MALI WEIL 2015

MALI WEIL
2015
_PORTFOLIO
ARTISTIC STATEMENT_It is impossible to define Mali Weil’s
practice looking at it from a single standpoint or discipline,
because it seeks explicitly to be hybrid, complex and productive.
Based upon a performative practice, Mali Weil’s aim is to activate
processes which can be inserted into the audience’s personal,
physical, experiential, cultural and ultimately political reality.
Those processes, which are better defined as human specific
than site specific, aim to create tension between the individual
and the habitual ways of thinking, inviting to build new imaginaries
and dissident genealogies, questioning the plurality of positions
the individual performs within the society.
Trigger points of the different works are always mythologies
which, once have been created, are able to self-disseminate
and reproduce themselves into reality like complex molecular
systems.
Mali Weil works assembling and layering 3 different operational
and research ways: the modes of thought condensed into
theoretical maps and into a research that ranges from political
philosophy to anthropology; the ways of production expressed
through concept design and the realization of times, spaces,
interiors and objects design; the ways of communication to
generate the narratives, words and images in which the imaginaries
are to be expressed.
To activate these imaginaries and narratives, Mali Weil exploits
a multiplicity of languages, signs and positions mainly conveyed
through performative, relational and often participative structures.
Using and parasitizing experience design’s approaches, Mali Weil’s
performance (even when the only perfomer is the viewer himself)
become out-and-out direct experiences for the audience.
From a sociocultural standpoint, this way of work seeks to design
contemporary rituals (involving places, objects, protocols, tools
borrowed by bureaucracy, relational interventions, etc.).Their aim
is to inoculate contradictory signs and to spread an ambiguity
into what is usually presented as normative. Under the political
profile instead, the ultimate goal is the generation of resistance
and of an alternative way of thinking, able to open up gaps
between the economic and cognitive forms of capitalism and
their consequences on thought and possibilities to figure out the
future.
In both cases, to reach its goals, the artistic and performative act
must become consubstantial to reality up to disappear, giving up
fully or in part its recognizability.
Mali Weil is the collective identity of Elisa Di Liberato, Lorenzo
Facchinelli and Mara Ferrieri. It operates between Italy and
Germany.
HOUSE OF IMMORTALITIES
2015
House of Immortalities (1. Mythology) is the first public glimpse
of an ongoing project. It is a space for rest and concentration in
the middle of a work-in-progress research about chances and
ranges of individual actions.
Mali Weil goes through some key words of democracy
philosophical history and proposes them to the visitor as a
subjects for a political and personal dressage.
It has the shape of a ritual composition that flows between
philosophical references, exercises and myths. Here, the visitor is
called then to experience a space where architecture, mythology
and design merge and reshape a political practice focused on the
Care of the Self.
The display is the one of a relational performance “in absentia”
because there is no performer. The long-distance relationship
to an absent body allows the visitor to fill temporarily the void
left within the conceptual and spatial structure. It is up to the
guest to express his/her possibility to re-enact those foundation
practices in order to fill up the empty spaces with their body.
concept and product design:
Mali Weil
jewelry design:
Anna Kiryakova
product design and realization:
Martina Ranedda, Naomi Galavotti,
Francesco Elipanni
editing and printing:
Mali Weil
light design consultant:
Fabio Sajiz
Neith:
Alice Voltolini
production:
Mali Weil, Centrale Fies
House of Immortalities
video still
Meditation book
Canopic Jar
(brain)
Canopic Jar
(brain detail)
Brassard
Brooch
Pharresia set
Maath’s feather necklace
ANIMAL SPIRITS
2013 - current
Animal Spirits is an artistic, entrepreneurial and research project
that assumes on a form of a cultural brand. Its mission is to spread
the animal spirit mindstyle and to conduct focused researches to
develop new products and services related to the brand itself.
Thanks to its own brand Animal Spirits, Mali Weil parasitizes
economic logics and activates entrepreneurial processes, to
transform them into experiences and tools able to create new
imaginaries.
Through a creative pipeline and an artistic approach, real
processes of product and interior design, communication
strategies, marketing and sale are melted with experience design,
performance, multimedia elements and are loaded up with a
revolutionary imaginary.
Many meanings flow into the image of animal spirit, which is at
the same time a human and an animal instinctive push to action,
and also a daemon who recalls individuals to their public roles.
This bundle of meanings found a first formalisation in pop-up
openings of a Concept Store and in a Research Lab.
The brand is nevertheless always active thanks to a sale
infrastructure and a research based practice that guarantees its
development.
Within the Concept Store, the shopping moment turns into a
ritual experience able to inaugurate a new political mythology
based on the individual possibilities to act.
Within the Research Lab, the theoretical research which animates
the brand is open to the audience. This will become the starting
point of new participative research and of some relational
moments (conversations, questionnaires, narrations) which will
expand and spread the political imaginary.
concept and development:
Mali Weil
supported by:
Centrale Fies
with the sustain of:
Provincia Autonoma di Trento
Movin’Up by GAI and MiBAC
The brand Animal Spirits
is housed within Centrale Fies (Tn, IT)
Concept Store
product design:
Liviana Osti, Luca Bertoldi
interior design:
Liviana Osti, Mali Weil
sound design:
Elettra
live blogger (Milano):
Virginia Fiume
Research Lab
anthropologist:
Franco La Cecla
socio-anthropologist:
Roberto Sassi
curator:
Simone Frangi
Research lab,
Viafarini (Milano, IT) | ZHDK (Zurich, CH)
What happens when real-time content meets art (and marketing)?
[ScribbleLive as a medium in art. That’s
right – and what’s more it can be a great
way of combining the performance to create
a guerrilla marketing operation.
The scene
Picture this: a newly-opened pop-up
concept store in Milan curated by an
art collective, whose theme is “animal
spirit”. Passersby and customers walk in,
and arrive in a dark room where they’re met
with screaming music and messages bolted
on the walls. They’re are asked questions
like “are you prey or predator?” and “are
you dangerous?”. Still with us? Well, it
is art after all.
While all this is going on, a realtime storyteller produces and curates a
multimedia feed using ScribbleLive and
projects it onto a screen. Finally, after
the show, people get the
chance to buy a piece of art that most
represents their feelings evoked by the
performance.
“We create an environment that is
on the edge between art, shopping and
production,” the cultural collective
Mali Weil behind the operation have
declared in numerous interviews. Another
Italian media collective and a cultural
organization, Perypezye Urbane was in
charge of multimedia element of the
experience that was directly linked to
the commercial opportunity. The artistic
happening was held at CRT Milano/Teatro
dell’Arte, one of the most experimental
theatres in Italy.
Three
days
before
the
performance,
Perypezye Urbane asked some prominent
members of the blogosphere to publish a
post on the concept of “animal spirits”.
“The result was a sort of jam session,”
according to Virginia Fiume, Perypezye
Urbane’s
digital
content
curator.
“From
Italy
to
Berlin
and
Brazil
[people published a lot of material]
Research lab,
Viafarini (Milano, IT) | ZHDK (Zurich, CH)
on this topic, helping to increase
awareness about the “physical” performance
itself. Every post of course contained a
link to the official liveblogging URL and
to the official hashtag for the initiative
(#StayAnimalSpirit).”
At the entrance of the Concept Store,
spectators were informed about the
presence of Virginia, the real-time
storyteller, who published a real-time
account of the performance mixed with
both her personal perspective and the
answers walkers-in gave to Mali Weil
collective’s questions.
The storyteller was well equipped with all
sorts of background materials: pictures,
quotes, backstage images and pictures of
all the art objects, all of which were
uploaded in the ScribbleLive backend
through using the Article feature. During
the performance, some engaged with the
liveblog, while others tweeted about the
event but everyone expressed an opinion
on what “animal spirit” meant for them.
“Some of the people came spontaneously
to me in order to give me an account of
their experience.” says Virginia Fiume.
“With some of the less shy ones, I dared
shooting a oneminute interview through
the webcam,” she said. “The result was
a collective storytelling on a given
topic.”
Being asked on the results of the arts vs
marketing initiative, Virginia writes:
“Every chance to be known is fundamental
for concept art spaces like this one,
and for the economical sustainability of
the project itself. The performance is
based on a complex system of literary,
artistic and socio-economic references
that cannot be completely recalled during
the performance itself.”]
[From a review of the live blogging event for
the Animal Spirits concept store finissage.
On scribblelive.com]
Animal Spirits,
video stills
Animal Spirits concept Store,
Centrale Fies (Dro, IT)
Animal Spirits concept Store
Centrale Fies (Dro, IT)
Animal Spirits concept store
Triennale (Milano, IT)
The Armour
Liviana Osti
for Animal Spirits concept store
Mein Herz
Space toys_Libera 3,910 Kg
Luca Bertoldi, Mali Weil
Animal Spirits concept store
Centrale Fies Collection
ART COEFFICIENT
ongoing
“All in all, the creative act is not performed by the artist alone; the
spectator brings the work in contact with the external world by
deciphering and interpreting its inner qualification and thus adds
his contribution to the creative act”
M. Duchamp
Dedicated to M. Duchamp’s words, the video cycle Art Coefficient
focuses itself around the ephemeral and limited moment when
the visitor and artwork meet. It’s in this precise moment that
the mechanism that enables the elaboration of meaning starts to
work. Only then is it possible to discover what an artwork tells
about itself, and also what it tells about ourselves, our world, and
our times.
Art Coefficient is a video format by Mali Weil which involves
many contemporary art institutions from Italy, France, Belgium,
Germany, Denmark and Switzerland.
Each episode focuses on a single meeting between a
contemporary artwork and a viewer. A meeting which,
with a performative approach stages/gather a single
relationship made by approaches and distances. A meeting
recorded and transformed into a 12
minute video.
with the support of:
EU Culture Programme 2007-2013
Fondazione Cariplo
in collaboration with:
Regione Trentino Alto Adige
Provincia Autonoma di Trento
sponsor:
Cassa Rurale di Trento
Art Coefficient_04 Mart (Rovereto, IT)
production manager:
Anna Kalbhenn
composer:
Elettra Bargiacchi
Official tumblr page:
artcoefficient.tumblr.com
Official channels:
studio28.tv/category/artcoefficient/
vimeo.com/channels/artcoefficient
shareculture.eu
Art Coefficient_02 Artra Gallery (Milano, IT)
[Questo è un dialogo a distanza con Mali Weil
per capire meglio il loro lavoro che unisce
arte, antropologia, cultura in senso ampio,
comunicazione, project design e impresa.
Alla ricerca di possibilità di pensiero
alternativo.
Come nasce il progetto Art Coefficient? E
soprattutto quali sono i suoi obiettivi?
Art Coefficient nasce per attivare nella
pratica quest’idea di arte come chiave
percettiva della realtà: è un lavoro
stratificato perché a un primo livello si
configura come una performance relazionale
per uno spettatore (scelto con l’unico
criterio di non appartenere in alcun
modo al mondo dell’arte) e un’opera
d’arte, ospitata in un museo, galleria
o istituzione italiana o europea. È
un’esperienza
volutamente
intima
in
cui Mali Weil interviene con la massima
delicatezza, of f rendo all’ospite una
breve serie di informazioni e suggestioni
sull’immaginario
dell’opera.Questo
incontro è registrato e al suo termine
viene effettuata una breve intervista con
il visitatore, composta di sei domande
che vertono esclusivamente sul legame
emotivo eventualmente creatosi tra lui
e l’opera. E qui si apre il secondo
e più ambizioso livello del progetto:
trasformare l’esperienza dell’incontro
tra un singolo e un’opera in un percorso
video che offra un’esperienza replicabile
da ogni fruitore: di modo che chi vede il
video possa sia seguirlo come una sorta
di documentario sia vivere l’incontro
con l’opera in prima persona, seguendo
le tracce e le suggestioni offerte. Nel
suo complesso il format prevede 20
puntate e si struttura come un viaggio
itinerante fatto di relazioni uniche,
fugaci e istantanee, che tuttavia nel
loro insieme offrono anche un quadro, per
quanto parziale, dell’arte contemporanea
di questi ultimi due anni in Europa.]
[Intervista a Mali Weil
di Valeria Barbera per Espoarte]
DAIMON / CORE
MYTHOLOGY
EPHEMERAL
TOOL
RELATIONAL
EXPERIENCE
SCENARIO
ENCYCLOPEDIA
2015
Within a methodological research process, Mali Weil begins an
utterly recursive project, composed of a conceptual map of
her practice and a textual/graphic index about the constitutive
elements of the different imaginaries produced over the years.
The different archive forms (Website and Lexicon) deriving from
it are intended as developing entities, and they both certainly
belong to the Latourian risky-attachment category also called
“hairy objects”.
The project arises from some conversations with curator Simone
Frangi.
THEORY
web concept and visualization:
Johannes Tolk
link:
maliweil.org
LEXICON
current
Compiling a lexicon is in itself a ritual act. With this in
mind, Mali Weil has decided to evaluate her own artistic
vocabulary.
Some terms are examined for their formal contributions
to Mali Weil’s practice. Others arise from research themes
and form the semantic universe from which the different
projects derive.
Each definition is marked by a date in which it was
formulated. It is therefore intended as a historical object,
liable to being rewritten for a thousand times.
It has begun in 2014, during a research residency at ZHdK
in Zurich (CH).
concepy and realization:
Mali Weil
link:
http://www.maliweil.org/category/
lexicon/
MALI WEIL’S WEBSITE
2015
The Mali Weil’s website, with its 3 layers, internal paths and
private parts, is a working tool itself. It is also an aggregation
of the narrative elements that Mali Weil uses to narrate
herself.
The website was born by entrusting the transcription of
her practice to an external and watchful observer.
web concept and visualization:
Mali Weil, Johannes Tolk
realization:
Johannes Tolk
link:
maliweil.org
maliweil.org/indexo
DESIGN
FOSSIL
VISION
[Questo è un dialogo a distanza con
Mali Weil per capire meglio il loro
lavoro che unisce arte, antropologia,
cultura in senso ampio, comunicazione,
project design e impresa.Alla ricerca
di possibilità di pensiero alternativo.
Sul vostro sito si legge “Mali
Weil
persegue
una
ricerca
e
un’esplorazione
del
proprio
contemporaneo (dal punto di vista
sociale,
politico,
economico,
urbano)” in che modo secondo voi
l’arte contemporanea si inserisce
in questo schema?
Dato per assodato l’interesse – in
qualche modo politico – per il reale
(non lavoriamo mai in un sistema di
riferimenti esclusivamente interno
al mondo dell’arte o formale)
l’arte contemporanea è per Mali
Weil più un metodo di esplorazione
che un contenuto da esplorare,
uno strumento che permette di
creare connessioni inedite, di
incidere su forme di pensiero
cristallizzate. È in qualche modo
la leva che rende possibile un
utilizzo delle informazioni e dei
dati diverso rispetto a quello che
fanno “i tecnici”, siano analisti,
scienziati,
politici.
Inoltre
permette di entrare in relazione
privilegiata non solo col mondo ma
con le persone, sviluppando modelli
di incontro che, tramite immaginari
inconsueti, si insediano agilmente
nel quotidiano. Qui tocchiamo un
altro interesse centrale di Mali
Weil:
l’interazione
continua
con la vita di tutti i giorni,
fino a generare una collisione
incessante tra fatto artistico e
fatto economico, politico, etc.
Fin qui ho risposto riferendomi
alla nostra ricerca, ma anche in
termini più generali credo che
l’arte si inserisca in maniera
inestricabile in quel sistema di
relazioni che generano “i fatti” e
sia oggi, nelle sue manifestazioni
più autentiche, una delle poche
forze propulsive del rinnovamento
delle forme sociali. Un po’ come la
ricerca scientifica, ma più libera
da condizionamenti ideologici.
Mali Weil lavora in ambiti molto
trasversali
comprendendo
anche
il design. Che cosa è il progetto
Animal Spirits?
Animal Spirits è, al momento, il
punto di convergenza di diverse
ricerche: è insieme sia un lavoro
di creazione e divulgazione di un
immaginario antagonista a livello
economico e politico, sia il
tentativo di brandizzare questo
immaginario facendone un marchio
culturale, capace di sostenersi
economicamente,
produrre,
diffondere e viralizzare ulteriori
immaginari
attraverso
f
orme
artistiche ibridate con modelli
reali e processi di produzione.
L’immaginario
Animal
Spirits
si concentra sul potenziamento
del singolo in quanto soggetto
autonomo, portatore naturale di
una spinta verso l’agire politico.
La ricerca che lo struttura ha una
forte componente antropologica e
attinge senza alcuna nostalgia ad
elementi arcaico-primordiali, nel
desiderio di recuperare sistemi
di
rappresentazione
del
mondo
alternativi a quelli del pensiero
occidentale, ma contemporaneamente
è integrato nel f lusso della
comunicazione digitale. In pratica
Animal Spirits ha originato fin’ora
un Concept Store che apre in maniera
temporary in diverse location,
per il quale diversi creativi
(qui entra in gioco il design)
hanno ideato prodotti capaci di
potenziare il nostro lato più
attivo e istintuale. Chi entra nel
Concept Store vive un’esperienza
insieme familiare (di shopping)
e destabilizzante perché si trova
immesso in una ritualità dark (la
cui chiave è senz’altro narrativa),
che lo spinge a incontrare il
proprio cuore oscuro e a tracciare
un identikit del proprio Animal
Spirit. È un progetto complesso,
ibrido, ancora molto aperto, in
cui uno stesso elemento diventa
un oggetto reale, un prodotto
narrativo e ambisce a diventare
anche un prodotto sociale.]
[Intervista a Mali Weil
di Valeria Barbera per Espoarte]
WHITE NOISE MACHINE
2012
The White Noise Machine is a temporary office which aims to
produce White Mama. This is not only a design object conceived
by designer Liviana Osti specifically for Mali Weil but also a
customizable Totem, able to guard private bonds and individual
mythologies.
With the help of a designer, visitors are invited to create their
personal White Mama and make a private bid in order to win an
auction for its realization. No money offers are admitted. On the
contrary, the most distant offer from the current economical logic
will win the auction. A commission composed of economists will
evaluate the best offer.
White Noise is a “human-specific” relational machine, which
integrates participatory design, performances, videos and
multimedia. It was realized in order to develop an experience for
the audience, able to bring people out of the current economic
scenario.
The experience takes place in a temporary space set as a real
office, where visitors interact with different employees who
conduct them into the experience.
The machine activates an experiential and narrative mechanism
that produces a visual narration leading the viewer to grow fond
of a design object, which portrays itself as a contemporary totem.
Nevertheless, the real heart of the machine is where every
viewer meets the designer directly and, through practices taken
from the participatory design, he/she projects and fills up the
object with his/her personal memories, emphasizing the totemic
and personal side of it.
Through experiential and narrative mechanisms which produce
an imaginative effect on the viewer, Mali Weil works on design
as an iconic practice, trying to extrude it from the economic
context and to connect it to the production of myths, visions and
lateral thinking.
design:
Liviana Osti, Silvia Vettoretti
live sound design:
Elettra Bargiacchi
production:
Mali Weil, Centrale Fies
with the support of:
Provincia Autonoma di Trento,
Comune di Trento,
Fondazione Caritro
White Mama
Liviana Osti for Mali Weil
White Noise Machine
temporary office
White Noise Machine
temporary office
White Noise Machine
video still
EMA
2012
With Ephemeral Memory Archive Mali Weil stores and exchanges
in an anonymous way daily life memories of common people.
The goal is to extend the life of the memories and to start turning
them into collective archetypes.
By giving your memory to EMA you’ll receive in exchange the
memory of another donor and acquire the right to use it as
yours.
curators:
Valentina Galossi, Alexia Werrie
for Node Center (Berlin)
[What’s the E.M.A. project and how does it link with the debate on cultural and virtual heritage?
E.M.A. born as archive to collect under an anonymous form individual personal memories.
Those who transfer their own memory to the archive, do it on a permanent basis, giving up every
exclusive right on it. Every donor gets in exchange the entrusting of another person’s memory, and
the certificate attesting the right of using it as his/her own. This opens to various spreading or
appropriation possibilities, until the potential inclusion of it in his own autobiography. E.M.A.
doesn’t aim to the preservation of a historic or collective memory, but of a personal, private memory
which is naturally intended to erosion.
An archive of ephemerals: isn’t it a paradoxical practice?
The paradox is productive, because the archive’s role isn’t to cherish, but to transform a personal
property in a collective heritage. A heritage where the value doesn’t lie on the single assembled
units, but on its faculty, once shared (swapped), to create unknown connections between individuals.
The creation of archives and the archiving are common practices in contemporary art field that put
themselves naturally in a dialectic relationship with the institutional speech about art, its
preservation and cataloguing. Through relational approaches like exchange, “adoption” and viral
circulation, E.M.A. preserves a peculiar cultural heritage, but sows as well seeds of possible
communities and spreads new bonds between individuals that otherwise would be unrelated. It’s a new
imaginative way of thinking, that turns the individual memory into common and activates into the
viewer a mutual curatorship to lived life’s splinters. This way of generating community through art
practices, it’s also a proposal on what cultural heritage does mean and an invitation to put the
contents of many institutional archives into circulation by means of non-conventional initiatives.]
[From a selfinterview of Mara Ferrieri with Mali Weil suggested by the blogger Virginia Fiume]
FIES CORE
2014 - current
From 2014 Mali Weil, together with Virginia Sommadossi, is project
developer of Fies Core, a research center on cultural innovation
oriented towards the discussion between entrepreneurship and
cultural based projects, hosted inside the artwork space Centrale
Fies in Trentino-Alto Adige (IT).
Fies Core has been established to intercept and support hybrid
projects with strong innovative potential, which are able to shift
between art, culture and business. It operates between the field
of research, the development of new enterprise formats and the
creation of original concepts.
Mali Weil in particular, brings into Fies Core visioning
and development capabilities peculiar of the artistic
research, carrying on its own experimentation on cultural
design, on hybridization practices between art and daily
life and on research on new economic imaginaries.
link:
fiescore.it
[Come si è sviluppato il progetto?
A livello di progettualità Fies Core nasce come spin off dell’art work space Centrale Fies, per diventarne
l’area dedicata alla ricerca e al confronto col mondo dell’imprenditoria e della progettazione
culturale. Nasce per rispondere ad un’esigenza particolare nata dentro Centrale Fies, che da alcuni
anni a fianco dell’attività di residenze e produzione artistica – e grazie a questa – ha intercettato
e cominciato a supportare realtà e progettualità ibride, in grado di spostarsi agilmente tra arte,
cultura e imprenditoria, difficilmente incasellabili nelle categorie esistenti del mercato artistico/
culturale. Fies Core quindi nasce di fatto per studiare e sviluppare questi nuovi format di imprese
o progetti, preservandone la natura ibrida e valorizzandone l’unicità.
Come vengono utilizzati i linguaggi contemporanei all’interno di questo percorso ibrido tra arte,
cultura e impresa?
Immagina una roccia il cui cuore si chiami arte, la cui forza si chiami ricerca e la cui base poggi
saldamente in un territorio per poi svettare verso l’alto e aprire la visione a lungo raggio:
questa è la schematizzazione delle ambizioni che ci muovono... Più concretamente, se intendiamo la
progettazione culturale come un’integrazione di saperi, skills, campi e progetti al servizio sempre
di qualcos’altro, che può essere una visione o un rapporto con la società di domani, diventa chiaro
che non è possibile né limitarne il raggio d’azione, né dividerla in compartimenti e settori rigidi.
In quest’ottica la ricerca artistica, sia teorica che nelle sue applicazioni pratiche, costituisce
per noi la fucina e il banco di prova, dove produrre ipotesi di lavoro, testare percorsi inesplorati
e confrontare o applicare concetti di innovazione che non si lasciano risolvere nell’economia di
mercato. Perciò la possibilità di Fies Core di fare e incamerare ricerca e di essere in costante
contatto.]
[Intervista a Virginia Sommadossi e Mali Weil di Valeria Barbera for Espoarte]
_CV
EDUCATION
Elisa Di Liberato (1981), Lorenzo Facchinelli (1982), Mara Ferrieri (1977) came from
different university studies: arts, music and thatre (Univ. of Bologna), communication studies
(Univ. of Milano) and philosophy (Univ. of Milano).
In 2007 they all graduated in direction at Academy of Dramatic Art in Milano (IT).
2012/2015
2014
2011
2011
2010/2011
2010
RESIDENCIES
Centrale Fies (Tn, IT)
ZHdK Zürcher Hochschule der Künste (Zurich, CH)
REISS Arti Performative – Torino (IT)
Pim off, Milano (IT)
Corte Ospitale, Rubiera (IT)
Sinopale Art Biennal in Sinop (Turkey)
GRANTS/AWARDS
2011/2014 grants from Provincia Autonoma di Trento and Regione Trentino Alto-Adige
Faber Award in the category Live Action Torino (IT)
2013
DE.MO./Movin’UP II sess. 2012 by MiBAC and GAI
European Culture 07-13 Program grant for the format Art Coefficient
2012 Foundation Cariplo (Milan) grant for the format Art Coefficient
selection at Premio Scenario 2011
2011
foundation Trento and Rovereto, grant for Everyville Project
SELECTED PERFORMANCES, MULTIMEDIA PROJECTS
The House of Immortalities Centrale Fies, Motherlode Festival, Trento, IT
Animal Spirits | research lab ZHdK, Zurich, CH. Within Artransit Labour 1, curated by
2015
Simone Frangi and Heinrich Lüber
Animal Spirits | research lab ViaFarini, Milano, IT. Within Artransit Labour. Curated by
2014
Simone Frangi and Heinrich Lüber
Animal Spirits | concept store Centrale Fies, Trento, IT
Animal Spirits | concept store La Triennale | CRT, IT
2013
Animal Spirits | concept store Mein Herz_Drodesera 2013 Trento, IT
Animal Spirits Ufer Studio – Month of Performance Art, Berlin, DE
White Noise Machine We folk! Drodesera 2012, Trento, IT
2012
Totem Novel PIM OFF Milan and REISS Turin, IT
2011
The world is a matter of measures, Trento and Monza, IT. Curated by Federico Mazzonelli
Everyville_Tn personal exhibition at Le Gallerie di Peidicastello, Museo Storico, Trento, IT
Everyville_Sinop performance and residence at International Sinop Art Biennal, TUR
2010
2015
2013
2009
SELECTED SCREENINGS
Art Coefficient_07 official selection at Ulsan Mountain Film Festival, Korea
Art Coefficient_07 screening at Korean Film Archive, Seoul
Art Coefficient_07 official selection at Trento Film Festival, IT
Art Coefficient_03 exhibition at Galleria Arte Boccanera, Trento, IT
Plain/Archipelago Summer Academy, Salbzurg, A
Video Fornat
Commercials
Project development
Lecture/workshop
Publications
VIDEO
Concept and realization of the web format Art Coefficient (2013-ongoing)
Lettori Mutanti, comm. by Cologno Monzese Library, 2014
Augmented Reading, comm. by Cologno Monzese Library, 2013
serie of 4 virals for the International meeting about Reading Groups. Comm. by Municipality of Cologno Monzese, 2012
booktrailer “the reading explained to a not reader” by Luca Ferrieri, comm. ed. Bibliografica, 2011
OTHER
from 2014 Mali Weil is project developer of Fies Core, cultural Hub for creative industries in
Trentino (IT).
workshop for Art Education course at ZHdK Zurich, CH, within the project
Animal Spirits | research lab, 2014
workshop for 1st level Master in Relational Design, Abadir Academy, 2014
workshop for Stage Design course at Faculty of Architecture and Design, Polytechnic institute of
Milan, 2008
“In Berlin someone is archiving memories” for S28.mag, feb. 2013
Contribution for “The Theatre of Matéi Visniéc , impression of Times” in Prove di Drammaturgia,
anno XV-n°1- aprile 2009 - Univ. Bologna, Dams, CIMES
_CONTACTS
[email protected]
www.maliweil.org
Mali Weil © 2016