EDITIONS 01/12 Throughout the course of the project I have develop special editions more or less based on my other works. These editions include for example: a series of mugs with selected photos of my right hand using different mugs, a dictionary in which special objects appearing in a dream are interpreted, a book of bed-time stories improvised to children, a series of t-shirts with a selection of my drawings, a book with quotes gathered from the books I read, a series of sculptures with selected 3D shapes of the clouds I observe. Unlike all the other works adhering to a special format, the editions vary greatly from one month production to another bringing a lot more details into the project. Some month productions could be pictures, other text-based, other videos and other audio based. Many of these editions are open-ended and I keep on working on them over the years while others could be finished and be quite meager (Fig. Picture of a mug reproducing me drinking from a mug. Every time I edit a new batch of photos of my right hand using objects, if I find a good photo of me drinking from a new mug I never used before I include it in the mug editions of the project. The idea is that at one point this edition could be printed in a series of mugs but I only attempted this once and just keep up the collecting of the material rather than worrying about setting into production).
EDITIONS 02/12 Initially the editions were meant as a bazaar or as a museum shop or a webshop where one can buy gadgets, catalogues and souvenirs related to the project and certain works in particular. Later however the editions became more of the repository for what I have defined as Jolly cards, additional content that can also serve to unlock many of my works, providing a lot of background and details. In the editions for example there are files disclosing a written inventory of the tools I have photograph as part of my project and of my acquaintances. Moreover there are even stories about my acquaintances along with the very stories I have been inventing putting my children to bed. While making sure not to leave any trace about myself in any of the many social media platforms so much draining humanity of their personal lives, I went has far as erasing all my email conversations only storing them in one big file within the editions, with many personal details and conversations which are indeed private but are hard to discover in the jungle of material here presented (Fig. Screenshot of one of the 432 editions that actually describe what each edition contains. Here it is possible to see that I also include entire books of other authors I find relevant to propose such as the work of Roman stoics and American transcendentalists).
EDITIONS 03/12 In many cases each edition becomes a work of its own. Therefore it is not only that I made 36 projects throughout my 36 years but I in fact worked on 468 of them. The only difference perhaps is that for the 432 editions I am not as consistent as in my other 35 works. I in fact prioritize these works and only as a side thing also keeps up the works of every edition. At some point however the edition might get so big and extended that I put it more to the side. I might however get back to it but at one point I feel it can just be enough to render a certain idea (Fig. Screenshot of one of the many folders I feed with content in order to later create an edition. Following a genre of artists like Piero Manzoni working with artist shit, I have also been documenting my own shit but only if I happes to have my smartphone along prior flushing it else I do not bother to photograph. This is only an example to indicate how I do pursue many other ways of representing reality yet simply without the discipline and priority I would use with all my other works which ought to depict the whole of my life spanning project rather than just a small section of it. In this respect the editions are more like the works of other contemporary artists like Brain House and Ellie Harrison. They try out to log aspects of their lives for some time and then move on with other projects).
EDITIONS 04/12 Some of the editions also unlock many mysteries such as the small political scandal behind the permission of building my museum in the alps. As the far right representatives asked me for all my email conversations and contact with the municipality to try to hit the politicians in power for having granted such a permission, I have never provided such documents. I preferred to be accused than put other people who have invested their time in the project to be put under accusations by aggressive politicians unable to understand long-terms benefits for a dying community such as that in the mountains where the museum was finally built. Nonetheless a great transparency ids provided not only in my journal but also in some of the editions (Fig. Screenshot of an early conversation I had with a cultural representative of the municipality where the project museum is built. After the municipality was put under fire by the far right, I never used any document proofing that I fully complied to their procedures. One of the 15.552 month productions that visitors can explore in the museum does in fact collect these documents. Other examples of editions are likely to proof not only my transparent conduct but particularly my aspiration to fulfill a poetic vision sacrificing any social career and personal reputation).
EDITIONS 05/12 Some of the editions can be rather collaborative such as the many drawings I have made together with my daughter which are later digitized and collected under one .pdf file. To these drawings also there are many variations such as the drawings I made with her not on paper but for example on sand or on moistened glass or the sculptures we built together in nature or those we built using Lego blocks. Importantly I want to keep these editions as side project not to have to feel the burden that I will have to take the trouble to photograph all of these extra project productions and catalogue them. I rather keep it light and accidental avoiding to be too committed to them yet displaying also these more playful sides especially when having to take care of my young kids for so many hours during the day unable myself to do my own artistic work and making use of the occasion to turn it also as an element contributing to the project (Fig. Picture of one of my archival boxes where also the drawings I make with my kids end up. In this respect there is somewhat of a similarity between what I collect in the physical boxes and what I retain as part of my editions work. In the latter however a visitor can go further into details especially if he or she has no access to the physical box. Also the two works have two different destinies and chances to survive time).
EDITIONS 06/12 As for my archival boxes containing several material I produced prior the beginning of the project, also some of the editions present work that I have been producing early on and that was already in digital format or I had to purposely convert. While most of the material I produce prior to the project got lost, some of the material still remains. One edition for example is dedicated to the videos of the performances I made in Vancouver in 2000. While not part of the project these performances were vital to conceive it. There are also videos dating from even earlier periods such as one showing me suspended on a tree producing a large painting using both hands. Additionally there is an edition showing videos of workshops I made with my former art students in Stockholm. Prototypes and installations I did for my project or in collaboration with students are also presented (Fig. Picture of one of the many courses I held as an art teacher in Swedish art academies. In this particular workshop from 2009 I taught students how to reuse already existing materials for novel applications with a bit of electronic know-how. Many of these courses resulted in videos demonstrating the actual objects or installations or performances I would facilitate the students to do. Some of the editions show these outcomes which would otherwise never be shared).
EDITIONS 07/12 Until I was 38 a lot of my energies went in writing applications for grants or a more stable positions than the one offered by teaching only whenever I was asked to do so. After that age I fully dedicated myself to the building of the project museum in my native alps and the foundation around it, no longer seeking for grants but developing my own ways to sustain the project especially given that very little to no grants can be obtained in the Europe south. Parts of the editions then are related to more of these bureaucratic procedures such as the many redundant applications I had to write while living up north and later all the bureaucracy and taxes and permits I had to obtain down south in order to pursue my dream. While the latter bureaucracy doesn't seem to be strictly related to the realization of my project it is in fact done for its purpose such as by paying the bills of a tiny apartment where I keep with my family while working on the project. Keeping track of all the costs resembles other artists diary of expenses such as the one kept by Lorenzo Lotto which is now considered a key to understand his work (Fig. Screenshot of an edition in which I keep the bills I have paid. At times these bills are directly related to my project like the purchase of a special machine but in this time the bills refer to the costly reparations of the apartment I rent to sustain it).
EDITIONS 08/12 While it can be said that overall my project is mostly visual, in the editions several audio files can be found such as for instance the live performance of an organist playing in a concert my notations of the songs I hear, or some of the audio I extract from the silence films of public spaces I record every month. Also while I don't have so much of a correspondence I did manage to record early Skype meetings with my distant friends around the world. One edition is also dedicated to the audio messages my adventurous friend Davide sends me from south east Asia where he spends most of the year as a sage in an hammock with much freedom to think and reflect of humanity and beyond. In another editions I record some interviews with other inspiring practitioners and let them talk about their practices. These sort of recordings were possible while I had somewhat of an income and no family to look after but with time became rare (Fig. Screenshot of the regular audio messages exchanged between my most intimate friend and I. Long messages are recorded on each side updating one another on our lives and our artistic projects. I only save the recordings of Davide disregarding my own, also finding the latter life far more adventurous and worth relating others of. Generally I am very reluctant to share my life on social media owned platforms and only make an exception for Davide).
EDITIONS 09/12 When possible I also include video or audio clips from other sources I find particularly relevant. For example as part of the edition there are compilations of inspiring interviews such as the ones with film maker Pier Paolo Pasolini or with my relative Mario Rigoni Stern. I mostly collected this material during my years as a young scholars but was ridiculed by my professors after I claimed that it was my way of reading. In a way by doing so I am making a selection of what I think should be worth saving from a culture getting increasingly corrupted and commercialized by social media platforms. In this respect I pursue such a work also by writing down the titles of books worth reading or by photographing the quotes and passages of books I found particularly stimulating (Fig. Picture I took to record a passage of a book I liked. With time I began using my fingers to indicate where the passage begins and where it ends, making it a much faster procedure than transcribing the passage. Previously I manually transcribed all the quotes I liked and later went as far as scanning the passages I found interesting using a special OCR pen. What it is perhaps more interesting in photographing rather than transcribing these quotes is the fact that in the photos viewers can read other elements such as that most of the time I read theoretical books while seating on the toilette).
EDITIONS 10/12 Importantly also some editions present prototypes and sketches and possible evolutions of the project that were never pursue. While I wasted much time in thinking such possibilities, only in this work they can be found documented. For instance here I have also documented the whole process of searching for a land where to potentially build the project museum. I also documented all the various passages in thinking how to build it especially in relation not so much to the actual final result but to the experience that visitors could have felt. Many other types of disregarded sketches and diagrams are here presented. The physical archive become a good compendium for the analysis of the process that I made to choose a certain path rather than another. Also the other works such as my journal and my lectures provide a lot of these insights and the combinations of these can render a feeling as for why certain choices were made (Fig. Picture of two Dutch high-school students testing an early prototype I made to show the Italian authorities the possibility to include augmented reality in a subtle landscape intervention. The students made a video about the project and this prototype in particular. Later the project museum design changed in accordance with the strict regulations imposed on my mountain property).
EDITIONS 11/12 If I will ever publish a book or condense my short documentaries into an actual feature film or someone else will write or film something about my project, it is likely that the final production will be presented as part of these editions. In this respect the editions can be a rather unsafe work to navigate. Not only the results can be highly unexpected, showing for example a video I shoot of myself in my twenties naked on top of a glacier after having climbed it, but also the actual files can be very heavy. One single file can in fact occupy as much as one percent of the entire space required by the entire project. In this respect it would be not only tedious for people to have to wait for such file to be downloaded but in general it can be quite costly if he or she is using his or her phone to navigate the editions (Fig. Screenshot showing how the files of my project are arranged per size and how the heaviest files are actually mostly editions with the editions making up half of the whole size of the project. In this case while exploring these editions a visitor can in fact stumble upon a heavy file like the one opened in the screenshot where my old Skype conversations have been merged one after the other. On the other hand some files can be very light but highly significant such as a list I have compiled with possibilities such as possible installations, possible slogans, possible poems, editions within editions).
EDITIONS 12/12 In an ideal exhibition the editions should be presented in a side room to the main hall. The presentation should be rather spontaneous and chaotic with many items belonging to the editions being actually reproduced such as the t-shirts I made with my drawings and the mugs and key-chains and 3D printed models of the clouds but also all that can be turned into a book such as the collection of all the articles journalists have wrote of the project since its start. In the mist of this mess a computer should be available to consult the actual editions as they are digitized. Also actual publications could be sold such as the one that could derive from this very book where an introduction and some footnotes should be added (Fig. Rendering of the ideal exhibition with the wall were the editions should be presented highlighted in red. If the idea is that the editions are some sort of “bazaar” or museum type of shop also the items within should be set for sale. The computer then could act as a way to scan the merchandises and read more about them by retrieving one of the month files associated to them. The actual purchasing then could be simulated but does not necessarily have to take place and can only be used as a way of interacting with the editions and get a sense of the physical items that could derive from the various works of the project).