“I saw scores as a way to describing all such processes in all the arts, of making process visible and thereby designing with process through scores. I saw scores also as a way of communicating these processes over time and space to other people in other places at other moments and as a vehicle to allow many people to enter into the act of creation together, allowing for participation, feedback, and communications”. 
Lawrence Halprin, The RSVP Cycles, 1969

One Year Score educational program runs from January to March 2025 with a series of workshops conceived and led by Ludovica Carbotta, Tomaso De Luca and Agnieszka Mastalerz. Drawing on their own practices, brought to life in the respective works installed in the spaces of Scuola Piccola Zattere, the artists adopt the pedagogical format as a space for research, sharing and activation of the artistic process. In dialogue with the general research theme of the open relationship between score and execution, the workshops will explore the field in which spatial politics and performative practices intersect, observing architecture as a social construct, as a living and collective body.

In January, Tomaso De Luca will propose a path that starts from the study of miniature practices to develop a reflection on formats such as the portable exhibition and the lecture-performance, seen as models of anti-monumental and anti-institutional practices, at the crossroads between artistic, theoretical and educational dimensions. The workshop is in dialogue with the video installation A Week's Notice (2020), a choreography of miniature architectures that evokes the trauma of the disappearance of an entire community, in what Sarah Schulman defined as the phenomenon of AIDS gentrification. The work is an ode to queer architecture and its anti-normativity, an attempt to compensate for histories, affections, and dwellings.

I Come From Outside of Myself (2022-ongoing) is Ludovica Carbotta's proposal for an ideal pavilion to represent Europe at international events. The project originates from the observation of the mutability of European borders, porous for the movement of goods and people within them and, instead, strict for those outside them. The artist's idea is not about constructing a permanent building that contains people, but rather a potential space that can be “contained”: a mobile, miniature architecture, capable of passing from hand to hand, from country to country. The model-pavillions become both amulets and means of opening a space of inquiry into borders, rights, and freedom of movement. This dimension of the project is developed through the new session of workshop program, taking place in February and involving experts from different fields, with the aim of drafting a document capable of attributing legal value to these objects.

Agnieszka Mastalerz’s research explores control mechanisms and processes that influence the individual. Using a poetic visual language, the artist uses photography and video to analyse the restrictive conditions established within interpersonal relationships, social groups, establishments and institutions, and in relation to the natural environment. In the work no mental scars, no nursed grudges (2022) Mastalerz explores the relationship between the human and the robotic body, between choreography, instruction and interpretation. Movement and its recording through video, mediated by the transformations of technology, is at the centre of the workshop proposal that the artist will offer in March.

The dates and participation conditions for the various workshops will be published on the website in the coming weeks.