{"id":1379,"date":"2026-06-26T11:19:51","date_gmt":"2026-06-26T09:19:51","guid":{"rendered":"https:\/\/www.communityarchives.art\/evento\/maurizio-nannucci-drawing-memories-a-logo-and-a-manifesto-for-community-archives\/"},"modified":"2026-07-04T18:18:59","modified_gmt":"2026-07-04T16:18:59","slug":"maurizio-nannucci-drawing-memories-a-logo-and-a-manifesto-for-community-archives","status":"publish","type":"tribe_events","link":"https:\/\/www.communityarchives.art\/en\/evento\/maurizio-nannucci-drawing-memories-a-logo-and-a-manifesto-for-community-archives\/","title":{"rendered":"Archivi di Comunit\u00e0 Pantone 811 U: a manifesto by Maurizio Nannucci. Designing the future, a logo and a manifesto for Community Archives"},"content":{"rendered":"\n

Maurizio Nannucci will not be present at the event<\/strong><\/p>\n

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Maurizio Nannucci was invited to exercise his distinctive style on the public image [brand identity] of the seemingly utopian project “Archivi di Comunit\u00e0.” The visual proposal that emerged from this connects Archivi di Comunit\u00e0 to the idea of the ‘world’ as a place of ‘anomalous reflection’ \u2013 a line that ‘mirroringly’ reflects \u2013 and presents the proposed series of events as opportunities for testing, hypotheses of becoming, projects, promises, and deliveries as desires, states of mind, and forms of impermanent thought. The Archivi di Comunit\u00e0 Pantone 811 U<\/strong> manifesto, in Italian, printed on off-white paper in a 680 x 940 mm format using Pantone 811 U, will be distributed free of charge to the audience present in the room. <\/p>\n

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Zona Archives Zona non profit space<\/strong><\/p>\n\n

Florence 1974\/1985. Founded in 1974 in Florence, Zona represents an unique example, of internationally recognized, non profit artist-run spaces. Situated in the historic quarter San Niccol\u00f2, Zona\u2019s involvement with the experimental art movements of the 1970s and 1980s: multimedia art, concrete poetry, Conceptual art, performance, contrasted with the everyday life of the neighborhood. In accordance with its mission – o show interdisciplinary work on an international level – Zona\u2019s program sought a crossover of experimental visual arts, music, architecture, and poetry. The aim of overcoming traditional borders between the disciplines was achieved through a radical, anti-academic organization, and through the confrontation of the audience with unusual insights into multifaceted art experiments and experiences that anticipated developments in the visual arts. Zona\u2019s activities included more than 250 exhibitions\/events as well as Zona publications and editions. In 1981 ZonaRadio went online, broadcasting new music and sound by artists.\u201cZona People\u201d formed a flexible collective, without long term programming. Flexibility was important as there was no financial support either from private sponsors or from public institutions. Zona\u2019s program was completely self-financed by the members of the space. Zona built up an international network that promoted new art movements and opened up the possibility of a global exchange between artists, art critics, and the public. Founders: Maurizio Nannucci, Paolo Masi, Mario Mariotti, Giuseppe Chiari, Massimo Nannucci, Albert Mayr, Alberto Moretti, Gianni Pettena. Organization:The nonprofit art space Zona was founded and organized by artists, musicians, poets, and architects, who were living and working in Florence. Mission: Creation of a global network of interdisciplinary art practices and exhibition of international experimental art in Florence. Program: Avant-garde art movements of the 1970s and 1980s, film and video, Conceptual art, Fluxus, performance, concrete and sound poetry, radical architecture, artists\u2019 books and small press, audioworks, ZonaRadio. <\/p>\n\n

Maurizio Nannucci<\/strong><\/p>\n\n

Maurizio Nannucci, artist (Florence 1939). Maurizio Nannucci trained between Florence and Berlin and began his career in the mid-1960s in concrete poetry and electronic music, attending Pietro Grossi\u2019s Studio di phonologia musicale S2FM (1965\/1969). In 1965 Nannucci created the \u201cDattilogrammi\u201d (Dactylograms), which were published in various anthologies, including Emmett Williams\u2018 \u201cAnthology of Concrete Poetry\u201d in 1967. He then participated in the exhibitions \u201cPoesia concreta indirizzate concreti, visuali e fonetici,\u201d organized by the Venice Biennale at Ca\u2019 Giustinian in 1969, and in \u201cConcrete Poesie?\u201d at the Stedelijk Museum in Amsterdam in 1970. \u201cAlfabetofonetico\u201d inaugurated an anthology of neon texts still in progress, implementing a shift in the field of artistic intervention from the blank page to urban and architectural space, investigated in its primary structures to create dialectical tensions between its points of spatial definition (such as the floor, walls, and ceiling). In 1969 he created his first neon multiple, \u201cbox,\u201d written in his own handwriting (a constant in his research) and intended for a box of multiples (\u201cMultibox\u201d) produced by the first self-managed and non-profit artists\u2019 organization he co-founded in 1967 in Florence: the Centro ricerche estetiche F\/uno. The work is emblematic of his research, not only for its technique, but also because it indicates his propensity to promote collective experiences, centered on a Situationist-inspired ethic of participation and action marginal to the official art system, which saw him open, also in Florence, the self-managed and non-profit spaces Zona (1974\/1985) and Base (1998). With a view to creating a more streamlined system for the dissemination of ideas and for up-to-date and rapid information on experimentation, Nannucci edited the magazine \u00abM\u00e8la\u00bb (1976\/1981) and published multiples, artist\u2019s books, and ephemera by other artists, founding Exempla Editions with Mario Mariotti and Claudio Parmiggiani in 1970 (with which he had already published his own multiples and books since 1967), and the record label Recorthings in 1975. This sensitivity toward alternative publishing realities, politically marginal to the institution, emerged in the exhibition he curated at Zona in 1975, \u201cSmall Press Scene,\u201d and was applied to the creation of a personal archive composed of thousands of documents \u201cconcerning any artistic marginal practice from the 1960s up to the present day,\u201d a project that is an integral part of his artistic practice as a \u201cgreat collective and personal diary\u201d on the cultural identity of the second half of the twentieth century. His research has recently been presented at the MAXXI in Rome (Maurizio Nannucci. \u201cWhere to start from,\u201d 2015), at the Museion in Bolzano, and at the Museo Marino Marini in Florence (Maurizio Nannucci. \u201cTop Hundred,\u201d 2015\u20132016). <\/p>\n

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Fondazione Artieri 1852<\/h3>\n\t<\/div>\n\t\t\t

349 5661183<\/p>\n\t\t\t\t

View Organizer Website<\/a><\/p>\n\t\t\t\t

info@fondazioneartieri1852.org<\/p>\n\t<\/div>\n\n

Archivio Arte Contemporanea329 4828149https:\/\/www.stefanogiovanazzi.eu<\/a>info@stefanogiovanazzi.eu<\/p>\n

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