar 2021 12:56:09 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

		<guid isPermaLink="true">https://marinacaneve.com/Manifesto-frammentario-della-citta-di-Venezia</guid>

		<description>
&#60;img width="1200" height="960" width_o="1200" height_o="960" data-src="https://freight.cargo.site/t/original/i/dfdcaee388d39dd151cdd38c0825e003e29f25554808a213a733f2fc5fd62dfc/13_CANEVE_VENEZIA_MMF_01.jpg" data-mid="119318913" border="0"  src="https://freight.cargo.site/w/1000/i/dfdcaee388d39dd151cdd38c0825e003e29f25554808a213a733f2fc5fd62dfc/13_CANEVE_VENEZIA_MMF_01.jpg" /&#62;
&#60;img width="1200" height="960" width_o="1200" height_o="960" data-src="https://freight.cargo.site/t/original/i/5582646a93d43cda7eecf0271569f7af26ee568d67c81c3f9d107eccc39c1678/13_CANEVE_VENEZIA_MMF_02.jpg" data-mid="119318914" border="0"  src="https://freight.cargo.site/w/1000/i/5582646a93d43cda7eecf0271569f7af26ee568d67c81c3f9d107eccc39c1678/13_CANEVE_VENEZIA_MMF_02.jpg" /&#62;
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Monopoli – Manifesto frammentario della città di VeneziaVenice, 2013 &#38;nbsp;(ongoing)“Memory's images, once they are fixed in words, are erased," Polo said. "Perhaps I am afraid of losing Venice all at once, if I speak of it, or perhaps, speaking of other cities, I have already lost it, little by little.”
― Italo Calvino, Invisible CitiesCaneve’s research is a reflection on a unicum, Venezia, which also is a representation of all the world’s civilizations, or at least of those that found their form in more or less recent times.In this work the inhabited scenes relate to the city and the use made of it. The threats are the market, the productive, the political and economical reasons that violate the natural context in which Venice arose and developed, mortifying its right to be a city. 
This project focuses on the image of the city, which is more often image of the idea of itself, playing what we remember about Venice and the actual condition of the city itself. In the work playful images are displayed in juxtaposition with Venice’s vulnerability due to economical and climate issues, as for instance the depopulation, the large ships, the tourism, the sale of historical assets and last but not least the water level growth.The work is about Venice but not only about Venice: the attempt is rather to explore the artist’s interested in the doom, the future and the vulnerability of our cities and history. Venice - referring again to Calvino - remains only one example. And perhaps, using it as an example, we have already lost it ...Fragmentary Manifesto of the city of VeniceLove
Mechanical Mobility
Scenic MachineExcitementUtopia
Well-being
Goods
WealthBoredomDisgust
Dystopia
Misery
Repetition
Removal
EscapePrison
Tourism
Mass
Solitude
Fairy
Tale
TrapThe sectors of a&#38;nbsp;city&#38;nbsp;are, at&#38;nbsp;a certain&#38;nbsp;level,&#38;nbsp;decipherable. (Guy Debord)


This was Venice, the flattering and suspect beauty — this city, half fairy tale and half tourist trap, in whose insalubrious air the arts once rankly and voluptuously blossomed, where composers have been inspired to lulling tones of somniferous eroticism.Thomas Mann, Death in Venice
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	<item>
		<title>Athens Metro Line 3 Extension - Ghella s.p.a.</title>
				
		<link>https://marinacaneve.com/Athens-Metro-Line-3-Extension-Ghella-s-p-a</link>

		<pubDate>Fri, 25 Jun 2021 17:16:40 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

		<guid isPermaLink="true">https://marinacaneve.com/Athens-Metro-Line-3-Extension-Ghella-s-p-a</guid>

		<description>
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Athens Metro Line 3 Extension - Ghella s.p.a. - 2020
Curated by Alessandro Dandini de Sylva

HIPPODAMUS

						Marina Caneve and Alessandro Dandini de Sylva
in Conversation

						
AD: It is traditional to name mechanical cutters (commonly
known as moles or TBM, as in Tunnel Boring Machine)
after women. Nonetheless, the mole that dug the section
of the Metro 3 in Athens, connecting Haidari, a suburb in
the western part of the city, to Piraeus, was given the name
Ippodamo, after Hippodamus of Miletus. Hippodamus
was one of the first to have theorized not just an urban
plan but also an actual master plan, using the earliest
practices of zoning. Your work, which can easily be
divided up into several chapters or groups of images,
seems to be inspired by that practical archaic division of
the territory.

						
MC: Photography and urban planning, at least accordingto how I have learned to view them, have in common the
need for an approach that is, on the one hand, rigorous,
and, on the other, curious, exploratory. Hippodamus is
considered one of the fathers of modern urban planning,
the “inventor” of the grid framework for the city – also
used to build the port of Piraeus. Aristoteles uses the name
μετεωρολοᾒγος to refer to him, which could be translated
scholar of celestial phenomena, or, with a hint of irony, he who gazes at the sky. Precisely because of his eclectic,
eccentric, almost mocking biography, Hippodamus was a
crucial travel companion in my own work because, on the
one hand, he reminded me that I had to go by the rules,
yet, on the other, that I was free to break them. Dividing
is the same as zoning the elements while delving deep into
the relationship between the parts, overturning them in an
implacable yet delicate way, to reassemble them in con-
figurations of balance. If we imagine a mosaic, its effect is produced via the deformation of a grid; each stone has
its own value, based on its position, shape, colour, but,
above all, its individual specificity, which is unique and
unrepeatable.1 Though the individual stones share certain
features, their position is determined by a more complex
design. Furthermore, the fact that the TBM that was used
to dig the tunnel that completes the route plan of Athens’
Metro 3 – which connects Eleftherios Venizelos Airport to
the Port of Piraeus – bears its name has driven the initial
idea of the division, or rather organization, even more to
the limit, forcing me to reason, on the one hand, on tech-
nological innovations, and, on the other, on the origin of
places. A reminder that if the sky is traversed by Apollo’s
Chariot, in the sea we have Poseidon.

						
AD: The pictures you took are arranged in the book in an
intricate forest of themes that can be related to the rela-
tionship between the city (present), contemporary plan-
ning (future), and historical memory (past). In turn, the
latter is articulated in historical, geological, and industrial
archaeology. Views of the city and the building site are
alternated with archaeological finds, core drillings, and
TBM parts. A visual stratification that is a common thread
in your artistic practice.

					
				
			
		
	


MC: In the stratifications – and it is especially for this reason
that they interest me – the elements contribute to suggest-
ing stories that can shift in space and in time. My work
unfolds around a series of fragments. Arranging them is a mnemotechnical operation, where the ability of our
intellect lies in the capacity to pay attention to individual
things and to their assembly at the same time. Hence, it
lies in the ability to discern and to synthesize. If we ana-
lyze the relationships between the images and the strati-
fications of “archaeologies”, I am enthralled by the idea
that our relationship with history is a relationship with
images that are predetermined and etched in our mind. In
today’s age, we find traces of our origins, and manifested
in the stratification is the architecture of our imaginary.
Besides being similar to that of the urban planner, the
photographer’s work is not so different from that of the
archaeologist: in both cases it involves finding traces and
bringing them to light. Agamben teaches us that archae-
ology is the search into the past for the possibility of the
present, where it itself can be understood as the search for
a point of the outset of what is possible, where the column
fragments that lie on the ground in flakes go back to being
columns.2

						
AD: Your working method seems to coincide with that of
the modern archaeological dig, and more precisely with
the stratigraphic dig, whose aim is not limited to the
extraction of artefacts from the earth that hides them, but
consists in a historical understanding of the human traces
hidden in the stratification.

						
MC: When thinking to Athens it is natural to think to
archaeology. In archaeological digs we can find a conso-
nance of nature, a contemporary way, and artefacts (often
naturalized by the fact that they are in ruins). I wanted to
view the building site with this approach, as though I were
observing an archaeological dig, analyzing the elements
from broad and all-encompassing visions down to the&#38;nbsp;microscopic details. I arrived in Athens at a time in the life
of the building site when the traces of the digging of the
tunnel were fading. A backwards tunnelling, which I was
able to approach right when it was being closed, seeking
the signs in the design of the city, in the environment, and
in the pre-existing urban fabric. The views are proof of
this process. They do not just tell the story of the mor-
phology of a territory characterized by dense urbaniza-
tion, but they also let us glimpse traces of a complex work
process, its healing and disappearing beneath the skin, to
become new lifeblood for the city.

						
AD: In a recent exchange of ideas and references, you spoke
to me about the thoughts of Giancarlo De Carlo, Italian
architect, urban planner, and academic, who for over
thirty years travelled across the Greek archipelago, visiting
its monuments and cities. De Carlo believed in complexity,
in disorder as order in a complex nature that we cannot
decipher. Building an image with a new impressive infra-
structure in relation to the city of Athens leads to accept-
ing its complicated order as part and parcel of the work.

						
MC: De Carlo’s journeys to Greece tell us about “Athens,
immense and studded with myths”, but also about Athens
being totally balanced amidst the chaos. When you told
me I was going to go to Athens I was eager because it is a
place whose nature – stratified and chaotic – is very close
to my way of thinking, my work, and where, in the disar-
ray, I have the feeling I can find the quiet of the ideal city
of Piero della Francesca. In truth, the disarray is a place
where lateral narratives overlap, they are like the branches
that are grafted onto the main story, information, news,
pieces and conjectures overlap.3 The best way to under-
stand a place is to observe the signs left by the architecture
in nature. I imagined the tunnel like a tree trunk, with
branches that, on the one hand, are the grafts – the shafts,
the emergency exits –, on which I chose to stop my gaze
because, as is customary for me, I don’t so much seek the
spectacular and the magnificent, the direct, as much as I
try to look at things from a peaceful and angular perspec-
tive. Along with these ramifications, all the digressions
possible were manifested, starting from the question of the
tunnel. The finding of ancient wells filled with archaeolog-
ical finds, the problems related to the city’s geology, and,
lastly, the components of the TBM that, in turn, become
archaeological finds, albeit on a totally different scale, and that tell us of the relationship between the machine
and the contemporary city. The lateral vision pushes us
towards an agnosticism of thinking. Inspired by the litera-
ture by Sebald, the constant rambling produces a hypnotic
narrative that ends up representing life and its branches,
perhaps more faithfully with respect to documentary
reproductions, where each thing happens to satisfy an
internal logic and a coherence that is not really realistic.
All these very important angular visions allow me to think
about how the city takes shape, where the significance
and the meaning of the monuments (and by extension of
our cities) do not depend on their original destination, but
rather it is we, modern subjects, who attribute them.4

					
				
			
		
	

1. Yona Friedman, L’ordine complicato. Come costruire un’im-
magine (Macerata: Quodlibet, 2018).

	
		
		
	
	
		
			
				
					
						2. Giancarlo de Carlo, Viaggi in Grecia (Macerata: Quodlibet
Abitare, 2010).

					
				
			
		
	


3. Ibid.
4. Alois Riegl, Le culte moderne des monuments: son essence et
sa genèse, (Paris: Éditions du Seuil 1984).

					
				
			
		
	

</description>
		
	</item>
		
		
	<item>
		<title>A fior di terra</title>
				
		<link>https://marinacaneve.com/A-fior-di-terra</link>

		<pubDate>Sat, 18 Sep 2021 13:23:04 +0000</pubDate>

		<dc:creator>Marina Caneve</dc:creator>

		<guid isPermaLink="true">https://marinacaneve.com/A-fior-di-terra</guid>

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As part of an artistic residency, Marina Caneve has been invited by the Comunità Cultura Patrimonio to involve the population of Lusiana Conco in her photographic research. In collaboration with teenagers, she explored the topic of marble extractionand manufacture, which has been central for the economy of the area of Lusiana Conco for decades.The physical, social and economic appearance of the Asiago Plateau, of which Lusiana Conco is part, took shape from the contamination between geography, geology and human activities.‘A fior di terra’ explores the cultural memory of the marble tradition by evoking a reflection on our relationship with the environment&#38;nbsp;assembling an archive of suggestions, historical data, scientific data, images and testimonies.&#38;nbsp;

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The work created is presented as a newspaper designed by Metodo where visual suggestions and parallel narratives build a bridge between historical memory and the present. The format of the newspaper was chosen to give back to the community an authentically public, accessible and usable artwork.The work is made for the 'Comunità/ Cultura/Patrimonio' project, supported by Fondazione Cariverona and promoted by the municipalities of Lusiana Conco and Bassano del Grappa. Research coordination Irene Bagnara.

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