Urboeffimero
from october 20, 2017
to january 21, 2018
to january 21, 2018
at the Mercato
Centrale Firenze
Centrale Firenze
by UFO
PROJECT ARTE MERCATO
It’s a pleasure and an honour to host URBOEFFIMERO n°5 by UFO inside the Mercato Centrale Firenze. Our collaboration is part of a project that has characterized the Mercato Centrale’s activities since the very beginning, which has already brought to life important projects in our spaces by three of the top names in contemporary art: Daniel Buren, Michelangelo Pistoletto and Ai Weiwei. We began with the very simple idea that the places of everyday life and places of art don’t need to be separate. These days, art is no longer a privileged experience, something to be accessed only in the hallowed halls of museums and galleries, with the illusion, for those not directly involved in the work, of suddenly transforming from individuals immersed in our daily life, routine and social rapports into free and educated consumers of a message of beauty and truth, or into intelligent witnesses of a “unique” revelation, that is, the interior world, outside the ordinary, of the artist. Contemporary art seeks us out, it wants to reach us in the same places we live out our social lives; it asks us to be ready, “open,” at all times, for a dialogue with the forms, images and situations that can introduce into our lives – be it our work, our consumptions, amusement or relationships with others (and with places, histories, conversations) – the buzz for critical thought, the provocation of something “different,” the flutter of the contradictory – the insistent question of the meaning of what we are and what we do, here and now. Domenico Montano
It’s a pleasure and an honour to host URBOEFFIMERO n°5 by UFO inside the Mercato Centrale Firenze. Our collaboration is part of a project that has characterized the Mercato Centrale’s activities since the very beginning, which has already brought to life important projects in our spaces by three of the top names in contemporary art: Daniel Buren, Michelangelo Pistoletto and Ai Weiwei. We began with the very simple idea that the places of everyday life and places of art don’t need to be separate. These days, art is no longer a privileged experience, something to be accessed only in the hallowed halls of museums and galleries, with the illusion, for those not directly involved in the work, of suddenly transforming from individuals immersed in our daily life, routine and social rapports into free and educated consumers of a message of beauty and truth, or into intelligent witnesses of a “unique” revelation, that is, the interior world, outside the ordinary, of the artist. Contemporary art seeks us out, it wants to reach us in the same places we live out our social lives; it asks us to be ready, “open,” at all times, for a dialogue with the forms, images and situations that can introduce into our lives – be it our work, our consumptions, amusement or relationships with others (and with places, histories, conversations) – the buzz for critical thought, the provocation of something “different,” the flutter of the contradictory – the insistent question of the meaning of what we are and what we do, here and now. Domenico Montano
GLI UFO e la SUPERARCHITETTURA
UFO was the most ironic and explosive group in the radical Florentine architecture scene, founded in 1967 during the student protests that involved the Department of Architecture at the University of Florence. UFO included Carlo Bachi, Lapo Binazzi, Patrizia Cammeo, Riccardo Foresi, Vittorio (Titti) Maschietto and initially Sandro Gioli. Massimo Giovannini, Mario Spinella, Rodolfo Bracci and Claudio Greppi also belonged to the group for a time. After 1972, the group’s activity was personally managed by Lapo Binazzi, custodian of the UFO’s happenings from its foundation to today (1967-2017).
The name is no longer the symbol of invincibility; its members have broken away over time. An aspect of precariousness, in addition to evident craftsmanship, have characterized the group’s creations since February 1968, when UFO burst onto the scene installing their “work site” in the university branch in Palazzo San Clemente, occupied by restless architecture students. The common aspiration was to break the long-held rules on composition, to deconstruct the solid relationships between form and function associated with the field of architecture. UFO expanded and amplified a widespread anti-academic and anti-modernist feeling with interventions based on utopian and interdisciplinary motivations, transversality and especially linguistic ambiguity, with spontaneous behaviours and doses of improvisation meant to be demonstrative and communicative.