I wrote the text of the exhibition by the Finnish artist Anja PuntariArt can save us (probably), that is taking place in Udine from April 4 to May 19, 2012, in the Ultra gallery of the non profit Association “Arte Ex Dono“. According to Anja, the exhibition Art can save us (probably) “studies in a period of global economical crisis the relationship between collective ownership, property rights and authorship, directing the spotlight on co-creation processes and on diverse monetary and exchange systems.”
From the artist’s text for the media:
“In the piece Invisible Violin-player a series of audiotracks of street-player performances around the world are re-presented by Anja Puntari and Massimiliano Viel in a multichannel audio-installation. The work interrogates on questions like who is the author in a complex passage of several creative participations. Going through centuries, starting from the original composing work of various composers such as Vivaldi, Bach and Mozart, expressed through performances of street players, filmed by people with their smartphones around the world and shared thereafter globally on Youtube. The two artists create a site-specific audio-installation for the gallery space using a particular software that mixes realtime the audiotracks for an endlessly changing sound environment. The final creator of the artwork is therefore actually a machine.
The street-players bring in surface also the question about compensation and monetary exchange systems. Where do we put the limit between donation reward and salary?
In the installation Art can save us (probably) Puntari invites people to give their-own answers to the question “What can save us in the current situation of crisis?” The final installation consists in the answers the co-creators give as a solution to the question. Each answer is printed in two copies (+artist copy) and signed both by the co-author and the artist as equal authors of the work. Each of them receives one print of the co-authored work. The participants contribute in the spirit of co-funding to the printing costs of the work.
Could current forms of copyright and business models of the creative industries become increasingly inefficient or unworkable in the future or have they become that already, because of the ease of copying and distribution of digital information? Will the direction of new models of funding be those of crowd-funding, street performer protocol and other forms of shared funding of various creative and public projects? In our case the Art can save us (probably)-piece funding method is based on an older – and somewhat forgotten – idea of funding productions of written or creative works through agreements between groups of potential readers or users.
The fundamental difference of todays co-funded projects is the possibility for funders to actively participate to the creation of the funded project. Co-creation is, in fact, the final leitmotiv of the solo show that paradoxically has no works made by the artist alone.”
I am a researcher in the fields of media studies and on the relationships among art, science, technology and culture. I have been professor at the universities of Rome “La Sapienza”, Bologna, Florence, SUPSI – Lugano, Urbino, Udine, and at the fine arts academies of Carrara, NABA Milan, Quasar Rome, Urbino, L'Aquila and Reggio Calabria. Currently I am a professor and Coordinator of the Scientific-Cultural activities at LABA Rimini. Since 2007 I have been working as a supervisor in the T-Node PhD Research Program of the Planetary Collegium (University of Plymouth), and from 2013 to 2018 I have been appointed as Director of Studies. I am a member of AICA (Association Internationale des Critiques d’Art/International Association of Art Critics), and a member of the Scientific Committee of the Italian branch..
I have internationally published more than 400 texts, essays and papers in books, magazines and conference proceedings. I have organized exhibitions, symposia, managed projects and participated to conferences worldwide.
I have published the books "Realtà del virtuale" (Reality of the virtual, 1993; 2015), on virtual technologies and the relationships between culture and sensorial representations; "Il corpo tecnologico" (The technological body, 1994), on the impact of technologies on the human body; "Arte e tecnologie" (Art and technologies, 1996; 2013), about arts, sciences and technologies; "art*science. The New and History" (2018), on the relationship between innovation and history; "Arte e complessità" (Art and complexity, 2018); "Dialogues across the seas: the ocean that keeps us apart also joins us. Charting knowledge and practice in the Anthropocene" (2022, in English, translated into Italian in 2023). I have published more than 400 texts in books, magazines and conference papers.
In 1994 I founded and directed "NetMagazine", later "MagNet", a research project on the relationships between culture and technologies, the first online magazine in Italy. In March 2000 I founded "Noema" (https://noemalab.eu), on the relationships between technologies, sciences, culture and society, oI am the president and main editor of, selected in 2003 by RAI International as the best Italian website.
In 2017 I founded "art*science" (https://artscience.online), a series of events on critical aspects of the contemporary, which in 2018 has launched a research project on art and the climate crisis. Since 2018 I have been a consultant of the European Commission on the relationships between scientific disciplines, technologies (in particular Artificial Intelligence and Big Data) and humanities.
I am a journalist, member of the Italian Journalist Association since 1998.