The 2023/24 season of UNIDEE Residency Modules takes form around an overarching non-theme: the Mediterranean.

Sea, region, adjective, border, weapon, destiny, Mediterranean holds as many meanings as there are voices uttering the word. The Mediterranean is the geo-historical region where the European colonial project originated, the contemporary space where it continues to renew its methodologies and to fuel its aspirations. The Mediterranean claimed by Europe, the Euro-Mediterranean, is a militarised borderland, an unachievable horizon, for scholar Hakim Abderrezak, a ‘seametery’.² It is also what Edward Said would name an imaginative geography, a north-to-south oriented system of representation, carved out of European nations’ desires for identitarian ownership of the sea. The Mediterranean is a political project, a reified trope, a choice made in pursuit of a goal.³

In the past twenty years, Cittadellarte – Fondazione Pistoletto has been engaged in activities that variously reasoned on the Mediterranean as either subject matter or operational ground.⁴ Moved by the conviction that the Mediterranean offered special conditions to intervene on the mandate – shared by the institution with its founder Michelangelo Pistoletto – to enhance the role of art as an agent of socio-political change, the project Love Difference⁵ utilised a regional framing to organise gatherings of professionals and organisations, with the scope to promote inter-Mediterranean cooperation in the arts and beyond. At the basis of the undertaking lied a specific interpretation of the Mediterranean as single geography, and a tacit acknowledgment of the ability of geographical conceptualisation to function as a productive tool.

Unsettling this existing institutional approach, the residency programme Neither on Land nor at Sea names the Mediterranean that informs its curatorial arguments a non-theme. The wording stems from the belief that resisting un-problematic thematization of the Mediterranean is to reject the consolatory ease of the figurative value, of the usable representation. This is an invitation to rather linger in the uncomfortability of restless negotiation, of positionalities and perspectives. During the moments of aggregation offered by the residency formats, we will move through shared conversations and actions, exchanged knowledges and understandings, with the goal to trouble the singular imagination of the Mediterranean, and so to attempt making spaces of possibility out of unresolved and unresolvable territories. We will stay with a Mediterranean plural, which cannot be found in the exclusionary rhetoric of the natural inclination toward painless hybridity preached by northern shores. We will encounter opaque and ever-adjusting geographies, which do not reside in landscapes of approximation that flirt with the argument of Mediterranean unity as result of a ‘very special climate similar from one end to the other of the sea, which amalgamates landscapes and ways of life’.⁶ Indeed, far from the environmental determinism participating in the thought of the best known historian of the European Mediterranean, Fernand Braudel, we will be made to remember, with Arjun Appadurai, that ‘histories produce geographies and not vice versa’.⁷ And this working of time on space is never completed as, with Katherine McKittrick, geography is the result of society’s construction of space, and concealment, marginalization, boundaries all are always-renovating social processes.⁸

In early November 2022, when the curatorial work leading to the development of this new residencies’ season had just begun, we had the opportunity to welcome to Biella a small group of practitioners –curators, artists, researchers, facilitators– from art institutions and projects active in the broader Mediterranean region.⁹ In the course of the few days spent together we intertwined images and words, in a continuous storytelling that spoke of ambitions and shortcomings. We described locality as a mandate and as a methodology. We talked about friction as a necessity, infrastructures as content. We weighed up the disparity in the means and resources available to each of us, we compared modes of (para-)instituting. We discussed the illusion of the postcolonial, erasure and resistance. And we debated ways of being – or not – in/with a regional geography some of us may have felt called to manifest. This first event, which anticipated a project yet to be written, seemed to crack some of its codes with unexpected precision. Venturing into tales of many Mediterraneans, while choreographing the temporary cartography of hospitality, fostered a double orientation, in which the position of the host and the guest were constantly rearranged. Can the act of evoking/making geographies in a malleable terrain of encounter allow for the unlocking of new ‘caveats of care’¹⁰ in arts’ production, curation, and fruition, which may better adapt to the ever-changing needs of contemporary spaces and times?

This is a call to meander around unreducible complications and on shifting grounds, to explore ways in which geography is historically, socially, and politically produced, to dig up and talk about the mental images we carry with us,¹¹ which create space and, with it, its contrasting meanings. In the framework of the expansive working process that will unfold in the next two years, the Mediterranean will be treated as an opportunity to think of our present times geographically, across intertwined histories and overlapping territories,¹² via the exploration of some of the experiences and imaginations that inhabit and traverse them. The project pluralises Mediterranean concepts/spaces as sites of worldmaking and experimentation in communal living. To do so, it adopts un-grounded geographies and colliding historicities not as objects of analysis, but as meeting places, in which to congregate to elaborate on the role played by situated practices and shared processes in the promotion of social transformations, towards epistemic justice.

.

In the poetry collection Elegies to the Mediterranean Sea, Egyptian poet and visual artist Ahmed Morsi weaves a personal, mournful tale of Alexandria and its sea. In a voracious Mediterranean, which encompasses as one the city and the sea that surrounds and engulfs it, the poet locates the superimposed contrapuntal voices of memory and fabrication. Both speak to the writer in the past tense, presenting to him the city/sea as a space/time only able to accommodate impossibilities, the never-was, never-will-be. Yet, in verses of negation, another possible Mediterranean resounds, one which cannot be met neither on land nor at sea, but whose capacity to inspire movement is not yet exhausted.

By these Mediterranean im/possibles, we propose to meet.

– Chiara Cartuccia
UNIDEE visiting research curator 22/24

NOTES:

1 Ahmed Morsi, Elegies to the Mediterranean Sea, Impression 7, translated by Raphael Cohen, in Poem of Alexandria and New York (London: Banipal Books, 2021)
2 Hakim Abderrezak, ‘The Mediterranean Seametery and Cementery in Leïla Kilani’s and Tariqu Teguia’s Filmic Works’, in Yasser Elhariry, Edwige Tamalet Talbayev (eds.), Critically Mediterranean: Temporalities, Aesthetics, and Deployments of a Sea in Crisis (New York: Palgrave Macmillan, 2018), p. 152.
3 Roger S. Bagnall, ‘Egypt and the Concept of the Mediterranean’, in W.V. Harris (ed.), Rethinking the Mediterranean, (Oxford: Oxford University Press, 2005), p. 347
4 The most recent of such projects is the 2022 itinerant residency programme Caravan: Thinking with Alexandria, conceived and implemented by UNIDEE residency programmes at Cittadellarte – Fondazione Pistoletto as part of the European project Alexandria: (Re)activating Common Urban Imaginaries, and curated by Edwin Nasr in conversation with Sarah Rifky. 
5 Love Difference is a project initiated by Michelangelo Pistoletto and Cittadellarte – Fondazione Pistoletto in 2002. Love Difference is also the namesake cultural association, whose regular programme of activities was put on hold in 2016. More information is available here 
6 Fernand Braudel, ‘Mère méditerranée’, Le Courrier (UNESCO) 38 (1985), p. 7
7 Arjun Appadurai, ‘How Histories make Geographies’. In The Journal of Transcultural Studies, 1(1), 4–13 (2010), pp. 4-13
8 Katherine McKittrick, Demonic Grounds. Black Women and the Cartographies of Struggle (Minneapolis: University of Minnesota Press, 2006), pp. xi-xii
9 Further information about the event and its participants can be found here 
10 Bonaventure Soh Bejend Ndikung, The Delusion of Care, (Berlin: Archive Books, 2021), p. 50
11 Doreen Massey, For Space, (London: Sage, 2005)
12 Edward Said, Culture and Imperialism, (London: Vintage, 1994), pp. 3-14

I began my role as Visiting Research Curator for the UNIDEE Residency Program in the midst of a pandemic. We were still speculating around the short and long-term impact both in terms of everyday life and socially engaged art practice. Building on Cittadellarte’s legacy of ‘learning through doing’ we found ways in which to bring together groups of residents with diverse situated and embedded practices, to share and learn from one another in tumultuous times. The residents and mentors were embedded in different ways: some in a particular geographic locale, others within a building or an institution, or a community, or a political or social movement. They included practices that were identifiable as art and others from the broader spectrum of social practice and action research. They all shared in common a commitment to making positive change for a place, situation or people: resonating with Michelangelo Pistoletto’s vision of an ‘art for responsible social transformation’.

Over the next two years and a series of residencies and labs that brought together close to a hundred practitioners from across the globe in hybrid programmes of virtual and physical presence, we developed an expanding toolkit of methodologies and a body of shared concerns and questions that could be left as a trace for subsequent residents.

In this final chapter of my research arc we hope to explore more of the practicalities around embedded arts practice including the creation of alternative funding structures and resources; creating or reclaiming commons; the formation of counter/alter-institutions; and reforming and working within, against and beyond existing structures. We also hope to dig deeper into some recurring questions including: How can we create sustainability, for ourselves and our worlds, through embedded practice? What productive tensions exist between the formal and the informal, the structured and organic, and the institutional and self-organised? How might we work across different scales and spaces of embeddedness: from the individual, the social, and the environmental/structural? What are our networks and interdependencies? What should we build and what should we dismantle? How do we begin and where might it end? What would it mean to ‘disappear’ or merge into the social fabric?

This last question around the visibility of embedded practice has particular resonance in a moment where ‘social practice’ - as well as the collective and collaborative methods it entails - gains ever more traction. This is happening both in the institutional art world (as seen in the 2021 Turner prize and Documenta Fifteen) and in the social sphere where the last two years of disruption and upheaval - as symptoms of a larger and ongoing social and ecological crisis - have prompted us to reconsider the value of practices of care, mutual aid and communitarian ways of being and doing that counter the ‘normality’ of endless growth, expansion, and extraction.

Concurrently we understand that the most sustained change that can be affected through aesthetic experience occurs below the surface: at the sometimes imperceptible level of emotion and subjectivity. Art, even at its most representational, can create sites for the emergence of a collective imagination capable of thinking and desiring beyond ‘capitalist realism’ (note 1). How do we keep radical subjectivity on the table in a world that demands we visibly prove our worth and measure our impact? Through the residency we hope to develop a network of practitioners doing what they can from where they are, that together constitute a paradigm shift proving that another (art)world is possible.

Andy Abbott

Note:
1 - Mark Fisher ‘Capitalist Realism: Is There No Alternative?.’ 2010

KEY WORDS 

Embedded Practice, Sustainability, Infrastructure, Arts Ecology, Socially engaged Practice, Post-pandemic Futures, Slow Architecture and Sustainability, Degrowth, Interdependence, Art and the Everyday, Tools and Technology for Social Change, Site and Context Responsive work, Invisible Art/Dark Matter, Participation and Co-production, Grassroots Organising, Self-organisation and DIY collective agency (Demopraxy/Pandemopraxy), Co-operatives, Socially Applied Practice, Diverse and Community Economies, Cultural Dark Matter, Postwork Futures, Postcapitalism, Universal Basic Income, Transition to Ethico-Aesthetic Paradigm (Third Paradise), Building the new (Digital/Virtual) Commons.

Read the open call

The ‘embedded practice’ residencies in 2020 and 2021 (See 2020’s Embedded Arts Practice in a Postpandemic Future, 2021’s Groundwork for Embedded Arts Practice residencies and Tools and Technologies for Embedded Practice Arts Lab) brought together a broad range of practitioners from all over the world to share and develop their situated practices and action-research. In a time of changeable travel restrictions and social distancing measures, we found that residents valued the opportunity to share experiences of making socially-engaged work that is inextricably linked to its context and often relied on intimate connections and engagement with audiences, participants and collaborators.

Through group critiques, individual and collective trace-making, and handover sessions we found methods by which to share complex and sometimes overwhelmingly large-scale or long-term projects and praxis. Despite the specificity of the practices shared, we found there was benefit in temporarily taking them out of context and inviting fresh perspective to identify common themes, methodologies, approaches, and challenges. In our various (post-)pandemic contexts we also began to share experiences of (mis)using and applying ‘old’ technologies and emerging digital tools; from letters and postcards, to creative ‘hacking’ of conference call breakout rooms and screen sharing, to propositions for blockchain and cryptocurrencies to create fairer working conditions.

The Labs are an opportunity to continue this process together in presence.
We hope to reconnect and make new connections between practitioners and researchers who feel they would benefit from an intensive week of ‘putting their practice under the microscope’. This will be done not so much to accelerate or ‘push forward’ projects, but rather as a way to ‘zoom in’ and get a better sense of the detail of the practice. The ‘what’ and the ‘how’ of the practice as well as the ‘why’. We hope that this intimate collective examination will reveal the sometimes imperceptible movement and trajectory of such projects; helping each other over the humps and sticking points, as well as identifying potentially overlooked problems and obstacles in the road ahead.

The ‘Artwork as Toolkit’ lab will begin with the question ‘What are our tools?’ This lab stems from the intersection of two online platforms such as www.arte-util.org and www.dpe.tools presented by Alessandra Saviotti in collaboration with Gemma Medina and Owen Griffiths. Starting from the recent usological turn we will look into a set of tools and exercises developed as part of both platforms - such as the ‘Coefficient of Art’ and ‘A Capitalist Reading of our Usual Breakfast’ - that place art at the outset of the development of a set of tactics to achieve societal change. Analysing the idea of 'the-artwork-as-toolkit' the mentors will propose to look at how socially engaged art can be understood as an expanded technology that manifests itself as practices on a 1:1 scale. From our diverse and often specific practices and projects what surplus can we share, preserve, ferment and take forward for the future?

In the ‘Tools for the Commons’ lab we hope to bring together the experiences of artists and activists creating spaces for the growth of the commons; from the micro level of the individual, personal or subjective, through to the reclaiming or occupation of urban space, and the influencing of planning and policy. Mentors Emanuele Braga and Gabriella Riccio will draw upon their experiences in occupied art and cultural spaces MACAO (Milan) and L’Asilo (Naples) as well as the postcapitalist think-tank the Institute of Radical Imagination. Long-term comrades and collaborators Keir Milburn and Gareth Jones will bring a UK perspective on creative activism including the use of political strategy games, utopian consciousness raising sessions, and the establishment of Public-Common-Partnerships. What tools (or toys) for establishing and developing the commons can we identify, adapt or invent? Which of these are we able and willing to share, and under what terms?

Together we hope the labs will act as a key step in Cittadellarte and Pistoletto’s commitment to developing a network of solidarity and common intent across disciplines, and of creating a global community of practice across our many locals.

Participants will visit the exhibition platform dedicated to Cittadellarte’s demopraxy local chapter of Biella, the archipelagus as an entry point to its practice.

Andy Abbott

21 March - 2 April, 2022
Artwork as Toolkit / Tools for the Commons
UNIDEE LABS 2022
Alessandra Saviotti, Gemma Medina Estupiñán, Owen Griffiths, Emanuele Braga, Gabriella Riccio, Keir Milburn, Gareth Brown

The ‘embedded practice’ residencies in 2020 and 2021 brought together a broad range of practitioners from all over the world to share and develop their situated practices and action-research. In a time of changeable travel restrictions and social distancing measures, we found that residents valued the opportunity to share experiences of making socially-engaged work that is inextricably linked to its context and often relied on intimate connections and engagement with audiences, participants and collaborators.

Through group critiques, individual and collective trace-making, and handover sessions we found methods by which to share complex and sometimes overwhelmingly large-scale or long-term projects and praxis. Despite the specificity of the practices shared, we found there was benefit in temporarily taking them out of context and inviting fresh perspective to identify common themes, methodologies, approaches, and challenges. In our various (post-)pandemic contexts we also began to share experiences of (mis)using and applying ‘old’ technologies and emerging digital tools; from letters and postcards, to creative ‘hacking’ of conference call breakout rooms and screen sharing, to propositions for blockchain and cryptocurrencies to create fairer working conditions.

The Labs are an opportunity to continue this process together in presence.

We hope to reconnect and make new connections between practitioners and researchers who feel they would benefit from an intensive week of ‘putting their practice under the microscope’. 
This will be done not so much to accelerate or ‘push forward’ projects, but rather as a way to ‘zoom in’ and get a better sense of the detail of the practice. The ‘what’ and the ‘how’ of the practice as well as the ‘why’.

We hope that this intimate collective examination will reveal the sometimes imperceptible movement and trajectory of such projects; helping each other over the humps and sticking points, as well as identifying potentially overlooked problems and obstacles in the road ahead.

At a broader level as ‘Socially Engaged Art’ continues to be increasingly recognised by the mainstream and institutional Artworld as a discipline (with accompanying commissions, educational courses and career paths) we might take this opportunity to reflect on how we can create shared resources and toolkits for embedded practice capable of disrupting the homogenisation and standardisation of such practice. How can we deterritorialize situated practice and keep it prickly? What can be shared, what transfers, what can be adapted and repurposed, what is specific and/or reliant on context? What tools and instruments can be hijacked or repurposed to do more than, in Audre Lorde’s words, temporarily beat the master at his own game (NOTE 1). What resources and tactics can we share to collectively dismantle the old world and forge new paths to exit the perennial crises of late capitalism? And beyond instrumentalisation, what other benefits might there be in taking time to share our concrete experiences and learn from one another? We hope in this way that the lab acts as a key step in Cittadellarte and Pistoletto’s commitment to developing a network of solidarity and common intent across disciplines, and of creating a global community of practice across our many locals.

Andy Abbott

8 - 19 November, 2021
Tools and Technologies for Embedded Arts Practice
UNIDEE LAB 2021
Jeanne van Heeswijk, Paul O’ Neill, Mick Wilson, Yvonne Carmichael.

1 May - 10 July, 2021
Groundwork for Embedded Arts Practice
Katherine Gibson, Jeanne van Heeswijk, The Interdependence (Kathrin Böhm, Kate Rich, Bianca Elzembauer) with Aria Spinelli, Decentralising Political Economies with Alessandra Saviotti and Owen Griffiths, Marlo De Lara, Institute of Radical Imagination (Massimiliano Mollona, Marco Baravalle and Emanuele Braga), Cráter Invertido, Wharf Chambers Co-operative Club, Pyramid, Jade French, Gregory Sholette.

Key Words
Groundwork, Infrastructure, Arts Ecology, Socially engaged and Embedded Practice, Post-pandemic Futures, Slow Art and Sustainability, Art and the Everyday, Tools and Technology fro Social Change, Site and Context Responsive work, Invisible Art/Dark Matter, Participation and Co-production, Grassroots Organising, Self-organisation and DIY collective agency (Demopraxy/Pandemopraxy), Co-operatives, Socially Applied Practice, Diverse and Community Economies, Cultural Dark Matter, Postwork Futures, Postcapitalism, Universal Basic Income, Transition to Ethico-Aesthetic Paradigm (Third Paradise), Building the new (Digital/Virtual) Commons.

Key Words
Socially engaged and Embedded Practice, Postvirus/Post-pandemic Futures, Slow Art and Sustainability, Art and the Everyday, Site and Context Responsive work, Invisible Art/Dark Matter, Participation and Co-production, Grassroots Infrastructure, Self-organisation and DIY collective agency (Demopraxy/Pandemopraxy), Socially Applied Practice, Postwork Futures, Postcapitalism/Alternative Sustainable Economies, Transition to Ethico-Aesthetic Paradigm (Third Paradise), Building the new (Digital/Virtual) Commons.

The Fall Term is dedicated to imagining the role of art organizations in times of perennial crisis, and to discussing what their future(s) in the next twenty years would be. A group of eight international applicants will be selected to follow a two-month programme of workshops and conferences. Artists and curators that have given life to emergent institutional models and art organizations will be invited as Visiting Professors to share their experiences and concerns. 
The final aim of the term will be to write, all together, an ethical charter on how contemporary art organizations should work as places for political agency, community building and social change.

8 – 10 November
ASSEMBLY (MODES OF INSTITUTING)
by Kobe Matthys (Agency)

11 – 13 November
SITE FOR UNLEARNING (ART ORGANIZATION)
HOW DO WE WANT TO WORK TOGETHER?
by Annette Krauss and Yolande van de Heide

16 – 18 November
TECHNIQUES FOR LIVING OTHERWISE: 
INSTITUTING WITH CARE
by Janna Graham and Valeria Graziano 

19 – 21 November
WORKING TITLE: THROUGH THE LOOKING GLASS 
By Bik Van Der Pol
 
The whole Modes of Instituting Fall program is entirely supported thanks to our historical partner illycaffé S.p.A., also with a workshop exclusively dedicated to young creatives and designers conducted by the duo Cooking Sections. Entitled “Climavore” the duo proposed to work on the production and consumption of foods that react to climatic events induced by man and landscape alterations. 

26 – 29 November
CLIMAVORE
By Cooking Sections

We are living in a time in which the human impact on our planet is having irreversible dramatic consequences on the decline of the natural world. Rather than the soft definition of climate change we should refer to the current situation as a climate breakdown, as artist Brett Bloom deliberately points out. In fact, the living conditions of modern Western society are based on forms of ferocious land and people exploitation that penetrates our bodies, minds and ways of being in the world to remain dependent on oil-based infrastructures without considering the effects. In the meantime, hundreds of thousands of teenagers are demonstrating all around the world in an unprecedented protest against global warming and pollution, vowing to miss school until the governments of their countries take action. 

Since 2003 Michelangelo Pistoletto and Cittadellarte have had on their agenda an ongoing discussion on environment sustainability, also promoting the Rebith Day since 2012: an annual international event dedicated to rebirth, change and the responsibility that each one of us should take in order to build a balanced relationship between nature and artifice. The Rebirth-day represents the celebration of the Third Paradise, a concept developed by Pistoletto to describe the start of a new phase for humanity (in the first paradise humans were fully integrated into nature, while the second is the artificial paradise), promoting a balanced connection between artifice and nature and the potential for social change.

Starting from these premises, the 2019 UNIDEE Summer Term is organized around the summer camp Climate Action, led by three different artists, to respond to the global warming and consider possible actions. During the camp the participants will discuss their relation to fossil sources, experiment in agroecology techniques and discuss climate agency to formulate alternative ways of living in relation with our landscape and the other organisms. Artists Brett Bloom, Fernando Garcia–Dory and Luigi Coppola are all committed on various levels to promoting different practices that re-examine our dependencies from energy exploitation and how we might begin to de-industralise our individual and collective sense of self. Through the recovery of old rural traditions, participatory processes, collective control of the means of production and art, their practices propose alternatives to address how humans relate to nature.

8 – 12 July 
PETRO-SUBJECTIVITY AND SOCIAL ECOLOGY
Brett Bloom

8 – 12 July 
EVOLUTIONARY POPULATIONS: THE SEEDS OF THE WORLD WAITING TO GERMINATE
Luigi Coppola

8 – 12 July 
TOWARDS AN EXPANDED LANDSCAPE
Fernando Garcia Dory

COLLECTIVE AGENCY

How do we shape the reality of our living and acting together? Since 2014 Cittadellarte coordinates the International Rebirth Forums connecting different civil organizations with the aim of promoting social change. Each Forum gathers together a diverse range of formal and informal groups (such as associations, foundations, enterprises, governmental organizations, non profit spaces, committees, etc) to implement a collective one-year concrete plan discussing the United Nations 17 Sustainable Development Goals (SDGs), which are in an urgent call for action by all countries. 
In a global partnership with different participants, Cittadellarte has promoted more than 235 meetings worldwide and coined a new word defining its method: demopraxia. Mutuated by the word democracy, the neologism replaces the term cratòs (power) with the word practice (in Greek praxis), converging its meaning on collective agency and co-operation. 

Starting from these premises, the 2019 UNIDEE Spring Term invites artists of different generations to map out the issues surrounding collaborative art from a practitioner's perspective. Exploring the potential of collective action as art work, the invited artists develop working relations with other producers, extensively collaborating with groups and communities to facilitate the creation of different infrastructural conditions and assist them in taking control of their futures. Advocating solidarity and peer-to-peer relationships to develop new ways of regulating everyday life, the artists initiate community-embedded projects combining together discussions, performances, pedagogy and forms of self–organization. In response to the political, social and economical conditions of post-capitalism, the invited artists experiment with community forms of resistance and participation to organize alternative ways of living.

20-22 May 
PROSCENIUM
Adelita Husni-Bey

May 28-30 
SELF-ORGANISATION AS METHOD - the case of platform Chto Delat 
Chto Delat

Here you can read our publication of the 20th anniversary of UNIDEE: Notes from the 2019 UNIDEE residency programs

Read the 2017 statement (pdf)

Key words: Revolution, Desire, Mediation.

Mentors and Guests in 2017 (in order of appearance):
Etcetera (Loreto Soledad Garìn Guzmàn and Federico Zukerfeld) with Franco “Bifo” Berardi;
Ayreen Anastas and Rene Gabri with Carla Bottiglieri;
Riccardo Fassone and Juan Esteban Sandoval (el puente_lab) with Gabriele Ferri;
Diego del Pozo Barriuso with Julia Morandeira Arrizabalaga;
Andrea Caretto and Raffaella Spagna with Ernst Zürcher;
Gianluca and Massimiliano De Serio with Luigi Fassi;
Attila Faravelli and Enrico Malatesta with Adam Asnan;
Aria Spinelli for the EU project "Trauma & Revival";
Petra Köhle and Federica Martini;
Adrian Paci with Leonardo Caffo and Zef Paci;
Assemble (Amica Dall) and John Bingham-Hall with Efrosini Protopapa;
Rick Lowe with Elpida Rikou.

Read all the UNIDEE NOTEBOOKS 2017

Read the 2016 statement (pdf) 

Key words: Research, Gift, Alteration.

Mentors and Guests in 2016 (in order of appearance):
Expodium (Nikos Doulos and Bart Witte);
Jason Waite with Adelita Husny-Bey;
Lara Almarcegui with Marco Giardino;
Cesare Pietroiusti with Aldo Spinelli;
Martino Gamper with Matteo Lucchetti and Judith Wielander (Visible project);
Giusy Checola with ‘L’Italia che Cambia’ and ‘Transition Town Biella’;
Maddalena Marciano with Claudia Losi and in collaboration with the Fashion Office of Cittadellarte/ B.E.S.T;
Attila Faravelli and Enrico Malatesta with Nicola Ratti;
Luigi Coppola with Daniel Blanga Gubbay;
Antoni Muntadas with Alessandra Messali;
Daria Filardo with Fatma Bucak;
Adrian Paci with Edi Muka;
Aria Spinelli with Núria Güell;
STEALTH.unlimited (Ana Džokić and Marc Neelen) with Erik Jutten and Piet Vollaard.

Read all the UNIDEE NOTEBOOKS 2016

Read the 2015 statement 

Key words: Temporality, Responsibility, Participation.

Mentors and Guests in 2015 (in order of appearance):
Salvatore Iaconesi and Oriana Persico;
Silvia Franceschini with Stefano Rabolli Pansera (Beyond Entropy);
Aria Spinelli with Tullio Brunone (Laboratorio di Comunicazione Militante);
Massimiliano Viel;
Emilia Telese with Richard Shields;
Giulia Grechi with Fiamma Montezemolo;
Saioa Olmo Alonso with Sabel Gavaldón;
Giusy Checola with Thomas Gilardi;
Alessandra Donati with SMart Belgio/Italia;
raumlaborberlin;
Beatrice Catanzaro;
STEALTH.unlimited (Ana Džokić and Marc Neelen);
Santiago Reyes Villaveces with Manuel Ángel Macia;
Andrea Caretto and Raffaella Spagna with Attila Faravelli;
Federica Martini with Anne-Julie Raccousier;
Omer Krieger;
Monica Narula (Raqs Media Collective) with Rasmus Nielsen (Superflex).

Read all the UNIDEE NOTEBOOKS 2015