MALI WEIL2015

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.

_PORTFOLIO

HOUSE OF IMMORTALITIES2015

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 Immortalitiesvideo still

Meditation book

Canopic Jar (brain)

Canopic Jar(brain detail)

Pharresia set

Maath’s feather necklace

Brooch

Brassard

ANIMAL SPIRITS2013 - 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 TrentoMovin’Up by GAI and MiBAC

The brand Animal Spiritsis housed within Centrale Fies (Tn, IT)

Concept Storeproduct design:Liviana Osti, Luca Bertoldi

interior design:Liviana Osti, Mali Weil

sound design:Elettra

live blogger (Milano):Virginia Fiume

Research Labanthropologist:Franco La Cecla

socio-anthropologist:Roberto Sassi

curator:Simone Frangi

Research lab, Viafarini (Milano, IT) | ZHDK (Zurich, CH)

Research lab,Viafarini (Milano, IT) | ZHDK (Zurich, CH)

[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 scenePicture 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 real-time storyteller produces and curates a multimedia feed using ScribbleLive and projects it onto a screen. Finally, after the show, people get thechance 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]

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.”]

What happens when real-time content meets art (and marketing)?

[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 StoreCentrale Fies (Dro, IT)

Animal Spirits concept store Triennale (Milano, IT)

The Armour Liviana Osti

for Animal Spirits concept store

Mein HerzSpace toys_Libera 3,910 KgLuca Bertoldi, Mali Weil

Animal Spirits concept store

Centrale Fies Collection

ART COEFFICIENTongoing

“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 2007-2013Fondazione Cariplo

in collaboration with:Regione Trentino Alto AdigeProvincia Autonoma di Trento

sponsor:Cassa Rurale di Trento

production manager:Anna Kalbhenn

composer:Elettra Bargiacchi

Official tumblr page:artcoefficient.tumblr.com

Official channels:studio28.tv/category/artcoefficient/vimeo.com/channels/artcoefficientshareculture.eu

Art Coefficient_04 Mart (Rovereto, IT)

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]

ENCYCLOPEDIA2015

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.

web concept and visualization:Johannes Tolk

link:maliweil.org

LEXICONcurrent

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 WEBSITE2015

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.orgmaliweil.org/indexo

DAIMON / CORE

MYTHOLOGY

EXPERIENCE

THEORY

DESIGN

EPHEMERAL

TOOL

RELATIONAL

SCENARIO

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 MACHINE2012

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 MamaLiviana Osti for Mali Weil

White Noise Machinetemporary office

White Noise Machinetemporary office

White Noise Machinevideo still

EMA2012

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 Werriefor 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 personalproperty 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 CORE2014 - 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.

[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 poggisaldamente 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 sempredi 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]

link:fiescore.it

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/AWARDSgrants from Provincia Autonoma di Trento and Regione Trentino Alto-AdigeFaber Award in the category Live Action Torino (IT)DE.MO./Movin’UP II sess. 2012 by MiBAC and GAIEuropean Culture 07-13 Program grant for the format Art CoefficientFoundation Cariplo (Milan) grant for the format Art Coefficientselection at Premio Scenario 2011foundation Trento and Rovereto, grant for Everyville Project

SELECTED PERFORMANCES, MULTIMEDIA PROJECTSThe House of Immortalities Centrale Fies, Motherlode Festival, Trento, ITAnimal Spirits | research lab ZHdK, Zurich, CH. Within Artransit Labour 1, curated by Simone Frangi and Heinrich LüberAnimal Spirits | research lab ViaFarini, Milano, IT. Within Artransit Labour. Curated by Simone Frangi and Heinrich LüberAnimal Spirits | concept store Centrale Fies, Trento, ITAnimal Spirits | concept store La Triennale | CRT, ITAnimal Spirits | concept store Mein Herz_Drodesera 2013 Trento, ITAnimal Spirits Ufer Studio – Month of Performance Art, Berlin, DEWhite Noise Machine We folk! Drodesera 2012, Trento, ITTotem Novel PIM OFF Milan and REISS Turin, ITThe world is a matter of measures, Trento and Monza, IT. Curated by Federico MazzonelliEveryville_Tn personal exhibition at Le Gallerie di Peidicastello, Museo Storico, Trento, ITEveryville_Sinop performance and residence at International Sinop Art Biennal, TUR

SELECTED SCREENINGSArt Coefficient_07 official selection at Ulsan Mountain Film Festival, KoreaArt Coefficient_07 screening at Korean Film Archive, SeoulArt Coefficient_07 official selection at Trento Film Festival, ITArt Coefficient_03 exhibition at Galleria Arte Boccanera, Trento, ITPlain/Archipelago Summer Academy, Salbzurg, A

2012/2015 2014 2011 2011 2010/2011 2010

2011/2014 2013 2012

2011

2015 2014

2013

20122011

2010

2015

20132009

EDUCATIONElisa 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).

_CV

VIDEOConcept and realization of the web format Art Coefficient (2013-ongoing)Lettori Mutanti, comm. by Cologno Monzese Library, 2014Augmented Reading, comm. by Cologno Monzese Library, 2013serie of 4 virals for the International meeting about Reading Groups. Comm. by Municipality of Cologno Monzese, 2012booktrailer “the reading explained to a not reader” by Luca Ferrieri, comm. ed. Bibliografica, 2011

OTHERfrom 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, 2014workshop for 1st level Master in Relational Design, Abadir Academy, 2014workshop 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. 2013Contribution for “The Theatre of Matéi Visniéc , impression of Times” in Prove di Drammaturgia, anno XV-n°1- aprile 2009 - Univ. Bologna, Dams, CIMES

Video Fornat Commercials

Project development

Lecture/workshop

Publications

info@maliweil.orgwww.maliweil.org

Mali Weil © 2016

_CONTACTS