Archive for 2016


Il montaggio è  uno strumento non dell’esaurimento logico delle possibilità date, ma dell’inesauribile apertura ai possibili non ancora dati

  Georges Didi-Huberman                  



Nel mondo di rovine del Moderno Max Ernst storceva e riaggiustava per far apparire tra le macerie i fantasmi del nuovo, cera al lavoro la legge analogica che rompeva le parvenze in cui le cose si univano per luoghi comuni e ritrovava le cose per accostamenti imprevedibili, quelli che nessuno ha ancora visto e il cui significato è sempre ambiguo

River Hotel - 2016


The hunger for knowledge through images is inextricably related to the impossibility of managing an infinite archive: The Atlas doesn’t detach objects according to prestablished categories, rigorous definitions, or ideal hierarchies: it satisfies itself collecting, that is, respecting, the great fragmentation of the world.

Unfolding pavilion venice 2016


La realtà è un astrazione  Jan Dibbets

Art center -2016



"For the ‘matter itself' is no more than the strata which yield their long-sought secrets only to the most meticulous investigation […] images that, severed from all earlier associations, reside as treasures in the sober rooms of our later insights––like torsos in a collector’s gallery." - Walter Benjamin, Excavation and Memory. 



It is simple to make a collage, and it can be done quickly, it is fun to make a collage and  at the same time it is considered suspicious because to simple, too fast......A collage is charged and always remains explosive. I often stand dumbstruck before it, and precisely, as an artist, it is a matter of enduring this looking dumb. 

Thomas Hirschhorn

Hotel - 2016


Quale è il fine di questo conservare? Vuole ricordare tutto? Ma ricordare tutto significa dimenticare. Io posso conservare tutto, ma non posso certamente ricordare tutto, per una ragione fondamentale di ordine logico: che la memoria è intenzione. Ma questa è un antinomia: e infatti la nostra epoca che vuole ricordare tutto, sta distruggendo tutto. 

Massimo Cacciari

Viaggio a Kiev - 2016


Questo è il progetto dell'artista: aver bisogno dei frammenti, Addirittura divertirsi per cavar fuori un significato da essi. Il significato è sempre una ricostruzione, una proiezione, non è un edificio, è qualcosa che va fatto, non solo trovato
William Kentridge


The accumulation and juxtaposition of fragments corresponded to the own scepticism towards the grand narratives of modernity.

Philip Ursprung

Atlas of imagination - 185 - 2016


Un disegnare che aiuta a guardare il mondo, un disegnare come rilettura del reale che è un abitare una terra di mezzo, dove lo spazio tra ciò che vediamo sulla carta e la forma che inventiamo dietro la retina non sempre coincidono, e dove il tempo serve a misurare lo spazio. 


Il significato è sempre una ricostruzione, una proiezione, non è un edificio, è qualcosa che va fatto, non solo trovato.  
William Kentridge

Mars Circle - 2016


Perfection is not something I admire. [Laughs]. 

A touch of confusion is a desirable ingredient...I spent a great deal of my life being ignored. I was always very happy that way. Being ignored is a great privilege. That is how I think I learnt to see what others do not see and to react to situations differently. I simply looked at the world, not really prepared for anything.

Saul Leiter

senza titolo- KL 2015

senza titolo- KL 2015

senza titolo- KL 2015


The color describes what i meet without any filters, and i like to record the instant for the way It looks to me.

Daido Moriyama

senza titolo - LG 2015

senza titolo - LG 2015

senza titolo - LG 2015


Organizing together fragments, mixing with their own memory in order to better assimilate them. Finding in the city other cities, in their art other oeuvre, in the architecture other architectures, its’ essential to write through images a personal history, it’s essential to be able not being radical but realistic, exploiting imagination to tell other stories. 

Roma Moderna - 2011


We must  [...] lear to handle the images device, to know what to do with our view and our memory.
Georges Didi Huberman

 I am interested in the moment this accrual of images looses its form. It becomes the formless, so dear to Bataille, in ceaseless rhythmic activity: forms get cancelled and then compare again, exuberant, excessive. The formless proliferates, generating dismembered, open forms through an explosive process. The formless is indeed the accident of forms, their contingent and a-substantial nature. An image, being an undetermined structure capable of infinite combinations, produces infinite images, that become a conceptual model on which a design can be rooted. Now, what is really important to me is the dialogue arising between the two images, the initial and the manipulated one, that results in a vortex, in the meaning of Benjamin’s dialectical image. This vortex-image does not imitate things: it is a dividing line, from which the architect’s thought develops. This thought divests the image from its certainties, and calls into question the whole knowledge. 

EVOKED è una mostra itinerante inaugurata il  22 febbraio 2016 a Tirana. L’intento è quello d’indagare l’edilizia residenziale informale realizzata in modo abusivo sulla costa albanese. A partire dal 1991, il fenomeno di migrazione interna dalle zone rurali verso la costa e nelle maggiori città d’Albania ha generato una domanda abitativa senza precedenti. Gli edifici, generalmente localizzati nei terreni agricoli e realizzati in calcestruzzo armato, sono spesso incompleti o parzialmente abitati a causa delle condizioni economiche del nucleo familiare. L’incompletezza delle costruzioni e il particolare processo di occupazione delle strutture ha comportato una nuova immagine del paesaggio costiero abanese.

Adelina Greca
Albana Koçollari
Anna Bruna Menghini
Frida Pashako
Domenico Pastore
Giuseppe Resta


Luca Galofaro
25.02 - 31.03.2016​


Montage is the art that is capable of making the image dialectic.​
Assembling images as I do in my work does not mean assimilating them to fit them into a logical narrative plot, but juxtaposing single fragments, conserving their multiplicity, partiality and impurities to make their combination or repetition generate an interference with or a reaction to my imagination, opening up new possible relationships and knowledge. The images are not sufficient on their own, they are always juxtaposed or, more precisely,​​ collided with short phrases taken from the books of the time, words to read in order to​ amplify the effect of the image, not to assert a truth but to trigger a visual moment of​​ awareness. It is only through this dialectic restitution that the image can take on a new​​ legibility.
The image become the center of a thought about time.​​ In a certain sense it is the attempt to construct an atlas of one’s own imagination, whose reference point is Warburg’s Mnemosyne Atlas, but with the difference that the images juxtaposed in this Atlas have first been manipulated and personalized through an operation of assimilation.

​96, rue de Cléry​ - 75002 Paris

Vernissage​ Thursday 25 February 2016, 19.00
​Open to the public Friday ​26 February to Thursday 31 March 2016

Open Tues-Sat /11am - 7pm

Luca Galofaro  is an architect and educator. 
Associated Professor at University of Camerino from 2016, visiting professor at Confluence in Lyon 2015, at  the Bartlett school of Architecture in 2013 and at Ecole Spéciale d’Architecture in Paris from 2007 to 2013. He obtained the Master degree on  Spatial Science at the International Space University, UHA.
His research around architecture is made not just by architectural projects (is the founder member of Ian+ (1997-2015) andLGSMA (2016)  but through different research tools: two blogs  and, a new phisical space, gallery Campo in Rome, and a new indipendent magazine Divisare that will be published on april 2016.
He is the author of many essays and several books, including Digital Eisenman (Birkauser 2001), Artscapes (Gustavo Gili, 2003 / Postmediabooks, 2008), Aristide Antonas (Libria, 2014) and An Atlas of Imagination (Idea Books, 2015).

Luca Galofaro
25.02 - 31.03.2016​

Le montage et l’art apte à rendre l’image dialectique.​
Assembler les images tel que je le fais dans mon travail ne signifie pas les assimiler à une logique narrative. mais la juxtaposition de fragments simples, conserver leur multiplicité, la partialité et leurs impuretés faisant de leur combinaison (combinatoire) ou répétition, génèrent une interférence ou une réaction de la part de mon imagination, ouvrant ainsi de nouvelles relations et connaissances possibles.
Les images ne se suffisent pas à elles-mêmes, elles sont toujours juxtaposées ou, plus précisément mises en collision avec des phrases courtes issues des livres de leur époque, des mots lus pour amplifier l’effet de l’image, non pas pour asséner une vérité mais pour provoquer une prise de conscience. Ce n’est que par la restitution dialectique que l’image prend une nouvelle légitimité.
L’image devient le centre d’une pensée à propos du temps. En un certain sens, c’est la tentative de construire un atlas de l’imaginaire individuel, dont la référence principale est L’Atlas Mnemosyne de Warburg, à la différence que les images juxtaposées dans cet Atlas ont d’abord été manipulées et personnalisées par une opération d’assimilation.

Luca Galofaro  est architecte et enseignant.
Professeur associé à l’Université de Camerino depuis 2016, “visiting professor” à Confluence à Lyon depuis 2015, à la Bartlett school of Architecture en 2013 et à l’Ecole Spéciale d’Architecture à Paris de 2007 à 2013. Il obtient le Master de “Spatial Science” à l’ International Space University, UHA.
Ses recherches en architecture ne se limitent pas au projets architecturaux (membre fondateur de Ian+ (1997-2015) et LGSMA (2016) ) mais s’expriment par des media variés : deux blogs  et, un nouvel espace , la galerie Campo à Rome, et un nouveau magazine indépendant “Divisare" qui sera publié en 2016.
Il est l’auteur de nombreux essais et livres, dont Digital Eisenman (Birkauser 2001), Artscapes (Gustavo Gili, 2003 / Postmediabooks, 2008), Aristide Antonas (Libria, 2014) et An Atlas of Imagination (Idea Books, 2015).

​96, rue de Cléry​ - 75002 Paris

Vernissage​ Thursday 25 February 2016, 19.00
​Open to the public Friday ​26 February to Thursday 31 March 2016

Open Tues-Sat /11am - 7pm


I belive that: the intrusion of an era into another can reduce the distance between different objects and spaces, fragments and images codified acquire new meanings.


Il montaggio viene utilizzato per creare pause o fissare immagini l'una contro l'altra, questo procedere comporta il rischio di causare delle lacune nella percezione.

Cattedrali - 2016


The encounter with one image after another would, that is, demand an attention to a kind of temporal unfolding that was like that of hearing or reading a sentence.
Rosalind Krauss

St Gudule's Cathedral - 2015


Ogni forma possiede forse virtualmente una potenza di anacronismo, di genealogia, di memoria che riaffiora. Per toccarle con mano, è sufficiente aprire un pò gli occhi.

Georges Didi Huberman


...there is an absolute tension between the physical irritant of the collage piece and the totally aphysical nature of the image per se.

Rosalind Krauss

senza titolo - 2013


      L'oggetto emanante è un apparizione  
                                                                     (Marchel Duchamp)

Chiesa della rotonda - 2015

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