Monthly Archives: November 2009

Tradurre o imitare (1990)

1.Traduzioni Nel 1835, all’età di cinquantadue anni, il console francese a Civitavecchia decise di dedicarsi alla ricostruzione scritta della  sua vita, per combattere, come dichiarava, l’ozio e la noia in cui era immerso e per “darsi il piacere di guardare indietro un istante”. Questo scavo nella memoria, così minuzioso che nei tre grossi volumi che […]

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Works 1982-1994

A few selected images.

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Une photographie de l’histoire (2009)

Depuis une vingtaine d’années, je mène un travail d’artiste dont le sujet est notre héritage historique. Je m’efforce d’élaborer une iconographie qui prolonge et désoriente le regard que nous portons sur “nos” portraits de famille. Pour ce faire, j’ai rassemblé des actes d’archives, des diagrammes scientifiques, des écritures administratives, ainsi que des clichés signalétiques d’identification […]

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A-museum (2001)

“Could it be that technical means from a distant period, when used at the present time to recreate certain events, touch us even more than the awareness of the events themselves?”

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Asylum (2001)

During World War II Naples suffered for only twenty days from the Nazi occupation, before a popular uprising and the advance of the Allies pushed the German Army out of the city. There was therefore no time for…

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Displaced Translations (2000)

The language of symbols should be understood by everybody—it is assumed by the illiterate as well as the one who speaks a foreign language. This is why road signals and naval ones have been invented…

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Digressions of the Resistance (2000)

1. At this moment I am in the vanguard. The letters that had to be written have been written, the housework is done, I have only to concentrate on my subject. I have only one aim and it is before me: I‘ve got to start and reach the conclusion of a text on the notion […]

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Emergency of the Proxenos (2000)

1.Asylum On the 21st of April 753 BC. Romulus drew with a plough the furrow that would delimit and ground the city of Rome. The walls of the town were raised along the lines of the furrow. The line demarcated an inviolable space; Remus, Romulus’ twin brother, jumped over it as a challenge and was […]

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Translator’s scratching (2000)

In his last book, The drowned and the saved, Primo Levi tells how, in occasion of the German edition of If this is a man, he had to face a problem regarding its translation.

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Communication IRWIP (2005)

Communication: “Le test pseudo-isochromatique d’Ishihara et sa variante Puglia” 1. En 1917, le professeur Shibaru Ishihara (1879-1963), médecin militaire et futur doyen de l’Université Impériale de Tokyo, qui avait été l’élève de Stock à Jena, d’Axenfeld à Fribourg-sur-Breisgau et de von Hess à Munich avant d’être contraint de regagner sa patrie suite au déclenchement de […]

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Leaving Pictures (1999)

Leaving Pictures: Towards an Art of History Far from the Pictures was the title of an album by Kat Onoma, a French band whose musical offerings range from  Monteverdi’s  madrigals to Kraftwerk’s radioactive litanies.  Of course, there the thing was music, sound;  and those sounds, and that music, had a certain sobriety.  Therefore, the invitation […]

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Glances across Europe (2003-2005)

In one of his most compelling books, Le 20 janvier (Paris, Christian Bourgois, 1980), the French writer, art critic and poet Jean-Christophe Bailly tells how, during a stay in Berlin, years before the fall of the Wall, he visited the Ägyptisches Museum in Charlottenburg on the west side of the city, where he admired Nefertiti’s celebrated bust.

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Six leçons de drapé (2003)

De tous les sujets de l’enseignement artistique, la draperie est peut être l’exercice didactique par excellence. Il s’agit – en reprenant et en reproduisant les plis d’un beau tissu façonné avec adresse et goût – d’en retrouver le volume et la consistance, ainsi que de saisir la lumière qui s’y pose.

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1930 circa (2002-2003)

Saverio Marra (1894-1978) est un photographe provincial et autodidacte. Il s’est acheté son premier appareil à l’âge de seize ans, avec l’argent mis de côté en travaillant comme apprenti menuisier et, s’aidant d’un manuel, a commencé à photographier les gens de sa famille, ses amis, les paysages de la région calabraise. En 1912 il était […]

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Les errances tressées (2002)

Feuilleton 01 20 novembre 2002. Je suis retourné au cimetière des chiens. Avec ma boussole, achetée la veille au bazar pakistanais, j’ai défini la direction visée par les yeux d’émail de Kiki, petite guenon apprivoisée à laquelle son anonyme et tendre propriétaire donna une sépulture à une date non précisée entre 1890 (fondation du cimetière […]

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Sur ses propres pas (Paris 2002, Lisboa 2002-2007)

A story of lost and not found items

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Topographie (2002)

Le 7 juin 1802 Friedrich Hölderlin quitte Strasbourg et entre en Allemagne par le pont de Kehl. Il est parti presque un mois auparavant de Bordeaux, où il était précepteur chez le consul Meyer. Quatre jours plus tard, d’après Pierre Bertaux (Hölderlin ou le temps d’un poète, Paris 1983, pp. 244-255), il est à Francfort […]

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Abstracts of Anamnesis (1995)

We cannot think without images”, says Aristotle in his text On Memory and Recollection, and again: ‘memory, even the memory of concepts, cannot exist apart from imagery.”

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Filmini (Rome 2004)

An installation, a video screening, a shadow projection.

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Museum d’histoire industrielle (Sainte-Marie-aux-Mines 2001)

At the beginning of the twentieth Century a Society of Industrials was a place for the organisation of the production and the control of the working class, but it was also a kind of club for wealthy and enlightened individuals who, before their death, would bequeath their mineralogical, botanical, naturalistic or archaeological collections. In an […]

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The Conqueror Worm (Parma, 2001)

Teatro Due in Parma wrapped with theatrical texts.

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Personal Monuments (Copenhagen 2000)

According to the 1954 Hague Convention and its passages concerning the protection of cultural monuments in the circumstances of armed conflicts…

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Jean-Louis Poitevin, Identifications, 2009

Les oeuvres de Salvatore Puglia se déploient à partir du vaste domaine de la mémoire. Les photographies qu’il prend et les oeuvres qu’il présente à partir d’images d’archives ayant servi à identifier des individus, ne ressemblent en rien aux photographies que l’on s’attendrait à trouver chez un photographe enregistrant le passé. Car son véritable sujet […]

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Zoran Janic, Shadows and Ruins, 2009

One refrigerator, one parachute, a carpet, one small table and a palm tree. Add to it two couches, two arm chairs and a book shelf. What might this strange arrangement represent, this Lautreamont-like assembly of non-congruent objects on the altar of his delirious art (in spirit of his famous “chance encounter of a sewing machine […]

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Telegrams (1993)

Let us step back a little bit and suppose that instead of using a language that describes things while keeping at a safe and steady distance from those things, one handled words that resemble the objects in question or the circumstances they aim to express…

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