a project for mapping and promoting a network of contemporary art places. the name becomes a frame,
and everything contained is now contemporary. contemporary is everywhere.
identity proposal.
iluoghidelcontemporaneo [litr: "contemporary places"] are everywhere even if we don't see them.
Or they are places we see even if they may not exist in a literal or material sense.
they still are to be build (physically and metaphorically) step by step, but they too allow us to form,
to expand our imagination as well as our culture, to build ourselves in our turn.
iluoghidelcontemporaneo are non-places as they turn out only because we define them such.
and - as well - any place in its turn can become "contemporary" if we allow it.
Given this premise, it is easy to understand how a single image or a logo, to be considered as a unique representation for these places, is difficult to capture, as it's almost disappearing before the eyes or never showing ourselves in full... It is actually also a non-logo, some almost incomplete representation, to be built or even in the process of disappearing.
But if it is true that "everything is different from the sum of the parties" according to the teachings of Psychology of the Gestalt, we can understand how a symbol, in whatever form even apparently abstract, can stimulate us to imagine its entirety or can paradoxically even exist in its presence without being directly explicit, always demonstrating that with a little wit and curiosity, what we are looking for, perhaps already exists: that a contemporary place can be found anywhere or that, similarly, any place can become "contemporary" if we're able to see it.
More than a logo - commonly understood as an iconic representation or pure symbol - the one for
iluoghidelcontemporaneo is presented as a "frame". becomes a word and not just a coat of arms, a name that is represented in a minimal and modern form and that, further turns to represent its own concept and nature: a collection of realities, bodies or places.
In this way, what is expressed by the principles of Gestalt, lends itself directly to the use of the brand that is therefore, in addition to the bordering element, also a characterizing element, always present in its purest form (that is the typographic one) but never invading, and indeed in perfect harmony with the context in which it is placed.
In this way, what is expressed by the principles of Gestalt, lends itself directly to the use of the brand that is therefore, in addition to the bordering element, also a characterizing element, always present in its purest form (that is the typographic one) but never invading, and indeed in perfect harmony with the context in which it is placed.
Given the original principle, moreover, it is obvious that this solution can be presented in a changing and adaptable aspect... Understanding this and also the use that could be made of it, a secondary version of the brand has been planned to be declined in multiple solutions, institutional and recognisable, but varied and dynamic at the same time.
the communication project is made by a contemporary footprint, simple and minimal, but characteristic
at the same time. the fundamental principle remains that of the frame given by the structure of the brand
that is therefore always present as a headline or, precisely, a frame.
great emphasis that is given to images, without forgetting the importance of written information,
which, following the same principle of absence/presence brought forward so far, carve out space within
the various graphic proposals.
a communication so developed allows multiple and always different aesthetic solutions, which give
a communication so developed allows multiple and always different aesthetic solutions, which give
the project dynamism and at the same time recognisability.
the simplicity of the brand and its structure allow infinite representations, both from the formal and
the communicative point of views. for this reason, solutions or applications can also be envisaged in various colours (be black considered the main identity's one), replacing backgrounds or black with other colours
so as to allow even greater fluidity and adaptability to the graphic line, in addition to the possibility,
for example, to strengthen the link to the site and the subdivision of its components.
what is proposed here abandons the purely graphic or visual value and rises to the conceptual one
because first of all Contemporary places represent an idea, contemporary art itself is first and
foremost an idea.
as a concept is represented in textual form and in this way it also opens to infinite possible interpretations, the proposal becomes one but also more, is declined and transformed into several forms because even
as a concept is represented in textual form and in this way it also opens to infinite possible interpretations, the proposal becomes one but also more, is declined and transformed into several forms because even
art is changeable and so are the places of the contemporary, in continuous expansion and multiple facets, consisting of structures, currents, components or reality, combined under a single name and a
single principle: the one of freedom.
