… … … Data collection underway … … …
Momo1, Sahlan [Luciano] (b Villareggia, nr. Turin, Italy, 31st December 1944).
Italian artist, publisher, philanthropist.
1. Life. 2. Work.
References between brackets [I-000] are correlated to the Work section below, therein followed by the marker [>] internally linking to the relevant media item in the Archive repository; links to external first-level sources are underlined.
Aside from family members, only professionally related individuals are mentioned herein. Reference to public figures are given in exstenso; private person names bear capitalized initials between parenthesis (A.Z) and, if deemed necessary, will be disclosed 25 years after the death of the founder, unless otherwise stated.
1. Life. Both his parents were living in Turin where, soon after marriage, they moved to Rome (1933). His father, Epifanio Aristide (Saluggia 1907 – Rome 1966) [Photos, docs >], the fourth of seven children of Domenico (1872-1956), an engineer-inventor [Doc >] from a family of notaries, was a diplomat [Doc >]; his mother, Orsola Cesarina Arborio di Gattinara (Villareggia 1906 – Rome 1973) [Photo >], homemaker, the fifth of seven children of a family of landowners and agricultural producers. Both parents were art lovers and talented amateur musicians – her mother’s brother, Antonio Arborio, a gifted painter, founded (1931) the Fine Academy of Córdoba, Argentina; his grandfather’s brother son, the architect and engineer Giuseppe Momo (1875-1940), is well-known for the ‘Bramante‘ double helix staircase in the Vatican Museums in Rome, Italy.
The sixth of seven children2, [Photo >] the young Luciano — later on, Sahlan — travels across Europe following his father’s postings [Photo >] and is first educated at home. [Photo >] After the family returned to Italy (1952) [Photo >], he attends local schools and the university in Rome.
Since youth, he is interested in Eastern and Western arts and philosophies, gets acquainted with depth psychology through the family library (A. M-M.) and enjoys playing the piano and the recorder flute. After high school, he leaves the family home for his own first studio (1964)3 and starts performing as a recorder soloist, and in a duo with Weston Gavin , at Harold Bradley‘s Folkstudio (1965) [Photo >] where he meets with the jazz musicians Mario Schiano and Bruno Tommaso. He is drawn mainly to seeking and learning, and to spirituality, an attractor to become the main aim of his life-long quest. He enjoys a few close friends (M.A; F.S (G); F.(J).N; I.A) and an ordinary social life among his peers. [Photo >].
After university graduation4 [Doc >], he hitchhikes across Europe residing at length in Paris, London, Amsterdam, and Os (Bergen, Norway), working in restaurants and pubs, all along collecting thoughts and experiences for what it will become the first structured miscellanea of writings, Prima della Morte – An Inner Travelogue [Before Death – An Inner Travelogue] [X-1966-’67]. In Paris spends time with his long-time friend Pietro (H.) Troncelliti5 (1940-1982); in Amsterdam meets with Simon Vinkenoog and with other activists of the Provo (movement) ; helps out in the back kitchen of the Doelen Hotel and picks up cherry tomatoes at the Agriport A7 farm. While in Os (1966) looking for a ship job to Mexico to pursue his research on pre-Colombian iconography, he is a guest of J. S., a psychiatrist of a nearby mental asylum, and a painter, in whose atelier he starts sketching the snowy hilly landscape beneath the aurora borealis. Occasionally, he performs on the recorder for the patients of the ward and, on the 70th birthday of a member of the shipping magnate Wilh. Wilhelmsen family, philanthropists and founders of the asylum, he plays for the guest of honour and, in return, is offered a free ticket on a liner of the family heading to Mexico over the following days, an offer that he will decline, having freshly resolved to pursue his artistic quest rather than a diplomatic or academic career.
In 1966 he starts his professional career as an artist theorizing his research and investigating the non-mimetic representation of symbols in the art-making practice, an analysis he extends further into the creative process, presenting his artworks in the solo exhibitions Souls [I-1968], and in Ricerche sui processi di elaborazione dei simboli [Researchers on the process of elaboration of symbols] at the Schneider Gallery in Rome [I-1970]. [Photo >] He will later systemise these findings in the Manifesto per un’analisi formativa del processo creativo (Manifesto for a formative analysis of the creative process) [X-1970] [Doc >], an analysis that will underpin his entire future artistic search. In 1967, he returns to Italy to serve in the musical band of the mandatory military service6 [Photo >; Doc >] and, in 1968 married L. (R.) F. (b 1942), an Italian theatre actress, from whom divorced in 1972.
In 1971-’73 he carries out cross-cultural fieldwork in North Africa, the Middle East, and Central and South-East Asia [Photos >], deepening his knowledge of the anthropological, metaphysical and aesthetic import of these cultures within a comparative analysis of the formation of symbols and their interpretation in a spatial rendering. In Java, he gets acquainted with the gamelan and Wayang dimensions, and in 1971 adopts the spiritual-artistic name of Sahlan. In Rome, he lends a hand at studio7 of the sculptor Alessandro Tagliolini [Photo>], and in Florence spends time with Harro Michael Siegel, sculptor-puppeteer and director of the German Institute Villa Romana [Photo >]. In 1972, he explores the ‘sign’ value in a chromatic environment within the symbolic interrelations of surface-colour-light, disclosing his findings in the essay Processi energetici e loro trasmutazioni nell’arte [Energetic Processes and their Transmutations in Art] [1973 | X-1976]. On the occasion of a planned exhibition [I-1972][Doc>] of these recent works, he approaches the art historian and critic, and later Mayor of Rome, Giulio Carlo Argan (1909-1992) to exchange views on his recent works. The encounter will evolve over the next twenty years from a professional relationship into a collaborative8 friendship, reasoning on art, visiting each other studios9 and, later on, with early hours meetings at the Mayor’s office on the Rome Capitolium on the Forum.
From 1974 through 1976, he explores the use of the mask and the treatment of the corporeal surface in theatrical forms; in Rome, he attends Giancarlo Nanni‘s avant-garde Teatro La Fede10, later on at the Teatro Vascello11, and has meetings with Carmelo Bene at his residence12. Analyses the three-dimensionality of space, deepens the graphics and photographic arts, researches the light-shade-matter relationships, and the plastic potential of the bi-dimensional surface. Writes Simbolo-segno: processi della realtà nell’arte [Symbol-Sign: Processes of Reality in Art] [1973 | X-1976], Appunti sul processo formativo e la sua riflessione nell’arte [Notes on the formative process and its reflection in art] [1975 | X-1976], and Il tempo dell’Evidenza [The Time of Evidence] [X-1976] in which he expounds upon the initial formulation of his key concept of “tensorial surface” as a ‘mesoteric’ membrane stretched between the inner and the outer realities from which the creative ‘sign’ takes ground. He is appointed for chiara fama [scholar of authority] as assistant to the chair of Painting at the Academy of Fine Arts in Rome (1974) under the tenure of Marcello Avenali (1912-1981), with whom he will later realize the short film I Viandanti (X-1979); is ‘apprentice’ (1974-1975) at Bruno Caruso’s studio13 where he prepares the pointillistic ‘backgrounds’ of his oil paintings, and on whom work he writes the essay Il mondo Vegetale [The Vegetal World] [X-1974] [Doc >]. Among the habitué of Caruso’s studio, he meets Rafael Alberti, Giorgio de Chirico, Renato Guttuso, Leonardo Sciascia, and Leonardo Sinisgalli. In 1975 his first son L. (10.6.) is born in Rome [Photo >] from the relationship, concluded in 1998, with the French antique dealer D.L (b 1942). He designs the 10 Studi per mattonelle [10 Studies for floor & wall patterns]14 [VIII-1975] [Doc >] on the modular symmetry of space; develops the innovative ‘abraded paper’ painting technique15; deepens the investigation on the engraved surface with the series of etchings Variazioni su di una Superficie Tensoriale [Variations on a Tensorial Surface] (III-1975); and visits Roland Penrose [Doc (letters) >] in London for a prospected exhibition at the Institute of Contemporary Art (ICA). [Doc >]
In Rome, he entertains loose relationships with Luca Patella and Guido Strazza and a few other artists; explores the theme of the ‘book’ as an artistic expression and begins to work at the livre d’artiste Arte come pre-testo [IV-1976], [Photo>] comprising the collection of his theoretical writings (1973-’76) Arte come pre-testo [Art as a pre-text] [X-1976] [Doc >] and the folder of engraving Il Tempo dell’evidenza [The Time of Evidence] [Photo >] produced at the Calcografia Nazionale (ING) [National Chalcographic Institute]. The livre is presented at the homonym solo exhibition at the Galleria Il Segno16 in Rome [I-1976], with introductions by G.C. Argan and Carlo Bertelli, the latter, at that time, the director of the ING; he entrusts one of the etched plates to the Calcografia granting permission of reproduction17, and the National Gallery of Modern Art (GNAM), Rome, acquires a copy for its permanent collection. [Doc >]
Soon afterwards, he expands both the theoretical and expressive analysis to the filmic medium, and is appointed as professor of Photography at the Academy of Fine Arts, Rome (1976). He gets acquainted with Rudolph Arnheim (1904-2007) [Doc >] in-residence at the American Academy in Rome, and invites him to deliver a series of lectures on visual perception within his tenure of the Photography course (1978). Solo exhibition Superficie Tensoriale [Tensorial Surface] at the Centrosei Gallery, Bari, text in the catalogue by Italo Mussa [I-1977a] [Doc>]. He is ‘Recommended’ by G. C. Argan to the Catalogo Nazionale Bolaffi and is among the five selected18 by the International Committee of the Premio Bolaffi [II-1977] [Doc>]. He starts collaboration with the composer Michelangelo Lupone for the music of some of his audiovisual works [V-1977; 1978] [VI-1979; 1980; 1985; 1986; 1992]; becomes involved in the electronic music scene, and joins (1978-1985) Musica Verticale, an institution for the diffusion of the electro-acoustic music. In 1978, he founds the musical edition Semar Edizioni Musicali to represent both established international contemporary composers and young talented ones19. He accepts commissions for graphic design [VIII] and establishes the Studiomomo (1978) for this purpose. In his short Un’azione filmica [A filmic action] [V-1978] and Interazione [Interaction] [V-1978a], analyses the relationship between the visual and the acoustic sign. He is invited by Bruno Mantura, curator of the Italian section, to the XXII Biennale Artistique des Pays Méditerranéens d’Alexandrie20 [II-1978]. In the livre d’artiste Appunti Operativi [Operative Annotations] (IV-1978) on the negation of the manuscript, he examines the bond between uniqueness and reproducibility, documenting his findings in the solo exhibition Sinergia [Synergy] [I-1979] [Photo>] at the Sala Polivalente of Palazzo dei Diamanti in Ferrara directed by Lola Bonora; writes L’immagine sottesa [The underlying image] [IV-1980] [Doc>] and, the following year, sets up the homonym exhibition of related works [I-1980]. [Doc >] at the Museo di Arte Contemporanea (GAMC) of Ferrara [Doc >] directed by Franco Farina.
He is ‘Recommended’ by Giulio C. Argan and Palma Bucarelli to the Catalogo Nazionale della Grafica Bolaffi (Bolaffi National Catalogue of Graphic Art) [1980]. In the essay Il Dramma [The Drama] [X-1980], he defines his theoretical approach to art-making, equating his inner search with his operative artistic research. In his choreographies Iter su figure I and Iter su figure II [Iter on figures I and Iter on figures II] [VI-1979; VI-1980], in his shorts I Viandanti [The Wayfarers] [V-1979], L’Ombra. Contrario dell’Io cosciente [The Shadow. Opposite of the conscious I] [VI-1980], and in the script of the feature film I Viandanti [The Wayfarers] [VI-1980a], he deepens the symbolic correlation body-space in a non-linear narrative. Meets Filiberto Menna, and Grazia Marchianò. [Doc >].
Subsequently, he explores the permanence of the image and its structural reversibility on the plane; writes the essay Il Cavallo di Troia [The Trojan Horse] [X-1981], and is invited as an artist-in-residence at the International Cultural Moussem of Asilah, Tangier, Morocco (1981) [Doc (Photos, lost etching) >]. In the short Interno/Esterno. Giorno [Indoor/Outdoor. Day] [V-1981] he investigates the diastema factor in both filmic and stage actions; researches the transposition of the visual sign into three-dimensionality and, at Studio Nicoli in Carrara, realises the marble high-relief Tensorial Surface for the Arrival Hall of the King Khalid International airport of Riyadh, Saudi Arabia [IX-1983] [Doc (Photo) >]. He explores the symbolic reading of the visual-musical narrative in a theatrical context; writes Presente indicativo [Present Indicative] [X-1983] and sets up the homonym retrospective of works (1973-1983) at the Italian Cultural Institute (ICI) in Madrid, and of his films at the Filmoteca Nacional Española – Museo Español de Arte Contemporaneo in the same city [I-1983] [Doc >], replicated at the Escola de Disseny i Art (EINA) in Barcelona [I-1983b] [Doc >]. He resides in Madrid for a few months working on the installation La Scala [VI-1983], performed by Pedro Garhel and Rosa Galindo at the ICI [Doc >] [Watch video >] and at the Espacio P. [Watch video >]; pays visits to Antoni Tàpies (1923-2012) at his home/studio in Barcelona; releases an interview to the Spanish Radio (currently lost), and the video-interview for the Universidad Autonoma in Madrid [XVI-1983] [Watch video >].
In 1984, he writes L’ermeneutica del quotidiano e l’Uomo allegorico [The Hermeneutic of Daily Life and the Allegoric Being] [X- 1984] and L’indice di Rettíga [Rettíga’s Index] [X-1984b], and begins research on the conservation of the cultural heritage. Another solo exhibition Il tempo dell’Evidenza: Piano inclinato [The Time of Evidence: Inclined Plane] [I-1984] is held at Ugo Carrega’s Mercato del Sale Gallery in Milan [Doc Photos >] before he accepts a commission for a sculpture for the Italian Ministry of Culture, De la nature de l’ame et de l’origine de ses connaissances [IX-1985] [Doc Photos >]. Meets Gillo Dorfles [Doc letters >] at his residence in Milan; broadens his search into the symbolism of negative space as a structural element of the image and, in his choreography Mira [VI-1985] [Watch video >], for which his long friend architect mask-maker Paolo Consiglio crafts the masks, addresses the evolution of form from the interaction of polarities betwixt darkness and light. From his research on the conservation of cultural heritage and the materiality of the book as a meta-textual expression, he reformulates the concept of editio as a function of the visual and the scriptural text. Starts working on the new livre d’artiste De Marginis Sophia [IV-1986] and, in ordering his earlier artworks on paper, becomes aware of the decay of the materials used and, at the Instituto Centrale per la Patologia del Libro (ICPL)21 researchers on the causes of deterioration of paper. As a result, he elaborates an innovative method for the production of durable and sustainable books and establishes the Semar publishing house22 (1986), which applies such criteria to its editorial line [XVI], an innovative system that receives large media coverage [Doc Semar Press Review >]. He elaborates on the metaphysical co-penetration of light-matter-form-image and its transposition into the artistic watermark technique as a unique reproducibility tool and, in a three months residence at the Fabriano Paper Mills, handcrafts the paper and the watermarks for his De Marginis Sophia [IV-1986] [Frontispiece >], the first work to be entirely manufactured with sustainable criteria. The livre is launched the following year both at the Frankfurter Buchmesse [Photo + Catalogue >], where Umberto Eco acquires a copy for his collection, and at the convened Internationale Symposium “Die Haltbarkeit der im heutigen Verlagswesen verwendeten Werkstoffe” at the Gutenberg Museum in Mainz [XII-1988a] [Doc >]; [Photos >], copies of which are held in several public collections, among others, at the Museum of Modern Art (MoMA) [Doc>].
In the period 1986-’87 he writes Arte e Artificio. Aspetti del simbolismo nell’estetica islamica [Art and Artifice. Aspects of Symbolism in Islamic Aesthetics] [X-1986d] and Euterpe e le sue sorelle [Euterpe and her Sisters] [X-1987]. With friends Americo Sbardella (1937-2017) and Isabella Imperiali, founds the Tetraktys acting company (1986) for the realization under the UNESCO patronage of the staged version of the Gilgamesh epic23, for which he drafts the preliminary music studies [VII-1986a], the set-designs and the costumes [VI-1986a] [Photo >] while taking part in a two-year training workshop-lab [Photos >] with actors24 from the Peter Brook Centre International des Créations Thèâtrales (CIRT). He composes and performs Eco [Echo] [VI-1987; VII-1987], a sonic installation on the territory for 47 tuned bells, involving a large number of church tower bells covering the whole of old Rome centre with a resonant tensorial membrane [Doc (Studies and media) >] (recording lost); of the same year is the concept for the video-opera L’Ottava [The Octave] [VI-1987a] [Doc>].
In the late 1980s, while devoting himself to the conservation of the cultural and environmental heritage, he deepens the subjects of sustainability, the Third sector, and the ethical economy. He founds and is editor-in-chief of the international journal Conservazione. Cultura e Ambiente25 [Conservation. Culture and Environment] (XV-1989-1999)26. [Photo >]
He delves deeper into the anthropological and artistic survey on the text, the icon, and the dramatic writing; realises the performance Incanto [Enchantment] [VI-1986] [Watch the video >]. Solo exhibition Mundus Imaginalis [I-1988] in Cuenca, Spain [Doc >], in which catalogue, the exhibits follow an introductory meta-narrative text [Doc >]. As an adjunct professor, he teaches History of Contemporary Art at the University La Sapienza, and becomes a professor of History of Theatre at the European Institute of Design (IED) (Rome 1989-1993). He contributes to domestic and international conventions and congresses [XII-1986; 1988a]; writes Rûkh e il paesaggio visionario [Rûkh and the Visionary Landscape] [X-1991] for the international meeting Le Mille e una Notte. Una matrice per l’immaginario incrociato [The One Hundred and One Nights. A Matrix for a Crossbred Imaginary] [XII-1991], and refines his own theatrical methodology in the musical opera Ciclo Astrale [The Astral Cycle] [VI-1992]. [Watch the video >].
From 1992 through 2002 he is actively engaged in managing the publishing house and shaping its editorial line on Human and Social sciences, publishing about three hundred works on the subjects27; takes on the function of artistic director with Semar Concerts [XIV-1992-‘98] and produces and organizes concerts of contemporary learned music at public venues [XIV-1992] and at the RAI-TV in Rome [XIV-1992-1998]. For RAI-Radio3 he authors, and presents with Luigi de Navasquez, the broadcasting on cultural anthropology and comparative religions Daímon. Gli archetipi della coscienza [Daímon. The Archetypes of Consciousness] [XI-1995], a methodology that he will expand a few years later in the Jubilo interfaith editorial series (1997) proposed to the Vatican’s Grande Jubileo 2000 [Doc – Correspondence >] and that he will further implement in the Jubilo Project [XIII-2006] as an operative dispositive in conflict prevention and peace-building actions.
In 1999, he decides to move to Borneo with his partner, later on, his wife, the Dutch cellist J.M.(H) d. R (b 1964)28; sells a good portion of his artwork to his friend I.M.G., one of his largest collectors, dismantles his studio in Rome29 and sets off to the destination. In Kalimantan, he visits the Dayak indigenous communities at risk of the deforestation of their habitat and collects audio-video material on their fading oral musical tradition. During his partner’s pregnancy, they return to Rome for the delivery, where, in 2000, his daughter Yusriyah is born (30.12). In Rome, over the following years, he resumes and expands the activity of the publishing house and, in 2003, establishes Semar’s International Unit in The Hague, Netherlands; settles in the country and, in 2004, his son Erling Iskandar is born (16.2) in the same city.
In 2005 he founds and chairs the Spanda Foundation30, an International Civil Society Organization for Development (ICSO), in Consultative Status with the UN Economic and Social Council (ECOSOC). He starts implementing the Jubilo Project, Spanda’s first sustainable project for individual development which will be endorsed by the Council of 100 Leaders of the World Economic Forum (WEF) [Doc >], and launches the project at the International Jubilo Meeting [XII-2006] at the International Court of Justice (ICJ), at the Peace Palace in The Hague [Doc >; watch video >]. on that occasion, he meets H. Johannes Witteveen who will join Spanda’s board before long. Building on the Borneo encounters with the Dayak people, he shapes up the Musiké project [XIII-2006b] for the preservation and conservation of the ethnomusicological heritage; invites Arvo Pärt to be Patron of the projects, who accepts, and founds and is editor-in-chief of both the Musiké. International Journal of Ethnomusicological Studies [XIII-2006] and, in 2007, of the monographic open-access Spanda Journal31. In the same year, he becomes a contributor to Wikipedia. Is invited to present the Jubilo Project at the WEF in Davos (2007) [Doc >], unattended for a shortage of funds. In 2008 he travels to Rajasthan (India) [Photo >] and collects first-hand sources on the human countenance in Moghul iconography. In The Hague, he organizes flash mobs in the city centre to promote theTea for Peace operative programme [XII-2009;2010] of the Jubilo project; manages the foundation envisioning and implementing sustainable projects [XIII] and, over the following years, as Spanda’s representative, submits the written Statement Sustainable, Socially Responsible Educational Programmes to the UN-ECOSOC32 [2013b] [Doc >], attends sessions of the Third Committee at the UN in New York [Photo >], and actively participates in the UN-Global Compact [Doc>].
In 2013, his plastic creativity regains the fore enriched by a social bearing widened by the work at the Foundation. In 2014, the Netherlands Institute for Art History (RDK) acquires the complete documentation of his artistic activity for its repository. In the same year, on the occasion of a journey to New Zealand, deepens his knowledge of Maori cosmology in ritual art. [Photo >]
From 2014 he is elaborating on a ‘mesoteric’ art in which singularity emerges from the juncture of the bottom-up and the top-down processes to give rise to a middle outcome comprising them both. An epistemological dispositive equally applied to both The Middle Council Rounds development project [XIII-2016] and to the timespace site-specific operatic installation awareness play Meeting in the Cave [VI-2015-‘19]. In this last, the two polarities, the livre d’artiste Meetings with Remarkable Women [IV-2015-‘23] and the opera Cave 3.0 [VI-2016; XIII-2016b] meet in the digital space to explore the contradiction of Time as an illusion of the thinking mind and the evolution of consciousness in a sensory way, while the whole creative process and its implementation are documented from start to finish as an integral part of the work and made available as an online repository for further reference and to set the artwork in a historical perspective.
Since 2016 he is focusing on this most recent work making public presentations on its state of advancement [XII-2014; 2019].
In 2017, the systematisation and the catalogue raisonné of his creative itinerary have begun, followed by the framing of the artist-endowed Sahlan Momo Foundation (SMF) for cultural philanthropy and awareness stewardship, to which he entrusts an extensive selection of his artist’s work, his library, the archive, and the publishing house.
Manu propria scriptum anno Domini mmxviii in domo sua Haga batavica.
References. | 1. Life.
1 A few lines on the word Momo. In Proto-Indo-European (PIE) language, reconstructed by scholars using the comparative method, the stem *meh1 is a prohibitive particle, as the Sanskrit ma´ ((मा), cognate with the Hindi mat (मत), the Persian ma- (مـ), etc. Both in literal and dialectical Mandarin, the Han character Mo (莫) means ‘do not, must not, none’ and, according to Chinese verbal custom name records, the family name Mo came into being when the descendants of the ruler Zhuanxu abbreviated the name of his city Moyangcheng (modern-day Hebei, in Pingxiang County) and took it as their surname. The posthumous name ‘Emperor Mo’ (The Last Emperor) is given to the last emperors of Chinese imperial dynasties.
As a Mo syllabic reduplication, Momo in Japanese means ‘peach’ and informs the related Momoyama art period (1573- 1615). In Tibet and South Asia, the term denotes a type of filled bun or dumpling.
In a Western environment, as a name, Momo derives from Momus (Greek: Μῶμος, Momos), in Greek mythology, a sharp-tongued character personification of satire and mockery, the son of Night (Nyx) and the twin of the misery goddess Oizys. As such, it is found, with slight variations, in several literary sources across antiquity through the Renaissance and further, from Aesop and Hesiod to Lucian and Sophocles, from Leon Battista Alberti to Giordano Bruno and Erasmus. In Comedy and Tragedy, the character is at times softened into a light-hearted psycho-type, as the equivalent of Harlequin in the Commedia dell’arte, or of Semar in the Wayang theatre. Nomen numen.
As a lineage name, Momo seems to derive from the Roman consul Lucius Mummius Achaicus “Mummio” (146 a.C.), yet, the current family name is associated with the Momo toponym (892 CE), a municipality of the Novara province in the Italian region Piedmont, prob. originally the home of a community of a Greek Jews descent, wherefore the present family branch seems to originate. The first traceable biological Momo is found among the participants of the First Crusade (1095–1099) [Doc >].
2 Arturo M. (1934-2022), Wanda (1936-1999), Camilla (1938-2021), Anita (1939-2019), Jole (1941-2008), Dario (1946).
[3 Via Clitunno 12, Rome. A small room with even a smaller garden, with a persimmon tree (Diospyros kaki) in the middle. The following studio-residences, in Rome were: via Angelo Masina 5b (1967-69); via S. Francesco a Ripa 144 (1969-1972); via S. Agata de’ Goti 2 (1972-1978); via della Reginella 29 – piazza Mattei 10 (1978-1983); via di Torre Argentina 47 (1983-2000); via Arco di Parma 18 (2001-2003). In The Netherlands, Amsterdam, Keizergracth 8 (1966); The Hague: Nachtagallan 1 (2003-2006); 2e Sweelinckstraat 90 (2007-2013); Frederik Hendriklaan 200 (2014-2016); 1e Sweelinkstraat 16 (2017 —).
4 First enrolled in the degree course of Economics, later on to Political Science.
5 Avenue Kléber 8, Paris.
6 Released from service after three months due to ‘variable cardiac functional disturbances’.
7 Via dei Riari 71, Rome.
8 Symposium Edizioni per la Conservazione [XII-1986], interviews, [XV-1989], etc.
9 Via Gaetano Sacchi 20, and via S. Agata de’ Goti 2, respectively.
10 Via Portuense 78, Rome.
11 Via G. Carini 78, Rome.
12 Via Aventina 30, Rome.
13 Via Mario de’ Fiori, Rome.
14 Designed for the Alfano Ceramiche.
15 See, Argan, in Arte as Pre-text, Introduction: 13, (Rome: Semar 1976).
16 Via Capo le Case 4, Rome. The oldest still-existing art gallery in Rome, founded in 1964 by Angelica Savinio de Chirico, the daughter of Giorgio de Chirico’s younger brother Alberto Savinio. In 2014 the gallery, currently directed by Angelica’s daughter Francesca Antonini, changed its name to Francesca Antonini Arte Contemporanea on the occasion of the fiftieth anniversary of its founding.
17 See Bertelli, in Arte as Pre-text, Introduction: 17; and Momo, Introduction, Il Tempo dell’evidenza [The Time of Evidence], idem.
18 With Adriano Altamira, Ferruccio Bonetti, Carlo Maria Mariani, and Luigi Ontani.
19 Among others, Larry Austin, Guido Baggiani, Sylvano Bussotti, Aldo Clementi, Carlo Crivelli, Thomas DeLio, James Dashow, Egisto Macchi, Franco Evangelisti, Domenico Guaccero, David Keane, G.M. Koenig, Paul Lansky, Francesco Pennisi, Boris Porena, Jean Claude Risset, Berry Truax.
20 Nicola Carrino, Marcello Camorani, Carlo Maria Mariani, and Sahlan Momo represented the Italian Section.
21 At that time directed by Ms Fausta Gallo, the daughter of the founder of the Institute — Ms Gallo will join the Advisory Board of Edizioni per la Conservazione. Cultura & Ambiente in 1989 [XV-1976, sub 1989-1995; infra n. 24] — where he works with Mr Antonio Zappalà, the director of the Chemistry Lab at the National Institute for Graphic Arts.
22 The publishing house was officially established at the Chamber of Commerce in Rome in 1986, yet Mr Momo started using the Semar trade name for its own publications in 1976. Semar is a character of the Javanese Wayang theatre, a shamanic mediator between Heaven and Earth, under certain aspects homologous in function to the Westerners Charon, Hermes, Mercury, and other psychopomps.
23 Americo Sbardella, Gilgamesh. Colui che tutto conobbe. Versione teatrale dell’epopea (Poggibonsi: Lalli, 2014).
24 Jean-Paul Denizon, Kama Dev, Tapa Sudana.
25 Editorial Board (1989-1995): Giulio C. Argan, Diego Carpitella, Massimo Venturi Ferriolo, Fausta Gallo, Sahlan Momo.
26 With essays and scientific contributions, among others, by G. C. Argan, Maurizio Calvesi, Diego Carpitella, Fosco Maraini, Alberto Moravia, Mario Perniola, Sergio Quinzio, Vittorio Storaro, Manfredo Tafuri, Federico Zeri.
27 Among others, Miguel Angel Asturias, Etel Adnan, Sylvano Bussotti, Franco Evangelisti, Federico Fellini, Ferdusi, Federico Garcia Lora, J.W. Goethe, Hans Kayser, G.M. Koening, Mario Luzi, Fosco Maraini, Rita Levi Montalcini, Dionysus Petavius, Jalaluddin Rumi, etc.
28 Marriage 2002 – divorce 2008.
29 Supra, n. 3 [via di Torre Argentina 47].
30 The Sanskrit term Spanda ( see) is a key concept of the Kashmir Saivism monistic philosophy. Board of Trustees: Sahlan Momo, Leonard van Willenswaard (2005-2008); Oscar van Dierendonk (2005-2016); Johannes H. Witteveen (2007-2019 ); Simona C. Sapienza (2007-2012); Jan Pronk (2010-2017).
31 Essays and scientific contributions by Tom Atlee, Noam Chomsky, Deepak Chopra, Allan Combs, Charles Eisenstein, Riane Eisler, Duane Elgin, Marc Gafni, Arlene Goldbard, David Goodway, Stanislav Grof, Ervin Laszlo, Joanna Macy, Robert A. Masters, Roger D. Nelson, Terri O’Fallon, George Pór, Peter Russell, Marilyn Schiltz, Charles Tart, Paul von Ward, among others.
32 Circulated at the UN VII Substantive Session, New York, 23.4.2013.
2. Work.
I. SOLO EXHIBITION
1968 Souls, ASC Gallery, Rome. Text in catalogue by Elio Mercuri. [Doc >]
1970 Ricerche sui processi di elaborazione dei simboli, Galleria Schneider, Rome. Text in catalogue by Elio Mercuri. [Doc>]
1972 Sahlan Momo pittore di ritmi musicali, Galleria Stellaria, Florence. Text in catalogue by Lara Vinca Masini. [Doc>]
1976 Arte come pre-testo, Galleria Il Segno, Rome. Text in catalogue by Giulio C. Argan and Carlo Bertelli. [Do >]
1977 Superficie Tensoriale, Galleria Centro Sei, Bari. Text in catalogue by Italo Mussa. [Doc>]
1979 Sinergia, Sala Polivalente, Museo di Arte Moderna, Palazzo dei Diamanti, Ferrara. Text in catalogue by Sahlan Momo. [Doc>]
1980 L’immagine sottesa, Museo di Arte Moderna, Palazzo dei Diamanti, Ferrara. Text in catalogue by Sahlan Momo. [Doc>]
1983 Presente indicativo. Retrospective 1973-1983, Italian Cultural Institute – Museo Español de Arte Contemporaneo, Madrid. Text in catalogue by Giulio C. Argan. [Doc>]
1983a Film retrospective, Filmoteca Nacional Española – Museo Español de Arte Contemporaneo, Madrid. Text in Programme by Valentí Gómez i Olivé. [Doc>]
1983b Film retrospective, EINA- Escola de Disseny i Art, Barcelona, Spain. Text in Programme by Americo Sbardella. [Doc>]
1984 Il tempo dell’evidenza. Piano inclinato, Mercato del Sale, Milan. Text in catalogue by Sahlan Momo. [Doc>]
1988 Mundus imaginalis, Galeria Granero, Sala Alonso de Ojeda, Cuenca, Spain. Text in catalogue by Sahlan Momo. [Doc>]
II. GROUP EXHIBITION
1967 XIX Fiera d’arte di Via Margutta, Rome, 19-21.5. [Doc>]
1967 Terza Rassegna, Palazzo delle Esposizioni, Rome, [date] [Doc>]
1967a Mostra internazionale di pittura e scultura, Attico, Rome, 13-24.10. [Doc>]
1968 Sesta Biennale Romana, Palazzo delle Esposizioni, Rome. [date] [Doc>]
1968a Gemellaggio Roma-Napoli, Palazzo delle Esposizioni, Rome. [date] [Doc>]
1970 VII Premi Internacional Dibuix Joan Miró, Barcelona, Spain. Text in catalogue by… [date] [>]
1970a Grafica Due, Museo Civico, Pescocostanzo. Text in catalogue, Rolando Meconi. [date] [Doc>]
1970b Per una nuova generazione dell’arte, Spoleto. Text in catalogueby… [date] [Doc>]
1971 Mostra internazionale di arte contemporanea, Sala Bolaffi, Turin. [date] [Doc>]
1972 XI Premi Internacional Dibuix Joan Miró, Collegi Arquitects, Barcelona, Spain, 23.05-15.6. [Doc>]
1972a Artistas seleccionados al Premi Joan Miró, Galeria Anne Barchet, Madrid. [date] [Doc>]
1972b Sette artisti a Pavia, Collegio Cairoli, Pavia, 27.11-10.12. Text in catalogue, Sandra Orienti. [date] [Doc >]
1973 Due artisti, Artespazio, Rome. Text in catalogue, Enzo Bilardello. [date] [>] [Doc >]
1974 Roma 2726 anni dopo, Serigrafie di 37 artisti contemporanei, Museo Civico, Palazzo Braschi, Rome. [date]. [Doc>]
1976 Artefiera, Bologna. [date]. [Doc>]
1977 Mostra deiPremi Bolaffi, Sala Bolaffi, Turin, 27.5-11.6. [Doc>]
1977a International Drawing Biennale, Cleveland (USA). [date]. [Doc >]
1978 XXII Biennale Artistique des Pays Méditerranéens d’Alexandrie, Musée des Beaux Arts, Alessandria, Egypt, 30.3. [Doc>]
1981 Premio Lario,Como. [date]. [Doc>]
1981b 4th Cultural Moussen of Asilah, Asilah, Morocco. [date] [Doc>]
1982 Arteder ’82, Bilbao, Spain. [date]. [Doc>]
1982a Biennale de Paris, Paris, France. [date]. [Doc>]
1984 La Carta, Palazzo Albertini, Forlí, 6.10-4.11 | Rome-Turin-Copenhagen. [Doc>]
1992 Salon de l’éstampe et de l’édition d’art, Gran Palais, Paris, 4-9.3. [Doc>]
1986 Ellittica, Galleria Ariete, Rome. [date]. [Doc>]
1992-93 The Artist and the Book in Twentieth-Century Italy, Museum of Modern Art (MoMA), New York 14.10.1992-16.2.1993. [Doc>]
2005 Pintura y Escultura de la colección Irene Cábez – Ignacio C. Muñoz, Cuenca, Spain, June-July. [Doc>]
2018 Indómita Luz, Fundación Antonio Pérez, Cuenca, Spain, 11.5-3.7. [Doc>]
III. CHALCOGRAPHIC WORK – Other than his own handprints.
1974 Roma 2726 anni dopo. Serigrafie di 37 artisti contemporanei. Silkscreen, 6 colours. Run: 90 + XV; cm. 23 x 25. Art printshop Grafiser – Felice Silanos, Rome. [Doc>]
1975 Variazioni su di una superficie tensoriale, 6 etchings on zinc matrices, 3 colours. Run: 35; cm. 35 x 50. Art printshop, Andrea Volo, Rome.
1976 Il Tempo dell”Evidenza, 1 vernis mou on India paper; 1 etching, 2 colours; 1 etching, 4 simultaneous colours; 1 emboss on linoleum plate; 1 emboss on wood and masonite matrices; 1 photograph b/w. Printed by Antonio Sannino (1943-2012). Run: 60+ X; cm. 31 x 43. Edition, Chalcographic National Institute – Semar, Rome. [Photo>]
1978 Ideogramma, etching on zinc matrices, 2 colours + embossed white. Run: 125; cm. 70 x 50. Art printshop, Franco Cioppi, Rome.
IV. LIVRE D’ARTISTE
1976 Arte come pre-testo. Containing 2 volumes: 1 Arte come pre-testo + 1 Art as a Pre-text, and the chalcographic folder Il Tempo dell”Evidenza [III-1976], comprising: 1 vernis mou on India paper; 1 etching, 2 colours; 1 etching, 4 simultaneous colours; 1 emboss on linoleum plate; 1 emboss on wood and masonite matrices; 1 photograph b/w. Printed by Antonio Sannino (1943-2012). Edition: 60+ X; cm. 31 x 43 (Rome: Chalcographic National Institute – Semar). [Photo>]
1978 Appunti Operativi. Volume, in half leather case. Comprising 1 printed text, volume Appunti Operativi, + 3-colours manuscript volume of 43 pages + 20 original Tensorial Surfaces abraded papers (cm. 23 x 20). Edition: 20+ III; cm. 25,5 x 23 (Rome: Semar). [Photo>]
1986 De marginis Sophia. Del margine della Sapienza, della Sapienza marginale. Printed volume of a collection of the Author’s aphorisms typeset in movable types, 16 images retouched in watercolour by hand + 4 watermarks in the clear; hand bound. Edition: 75 + XV + A-E; cm. 36 x 25,5, in Perspex case (Rome: Semar). [Photo>]
2015-’18 Meetings with Remarkable Women. A transdisciplinary multilayered livre d’artiste integrating plural systems of representation. Comprising: 1 Perspex exoskeleton containing a book printed on demand with archival ink, including 75 unbound pages hand-retouched with gold and silver leaf. Clear Perspex cm. 33,5 x 0,8; book: page size cm. 30 x 30, format fini cm. 32 x 32. Edition: 90 copies (77+ VII + A-F); cm. 36 x 25,5, (The Hague: Semar).
V. FILM & VIDEO
1978 Un’azione filmica. Script & realisation. With Andrea Ferrari Acciajoli, Dahlijani Momo, Maragareta Tapiovaara. Music: Michelangelo Lupone; 16mm, colour, sound, 22’ 20”.
— F.p. Rome, Il giovane cinema italiano, Filmstudio ’70, 3.7. 1980.
— Rome, Il Cinema underground italiano (1965-1979), Massenzio ’80, 26.8.1980.
— Madrid, Sahlan Momo, Museo Español de Arte Contemporaneo – Filmoteca Nacional Espaõla, 8.3.1983.
1978a Interazione, for soprano, magnetic tape, and film. Script & realisation. Music: Michelangelo Lupone, soprano: Serena Facci; 16mm, colour, sound, 10’ 30”.
— F.p. Rome, Musica e Tecnologia. 4 Concerti di musica elettronica, Sala Borromini, 6.12.1978.
— Rome, Sperimentazione aperta, Istituto Italo-Latino Americano (IILA), Auditorium, 21.12.1978.
— Rome, Il giovane cinema italiano, Filmstudio ’70, 3.7. 1980.
— Rome, Il cinema undereground italiano (1965-1979), Massenzio 80, 26.8.1980.
— Pesaro, Rossini Opera Festival, Palazzo Mazzolari-Mosca, 31.8.1980.
— Perugia, XXXV Concerto. Associazione Amici della Musica, Sala Brugnoli – Palazzo Cesaroni, 2.7.1982.
— Madrid, Sahlan Momo, Museo Español de Arte Contemporaneo – Filmoteca Española, 8.3.1983.
— Rome,Transmetrò. C’era una volta l’Underground, Museo Civiltà Romana, 10.9.1983.
— Rome, 1° Settimana di Musica Contemporanea,Villa Bonelli, 12.9.1984.
1979 I Viandanti. Script, realisation & music. Puppets, Marcello Avenali; s8mm, colour, sound, 11’ 30”.
— F.p. Madrid, Sahlan Momo, Museo Español de Arte Contemporaneo – Filmoteca Española, 8.3 1983.
1980 L’Ombra. Contrario dell’Io cosciente. Script & realisation. Music, W. A. Mozart; orig. music, Lucio E. Racano; with Rossano Jalenti, Dahlijani Momo, Lucio Racano; 16mm, colour, sound, 35’ 20”. [Watch video >]
— F.p. Roma, Il giovane cinema italiano, Filmstudio ‘70, 29.6.1980.
— Rome, Il cinema underground italiano (1965-1979), Massenzio ’80, 26.8.1980.
— Rieti, Il giovane cinema Italiano, Sfera Attraente, 20.10.1980.
— Madrid, Sahlan Momo, Museo Español de Arte Contemporaneo – Filmoteca Española, 8.3.1983.
— Rome, Il cinema d’artista in Italia dagli anni Sessanta agli anni Ottanta, Palazzo delle Esposizioni, 17.11.1991.
1980a The Wayfarers. Concept & script. Full-length feature film.
1981 Interno/Esterno. Giorno. Script, music & realisation. With R. Jalenti, D. Laglace. 16mm, colour, sound, 15’ 15”.
— F.p. Rome, Il Giovane cinema italiano, Il cinema underground e il cinema d’artista, Filmstudio ‘70, 3.11.1981.
— Madrid, Sahlan Momo, Museo Español de Arte Contemporaneo – Filmoteca Espaõla, 8.3.1983.
VI. MUSICAL THEATRE, PERFORMANCE, INSTALLATION
CHOREOGRAPHY, SET DESIGN & COSTUMES
1979 Iter su Figure I, choreographic action for 2 dancers and magnetic tape. Concept, choreography & costumes. Music: Michelangelo Lupone; dancers: Tiziana Cherubini, Paola Nucci. 13′ 20″ [Watch video>]
— F.p. Rome, Sala Borromini, 28.10.1979.
— Ferrara, Sala Polivalente, Galleria d’Arte Moderna, 30.12.1979.
— Pesaro, Rossini Opera Festival, Palazzo Mazzolarti-Mosca, 31.8.1980.
1980 Iter su Figure II, choreographic action for 4 dancers and magnetic tape. Concept, choreography & costumes. Music: Michelangelo Lupone; dancers: Tiziana Cherubini, Paola Nucci, Lucia Piedimonte, Paola Rossi. 28′ 38″.
— F.p. Rome, Galleria Nazionale d’Arte Moderna, 10.11.1980.
1983 La Scala. Installation for two bodies in space, choreographed performance for 2 dances. Concept, choreography, set design, costumes & music. Performers: Pedro Garhel, Rosa Galindo. 40′ 10″ [Watch video>]
— F.p. Madrid, Istituto Italiano di Cultura, 14.4.1983.
— Madrid, Espacio Alternativo, 20.4.1983.
1984 La Musica Elettronica in Europa. Set design. Palazzo della Cancelleria, Rome, [date]
1985 Mira, choreographed action for solo dancer and computer in real time. Concept, choreography & costumes. Music: Michelangelo Lupone; dancer: Beverly Sandwith; masks: P. & P. Consiglio. 12′ 34″ [Watch video>]
— F.p. Rome, La musica elettronica e le altre cose, Sala Borromini, 23.11.1985.
— La Spezia, Computer Music tra Ricerca e Mercato, Sala Dante, 22.1.1986.
— Madrid, Centro para la difusion de la musica contemporaneo, (?) .9.1987.
— Berlin, Inventionen ’90. Akademie der Künste – Technische Universität; 4.2.1990.
— Madrid, Euterpe e le sue sorelle, Centro de Bellas Artes, 4.3.1990. [Dancer, Francesca Roman Sestili].
1986 Incanto, choreographed performance for 1 dancer, 1 performer, soprano, and Fly computer in real time. Concept, direction, choreography, set design & costumes. Music: Michelangelo Lupone; soprano: Barbara Lazotti; dancer: Beverly Sandwith; performer: Vincenzo Ivan Cozzi. 20′ 41″ [Watch video>]
— F.p. Rome, Festival Eumusica, Goethe Institut, 12.12.1988. [Dancer, Francesca Romana Sistili].
— L’Aquila, Gli strumenti della fantasia. Festival di perfoming music, Teatro San Filippo, 26.9.1989.
— Berlin, Inventionen ’90, Akademie der Künste – Technische Universität, 4.2.1990.
1986a Gilgamesh. Studies for the theatrical piece, costumes and set design. [VI-1986a]. [Doc >]
1987 Eco. A sonic installation on the territory for tuned bells. Resonant tensorial membrane for 47 church-bells and ringers. [Doc>]
— F.p. Old Rome centre, 23.10.
1987a L’Ottava. Dramma musicale in 8 quadri. Video-opera. Concept.
1988 Eumusica, festival di Musica Verticale. Direction, choreography, set design & costumes. Goethe Institut, 12.12.1988.
1990 I profili del Suono. Festival Musica Verticale. Direction, choreography & costumes. [date]
1992 Ciclo Astrale. Four works of musical theatre, for 4 dancers, computer, and live instruments. Concept, direction, choreography, set design & costumes. Music: Michelangelo Lupone; performer: David Barittoni; dancers: Donatella Patino, Lucia Piedimonte, Paola Rossi; masks: P. & P. Consiglio. 1, 2′ 11″[Watch video>]
— F.p. L’Aquila, Stagione sinfonica corale e da camera, Società B. Barattelli, Auditorium del Castello, 22.2.1992.
2015-’23 Meeting in the Cave. A time-space specific operatic installation in both worlds and two continents. (In the making). Comprising Cave 3.0. A laic Initiation multidisciplinary opera and Meetings with Remarkable Women. Livre d’artiste [IV-2015-’18]. Concept, libretto, direction, set design.
VII. MUSIC
1965-‘66 Improvisations, for recorder.
— Folkstudio, Rome.
1979 I Viandanti, for recorder [V-1979].
— F.p. Madrid, Sahlan Momo, Museo Español de Arte Contemporaneo – Filmoteca Española, 8.3.1983.
1983 La Scala, for piano. Performance, choreographed action for 2 dancers [VI-1983].
— F.p. Madrid, Istituto Italiano di Cultura, 14.4.1983.
— Madrid, Performance. Espacio Alternativo, 20.4.1983.
1986 De Marginis Sophia, for 2 ten. Flutes [IV-1986]. [Score>]
1986a Gilgamesh, studies for the theatrical piece [VI-1986a].
1987 Eco, for tuned percussions [Doc>].
— F.p. Old Rome centre, 23.10.
VIII. GRAPHIC DESIGN
1975 Alfano Ceramiche. 10 Studi per mattonelle [10 Studies for wall & floor patterns]. [Photo>]
1978-‘85 Musica Verticale. Concert programmes, flyers, etc. [Studiomomo].[Doc>]
1980 Meeting Point. Logo, and corporate image. [Studiomomo]. [Doc>]
1981 Meeting Point. Prestige b/w catalogue, 50 pages, cm. 26,5 x 21.[Studiomomo]. [Catalogue>]
1981a Associazione Nazionale Mutilati e Invalidi di Guerra (ANMIG). Logo, wooden-folder and related material for the 22° National Congress [Studiomomo]. [Doc>]
1984 Cepat. Perché i turchi non dormono mai…. Prestige colour catalogue, 24 pages, cm. 29 x 21. [Studiomomo]. Catalogue [>] Text, Federica Ricotti.
1986-2022 Semar Publishers. logo, corporate image, books, journals, musical scores, etc. [Doc>]
1993 Aviofer Breda – Augusta Group. Aerospace Jet Railroad prestige colour catalogue, 16 pages, cm. 29,7 x 21,5. [Studiomomo]. [Catalogue >]
1993 Aviofer Breda – Augusta Group. Progetto per la definizione dell’immagine Aviofer, 20 colour-plates cm. 30,5 x 24,5. [Studiomomo]. [Photos>]
2000 Angelscapes. Fotografie di Lauren Sunstein. Prestige colour calendar, 28 pages, cm. 24 x 34. [Studiomomo]. [Doc>]
2005 European Commission. Art & Scientific Research are Free. Towards a Culture of Life, (Rome-The Hague: Semar). Prestige book, 96 pages, cm. 25 x 21. [Photo (pages)>]
2005-’23 Spanda Foundation. Logo, corporate image (annual reports, projects, etc), Spanda Journal, Musiké Journal, papers & research studies, etc. [Doc>]
2017-‘2023 Meeting in the Cave. Logo, corporate image, etc.
IX. PUBLIC WORK
1983 Superficie Tensoriale 14981, high-relief in Carrara marble and red travertine, cm. 300 x 105, Arrival Hall, King Khalid International Airport, Riyadh, Saudi Arabia. [Photo>]
1984 De la nature de l’ame et de l’origine de ses connaissances, sculpture, paper, mixed technique, cm. 120 x 120 x 100, Ministry of Culture, Institute of Culture, Bologna. [Photo>]
X. WRITINGS
Unless otherwise stated, printed works were published in Rome, Italy. MSS of unpublished works are in The Hague, The Netherlands.
1966-’67 Prima della Morte – An Inner Travelogue. [Before Death – An Inner Travelogue]. (MS).
1970 Manifesto per un’analisi formativa del processo creativo. (MS). [Doc>]
1974 “Il mondo vegetale”, in Sicilia (Palermo: Flaccovio): (74): 38-48. [Doc>]
1975 Art, Sexuality and Mysticism. Aspects of Sexuality in some Asian cultures, communication to the International Congress of Psychoanalysis “Sessualita e politica” [Sexuality and Politics], Milan, 25-28.11.1975; Proceedings: ed. A. Verdiglione (Milan: Feltrinelli 1976).
1976 Arte come pre-testo [comprising: Processi energetici e loro trasmutazioni nell’arte (1973); Simbolo-segno: processi della realtà nell’arte (1973); Appunti sul processo di formatività e sulla sua riflessione nell’arte (1976)], (Rome: Semar). [Doc>]
1976a Il Tempo dell’Evidenza [The Time of Evidence], introduction to the chalcographic folder in the livre d’artiste Arte come pre-testo [IV-1976]. [Doc >]
1978 Appunti operativi [comprising: Il processo di solidificazione dello spazio e la cellula di Realtà (1977); Un’azione filmica (1977)], (Rome: Semar). [Doc>]
1979 L’immagine sottesa. Text in catalogue, solo exhibition (Ferrara: Museo di Arte Moderna). [Doc>]
1980 Il Dramma. (MS).
1981 “Il Cavallo di Troia”, in Arc Voltaic, Barcelona (Spain), (Spring) 1993 (14): 27. [Doc>]
1983 Presente indicativo. Text in catalogue solo exhibition (Madrid: Italian Cultural Institute – Museo Español de Arte Contemporaneo) [Doc>]
1984 “Note sull’impiego di un materiale nell’arte”, in La Carta (Forlí: CEPAC): 25-27. [Doc>]
1984a L’ermeneutica del quotidiano e l’uomo allegorico. (MS).
1984b L’indice di Rettíga. (MS).
1986 Un’analisi simbolica: lo ‘straordinario’ nell’uso dei trampoli nel teatro colto. Note to the performance Incanto [VI-1986] (Rome: Goethe Institut). [Doc>]
1986a De Marginis Sophia. Del margine della Sapienza, della Sapienza marginale, (Rome: Semar). [Doc>]
1986b “Sophia e la filigrana. Annotazioni metodologiche e analisi simbolica” [Sophia and the Watermark. Methodological annotations and symbolical analysis], in De Marginis Sophia: I-II (Rome: Semar). [Doc>]
1986c “Arte e Informatica”, in Mondoperaio, 39 (12): XVI. [Doc>]
1986d “Arte e artificio. Aspetti del simbolismo nell’estetica islamica”, in Islàm. Storia e società, V(14): 25-34 (Rome: UIO). [Doc>]
1987 “Euterpe e le sue sorelle o dell’opera multimediale”, in I profili del Suono. Scritti sulla musica elettronica e la computer music, (Rome: Musica Verticale). [Doc>]
1989 “Some considerations on Contemporary Book Publishing”, in E. Roether ed., Das Papier, 43(1-7): 240-245. [Doc>]
1991 “Rûkh e il paesaggio visionario. Appunti per un’ermeneutica di geografia imaginale”, communication to the VII session of the international meeting Le Mille e una Notte. Una matrice per l’immaginario incrociato (Palermo: Euro-Arab University – UEAI); in Heller-Goldenberg, Lucette, (ed. 1994), Les Mille et une Nuits dans les imaginaire croisés (Cologne: Romanisches Seminar der Universität Köln): 66-68. [Doc>]
1992 L’antropologia fotografica di Ivan Meacci. Text in exhibition catalogue, (Rome: Argilla Teatri). [Doc>]
1994 La Voce della Grande Madre. Text in programme, Semar Concert, (Rome: Semar – American Academy – Goethe-Institut). [Doc >]
2008 “Transformation is Gearing up, Gathering Pace”, SpandaNews “Consciousness & Development”, II(4) :1-2. [Doc>]
2009 “Human Rights or Human Insights?”, SpandaNews “Human Rights & Security”, III(1) :1-2. [Doc>]
2010a “Turya: a Subtle Energy”, Spanda Journal “Energy & Development”, I(1) :2-3. [Doc>]
2010b “Micro what?”, Spanda Journal “Microfinance. The Way Ahead”, I(2) :2-3. [Doc>]
2011 “The Perplexity of the Unseen”, Spanda Journal “The Placebo Effect”, II(1) :2-4. [Doc>]
2011a “The Perplexity of the Seen”, Spanda Journal “Indigenous Culture & Development”, II(2) :2-3. [Doc>]
2012 “The Mesoteric Leap”, Spanda Journal “Consciousness & Development 2.0”, III(1): v-xii. [Doc >]
2013 “Mesoeconomy and the Clean Code”, Spanda Journal “Anarchy & Nonprofit”, IV(1): v-xii. [Doc>]
2013b Sustainable, socially responsible educational programmes, Written Statement to the UN-ECOSOC VII Substantive Session, 23.4.(E/2013/NGO/122).[Doc>]
2014 “A Run-up Towards the Impossible”, Spanda Journal “Innovation and Human Development”, V(1): v-ix. [Doc>]
2014a “Mesoteric Intelligence & Collective Serendipity”, Spanda Journal “Collective Intelligence”, V(2): v-ix. [Doc>]
2015 “The Role of Language in Writing the Universe. Tentative Thoughts on Leadership”, Integral Leadership Review, San Francisco, USA. [Doc>]
2015a Squint Dreams & Radical Lore. Collected Wisdom (The Hague: Semar). [Doc>]
2015a “Mesocreativity”, Spanda Journal “Creativity & Collective Enlightenment”, VI(2): v-vii. [Doc>]
2017 “Benighted, Enlightened and Delighted”, Spanda Journal “Collective Enlightenment”, VII(1): v-xi. [Doc>]
2021-23 Introduction to Meeting in the Cave in Spanda Monitor:
Shifting the Paradigm, XII (1), 2021.
Leaping out of Retreat, XII (2), 2021.
Humans are multidimensional beings, XII (3,4), 2021.
Unveiling the Cup, XII (5), 2021.
Being and History, XII (6), 2021.
Unmapping the Territory, XII (7), 2021.
Streaming Consciousness, XII (8), 2021.
Grounding the Play, XIII (9), 2022.
Being & Becoming, XIV, (10), 2023.
XI. BROADCASTING — Author & Presenter
1995 Daímon. Gli archetipi della Coscienza. Storie, miti, temi e detti delle umane culture. [The Archetypes of Consciousness. Stories, myths, themes and saying of Human Cultures]. Comparative dialogical conversations upon 45 selected topics33 on world’s traditions. [Doc >]; [Listen >]
— Rome, RAI-Radio3 – via Asiago. Live, 30’ daily broadcasting, 30.1-31.3.
XII. CONFERENCES & SYMPOSIA
1975 Art, Sexuality and Mysticism. Aspects of Sexuality in some Asian Cultures. International Congress of Psychoanalysis “Sessualità e politica” [Sexuality and Politics], Milan, 25-28.11. Communication.
1986 Edizioni per la conservazione – De Marginis Sophia. Palazzo Venezia, Rome. Panellists: G.C. Argan, Giovanni Calabrò, Sahlan Momo, Nicolangelo Scianna, Fernando Settimi, Francesco Sisinni, Antonio Zappalà, 25.11. Convener. [Doc>]
1988 La pratica artistica come strumento di conoscenza [The Artistic Praxis as an Instrument of Knowledge]. L’Aquila, Museo Sperimentale di Arte Contemporanea, 27.5. Conference. [Doc>]
1988a Internationale Symposium “Die Haltbarkeit der im heutigen Verlagswesen verwendeten Werkstoffe”.Gütenberg-Museum, Mainz, (D). Panellists: Jean-Marie Arnoult, Helmut Bansa, Jean-Pierre Mausse, Sahlan Momo, Dag-Ernst Petersen, Mario Tommasini, Antonio Zappalà, 11.10. Convener. [Doc>]
1989 Futurismus: Editioni Anastatike d’Avanguardia. Biblioteca Nazionale Centrale, Aula Magna. Panellists: Leonardo Clerici, G.A. Bertozzi, Sahlan Momo, Susanna Ricci, 1.12. [Doc>]
1991 International Meeting Le Mille e una Notte. Una matrice per l’immaginario incrociato. Oral communication, Rûkh e il paesaggio visionario. Appunti per un’ermeneutica di geografia imaginale [Rûkh and the Visionary Landscape. Annotations for a Hermeneutic of Imaginal Geography], Euro-Arab University, Palermo, [date] [Doc>]
1991a Franco Evangelisti. Dal Silenzio a un nuovo Mondo Sonoro [Franco Evangelisti. From Silence to a New Sonic World]. Goethe Institut, Rome. Panellists: Gioacchino Lanza Tomasi, Heinz-Klaus Metzger, Enzo Restagno, Dieter Schnebel, 8.3. Convener. [Doc >] [Photo >] [Press>]
1994 Federico Fellini. Imago. Appunti di un visionario. [Federico Fellini. Imago. Annotations of a Visionary]. Biblioteca Rispoli, Rome. Panellists: Pupi Avati, Orio Calderon, Callisto Cosulich, Armando Leone, Toni Maraini, Duccio Trombadori. 4.3. [Doc >] [Photo >] [Press>]
2004 Semar: L’arte di pubblicare libri ‘sostenibili’ [Semar: the Art of publishing ‘sustainable’ books]. Washington Zaal, Forum, The Hague, 19.11. Conference. [Doc>]
2006 Jubilo International Meeting. Launch Conference. International Court of Justice (ICJ), PeacePalace, The Hague. Panellists: Ahmad Akgünduz, Dennis de Jong, Carl W. Ernst, Rachel Reedijk, Giuseppe Scattolin, Awraham Soetendorp, Frans Wijsen, Anton C. Zijderveld. Moderator, Willem Post, 13.10. Convener. [Doc >]; [Watch video >]; [Doc (Proceedings)>]
2007 The Semar Methodology for the Conservation of Books. Italian Cultural Institute, Amsterdam. Conference. [Doc>]
2007a Tea for Peace – Fundamentalism. Het Nutshuis, The Hague. Panellists: Sjaak de Boer, Jakob Korf, Awhraam Soetendorpo, 3.9. Convener. [Doc>]; [Watch videos >]
2009 Tea for Peace – Marriage. Het Nutshuis, The Hague. Panellists: Sjaak de Boer, Awhraam Soetendorpo, Johannes Witteween, 9.12. Convener. [Doc>]; [Watch videos >]
2009a Incontro Internazionale di Studi sul Dialogo Interculturale e Interreligioso nel Mediterraneo – Sponde. Presentation: Jubilo & Mantra. Spanda’s Conflict Prevention and Peacebuilding methodology for Peace, Centro Mediterraneo di Studi Interculturali, Mazzara del Vallo. Panellists: Ofer Bronstein, Marco Impagliazzo, Giulio Cesare Giordano, Sahlan Momo, Giuseppe Tritto, Domenico Giorgi. World Day of Peace, 18-21.9. [Doc>]
2010 Tea for Peace – Sexuality. Het Nutshuis, The Hague. Panellists: Stefan van Aken, Lisette van Aken-de Graaf, Abdulwahid van Bommel, Sipke van der Land, Awraham Soetendorp, Joel Staffeleu, 13.10. Convener. [Doc> Watch videos>]
2014 Culture & Sustainable Development in the livre d’artiste Meetings with Remarkable Women, Rotary, The Hague, [date]. Work presentation – Conference. [Doc>]
2019 The Hermaphrodite in Meeting in the Cave. A messoteric perspective, Litterarie Sociēteit De Witte, The Hague [date]. Work presentation – Conference. [Doc>]
XIII. CULTURAL, SOCIAL & ECONOMIC DEVELOPMENT PROJECTS
2006 The Jubilo Project34. Conflict prevention and transformation, ethnic integration and peacebuilding through intercultural and interfaith dialogue. Doc [>] Endorsed by the Council of 100 Leaders of the World Economic Forum (WEF), Davos 2006. [Doc>]
2006 Launch, The Hague, Peace Palace, International Court of Justice (ICJ), Great Hall of Justice. 13.10. [Doc >]; [Proceedings >]; [Watch video>]
2007 Tea for Peace operative programme:
2007 Fundamentalism.The Hague, Het Nutshuis. 3.9. [Do c>]; [Watch videos>]
2008 Marriage, Sexuality, Food, War, and Death in Judaism, Christianity, and Islam. A comparative approach.
2009 Marriage. The Hague, Het Nutshuis. 9.12. [Doc >]; [Watch videos>]
2010 Sexuality. The Hague, Het Nutshuis. 13.10. [Doc >]; [Watch videos>]
2006b The Musiké Project35. Research, recovery, documentation, conservation and dissemination of the ethnomusicological heritage. [Doc >]
2006 Musiké. International Journal of Ethnomusicological Studies (ISSN 1824-7199)36. [Doc>]
2013 The Charmed Flute Concert. Bansuri, C-Flute, Dizi, Nay, Quena, Shakuhachi, Suling, Tambin. An organological transcultural approach. [Doc>]
2016 Cave 3.0. An interdisciplinary opera depicting the evolution of consciousness in different geo-cultural settings. [Doc>]
2009 The Mantra Project. Poverty reduction through green microfinance, renewable energy and sustainable agriculture to empower women and communities to attain economic self-sufficiency and an equitable sustainable development.[Doc>]
2010 The Sierra Leone Chapter. Research studies (XVI-2010-2013). [Doc >] Discontinued locally (2013) due to the Ebola outbreak, then reconverted the following year in
2014 The Mapuche Chapter. Solar energy to alleviate poverty and empower the Mapuche indigenous communities to lead lives of self-reliance, meet their own basic needs and attain economic self-sufficiency, respecting human rights and in harmony with their culture and the environment. [Doc >]
2013 The Akarma Project. The Clean Code. Fostering a clean sustainable systemic change for future generations while ensuring clean, karma-free processes, products and complex devices. [Doc>]
2014 The Lila Project. A virtual platform to co-create and implement trans-disciplinary cultural and development policies. [Doc>]
2016 The Middle Council Rounds. Expert Meetings on Migration, Human Rights, Security and Financial Inclusion. A multi-stakeholder transformative participatory methodology to draft policies merging the bottom-up and the top-down approaches to reach a shared middle outcome. [Doc>]
XIV. ARTISTIC DIRECTION — Semar Concerts
1991 Franco Evangelisti. Dal Silenzio a un nuovo Mondo Sonoro [Franco Evangelisti. From Silence to a New Sonic World]. Perfs. Severino Gazzelloni, Giuseppe Scotese.
— F.p. Rome, Goethe-Institut, 8.3.
1992 Tradizione e nuovi strumenti [Tradition and New Instruments]. Comp.: Larry Austin, James Dashow, Richard Karpen, David Keane, Sandra Sprecher, Barry Truax. Perf. Semar Ensemble: Diego Conti, Enzo Filippetti, Barbara Lanzotti, Filippo Rogai, Gianluca Ruggeri, Maria Tedeschini Lalli. [Doc>]; [Listen>]
— F.p. Rome, American Academy, 7.2.
1993 Una triade simbolica [A Symbolic Triad]. Comp.: Fabrizio de Rossi Re, Guido Ferraresi, Boris Porena, Jean-Claude Risset, Barry Truax. Perf. Semar Ensemble: Gianluca Ruggeri, Barbara Lanzotti, Michele Zurria. [Doc>]; [Listen>]
— Rome, RAI, Auditorium, Sala A, 29.5.
1994 La voce della Gran Madre [The Voice of the Great Goddess]. Comp.: Carlo Crivelli, James Dashow, Fabrizio de Rossi Re, Domenico Guaccero, Gottfried M. Koening, Mario Lavista, Boris Porena. Perf. Semar Ensemble: Lucia Bova, Paola Bucan, B. Ghigo, Barbara Lanzotti. [Doc>]; [Listen>]
— F.p. Rome, Goethe-Institut, 10.11.
1995 Omaggio a G.M. Koening [Homenage to G.M. Koening]. Comp.: James Dashow, Agostino Di Scipio, Franco Evangelisti, Gottfried M. Koening, Reiner Riehn, Martin Supper. Perf. Ensemble Fuoritempo. [Doc>]; [Listen>]
— F.p. Rome, Goethe-Institut, 24.11.
1997 In Signo. Tre quartetti d’archi per compositori visivi: Sylvano Bussotti, Aldo Clementi, Francesco Pennisi. [In Signo: Three String quartets for visual composers]. Perf. Polimnia Ensemble: Alessandro Cervo, Michelangelo Galeati, Raffaele Mallozzi, Gabriele Pierannuzi. [Doc>]; [Listen>]
— Fp. Rome, Galleria Giulia, 16.12.
XV. EDITORIAL DIRECTION & EDITORSHIP37
1976–Present — Semar Publishers.
1989-‘95 Edizioni per la Conservazione. Cultura e Ambiente [ISSN 1120-1819]. Editor-in-Chief. Discontinued in 1995.
1989 Problemi di conservazione I [Conservation Issues I]
1989 Problemi di conservazione II [Conservation Issues II]
1989 Conservazione della carta [Conservation of Paper]
1989 Conservazione della musica [Conservation of Music]
1989 Problemi di conservazione III [Conservation Issues III]
1989 Conservazione e restauro del film [Conservation and Restoration of Film]
1989 Problemi di conservazione IV [Conservation Issues IV]
1989 I Giardini [The Gardens]
1989 Problemi di conservazione V [Conservation Issues V]
1990 Problemi di conservazione VI [Conservation Issues VI]
1990 Problemi di conservazione VII [Conservation Issues VII]
1990 La via delle maschere [The Masks’ Path]
1990 Problemi di conservazione VIII [Conservation Issues VIII]
1990 Conservazione e Islam [Conservation and Islam]
1990 Problemi di conservazione IX [Conservation Issues IX]
1990 Il giardino del Monaco [The Monk’s Garden]
1990 Aspetti operativi della conservazione [Conservation. The Operative Side]
1991 Conservazione e musei [Conservation and Musea]
1991 I tessuti. Conservazione e restauro [Textile. Conservation and Restoration]
1991 Metamorfosi. Conservazione di un’idea [Metamorphosis. The Conservation of the Idea]
1994 Arte e sacralita. Salvaguardia e tutela [Art and Sacredness. Safeguard and Protection]
1995 Il giardino. Tipologie e restauro. The Garden. Typology and Restoration]
1995 Arte e Alchimia. Conservazione e trasmutazione [Art and Alchemy. Conservation and Transmutation]
2006 Musiké. International Journal of Ethnomusicological Studies (ISSN 1824-7199). Editor-in-Chief. Present.
2006 Music and Ritual, ed. K. Howard (SOAS), with CD [Listen>]; [Doc>]
2007 Sounds of Identity. The Music of Afro-Asian, ed. S. de Silva Jayasuriya (Uni. of London), [Doc>]
2008 Networks & Islands. World Music and Dance Education, ed. N. Kors (Codarts, Rotterdam), [Doc >]
2009 Patterns of Rhythm and Melody. Analysing East Asian Music, ed. S. Mills (Uni. of London,) with DVD [Watch >] [Doc >]
2010 Sacred Singing & Musical Spirituality, eds. J. Russell, F. Wilkins (Uni. of Aberdeen), [Doc>]
2015 Charmed Flutes. Bansuri, C-Flute, Dizi, Nay, Quena, Shakuhachi, Suling, Tambin. An organological transcultural approach, ed. S. Momo (Spanda). [Doc>]
2018 Music & Initiation, ed. S. Momo (Spanda). [On the making].
2007– Present — Spanda Publishing.
2007 Spanda Papers – Editorship.
2007 Proceedings of the Jubilo International Launch Conference. The Hague: Peace Palace. [Doc>]
2010-’12 Marriage, Sexuality, Food, War and Death in Judaism, Christianity and Islam. A Comparative Approach. [Doc>]
2010 Moving On. Sierra Leone Report 2009. [Doc>]
2011 Post-conflict Action & Microfinance in Sierra Leone.[ Doc>]
2011 Compare. Practices & Results of a Selection of Solar Power/Microfinance Projects in West Africa. [Doc>]
2011 A Mantra for a Green Earth. Preliminary TBL Forecast Impact.
2011 Human Rights, Microfinance & Going Green in Sierra Leone. Opportunities and Challenges within an Evolving International Policy Environment. [Doc>]
2012 Social & Political Perspectives on Microfinance. Sierra Leone. [Doc>]
2013 Green Microfinance & Sustainable Agriculture in Sierra Leone. [Doc>]
2014 On the Move. Unaccompanied Foreign Minors in the European Union. [Doc>]
2015 Human Rights in Transitional Times. Education, Economics, Indigenous People, Migration. [Doc>]
2008 – Present Spanda Journal — ISSN 2210-2175. Editor-in-Chief.
2008 Consciousness and Development. [Doc>]
2009 Human Rights & Security. [Doc>]
2010 Energy & Development. [Doc>]
2010 Microfinance. [Doc>]
2011 The Placebo Effect. [Doc>]
2011 Indigenous Culture & Development. [Doc>]
2012 Consciousness & Development 2.0. [Doc>]
2013 Anarchy & Non-Profit. An Emerging Affair. [Doc>]
2014 Innovation and Human Development. [Doc>]
2015 Collective Intelligence.[ Doc>]
2015 Systemic Change. [Doc>]
2016 Creativity & Collective Enlightenment .[Doc>]
2017 Collective Enlightenment. [Doc>]
XVI. INTERVIEWS
1972 Tommasi, Rodolfo, Giornaleradio, RAI-Radio 1, Rome, 17.11.1972. Radio interview. [Doc>]
1983 Martin, Teodoro, Sahlan Momo en Madrid, Cantoblanco, Universidad Autonoma, Madrid, April 1983. Video interview. [Watch the video >]
1987 Pappalardo, Emanuele, Pomeriggio musicale, RAI-Radio 3, Rome, 13.1. Radio interview. [Doc>]
1987a “Per un libro che duri nel tempo”, Il Manifesto, Rome, 4.3. [Doc>]
1987b De Amicis, Carlo, Un certo discorso, RAI-Radio 3, Rome, 6.3. Radio interview. [Doc>]
1987c Baggioli, Andrea, Pomeriggio musicale, RAI-Radio 3, Rome, 30.12. Radio interview. [Doc>]
1988 Galeati, Michelangelo, “Musica e Pittura”, Musicalia, (59). [Doc>]
1989 Niso, Giorgia, Antologia, RAI-Radio 3, Rome, 15.1. Radio interview. [Doc>]
1989a Piccoli, Guido, Audio Box, RAI-Radio 1, Rome, 8.2. Radio interview. [Doc>]
1989b Padroni, Umberto, “Edizioni d’arte per la musica. Intervista a Sahlan Momo”, Piano Time, Rome [date]. [Doc>]
1989c Pesetti, Flavia, Terza Pagina, RAI-Radio 3, Rome, 21.7. Radio interview. [Doc>]
1991 Dall’Ongaro, Michele, “La Tigre di carta”, VIII (101)1991, s.e. Rome. [Doc>]
1991b Zaccaro, Gianfranco, Diapason, RAI-Radio 3, Rome, 24.10. Radio interview. [Doc>]
MAIN CRITICAL TEXTS ON THE ARTISTIC WORK
Argan, Giulio Carlo, Introduction of the artist’s work to Lara Vinca Masini, Rome, 1972. (MS). [Doc>]
——, Text in the volume Arte come pre-testo, (Rome: Semar 1976), and in catalogue, exhibition Galleria Il Segno, Rome 1977. [Doc>]
——, Recommendation to the Catalogo Nazionale Bolaffi n. 12, (Turin: Bolaffi-Mondadori 1977). [Doc>]
——, Recommendation to the Catalogo Nazionale della Grafica n. 11, (Turin: Bolaffi-Mondadori 1980). [Doc>]
——, Text in catalogue, exhibition Presente indicativo. Works 1973-1983 (Madrid: Italian Institute of Culture – Museo Español de Arte Contemporaneo – Filmoteca Nacional Española 1983). [Doc>]
Arnheim, Rudolph, Personal letter, 13.2.1978 (MS). [Doc>]
Bertelli, Carlo, text in the volume Arte come pre-testo, (Rome: Semar 1976), and in the catalogue, exhibition Galleria Il Segno, Roma 1977. [Doc>]
Bucarelli, Palma, recommendation to the Catalogo Nazionale della Grafica n. 11, (Turin: Bolaffi-Mondadori 1980). [Doc>]
Dorfles, Gillo, Personal letter, 1.12.1981 (MS). [Doc>]
Gómez i Olivé, Valentí. Els cinc sentits. Contribution to the catalogue Presente indicativo. Works 1973-1983, Madrid, 1983.
——, “L’oracle de la Sibil•la: A, O, I , E, U, Apostrofe”, in Arc Voltaic, (Spring) (14)1983: 27. [Doc>]
——, “Un cierto discurso ‘momiano’”, in “Programme 1-6 March” (Madrid: Filmoteca Nacional 1983). [Doc>]
Grande, Maurizio. Breve saggio post-personale, text post-exhibition Souls, Rome 1968. (MS). [Doc>]
Menconi, Roberto, in catalogue exhibition Per una nuova generazione dell’arte, Spoleto 1970. [Doc>]
Marchianò, Grazia, Personal letter, 21.7.1985 (MS). [Doc>]
Mercuri, Elio. Souls, text in catalogue, exhibition Souls, ASC Gallery, Rome 1968. [Doc>]
——, Essere e segni, text in catalogue, exhibition Ricerche sui processi di elaborazione dei simboli (Rome: Galleria Schneider 1970). [Doc>]
Mussa, Italo, “Sahlan Momo: il segno e le sue varianti energetiche”, in Capitolium, Rome, 10-11(1973), XLVIII: 27-31. [Doc>]
——, Text in catalogue, exhibition Superficie Tensoriale (Bari: Galleria Centrosei 1977. [Doc>]
Sbardella, Americo. Sahlan Momo è un cortese, ostinato folletto. Preface to the film retrospective at the Filmoteca Nacional Española, Madrid, and at the Escola de Disseny i Art (EINA), Barcellona, 1983. Excerpted in “Programme 8-13 March”, (Madrid: Filmoteca Nacional 1983). [Doc>]
Sullivan, Matthew, “Portrait of an Artist in Subud”, in Bima (North Moreton (UK): SPI, 1(1973): 4-5. [Doc ]
Orienti, Sandra, in catalogue exhibition Sette artisti a Pavia(Pavia: Collegio Cairoli 1970). [Doc>]
Vinca Masini, Lara, Sahlan Momo pittore di ritmi musicali, text in catalogue exhibition (Firenze: Galleria Stellaria 1972). [Doc>]
MAIN REVIEWS & PRESS
Campagnano, Roberto, “Vecchi e nuovi miti almeno una volta al di”, La Repubblica, 27.6.1980. [Doc>]
Coppini Roberto, “Le Mostre a Firenze – Sahlan Momo”, L’Avanti, 28.11.1972.[Doc>]
Eletti, Valerio, Arte, La Repubblica, 3.1.1980. [Doc>]
Fagiolo, Maurizio, Sahlan Momo, Il Messaggero, 14.2.1977. [Doc>]
Hart, John, “No Marksman, but Momo Hits Target”, Daily American, 29.8.1974. [Doc>]
Martina, Claudio Stefano, “Giovani registi: (ri)generazione necessaria”, Il Quotidiano dei Lavoratori, 11.7.1980. [Doc>]
Nicoletti, Giuseppe, “Sahlan Momo alla Stellaria”, L’Unità, 17.11.1972. [Doc>]
Paloscia, Tomaso, “Mostre d’Arte – Sahlan Momo”, La Nazione, 30.11.1972. [Doc>]
Rondi, Brunello, Review of Iter su Figure (GNAM), Il Giornale d’Italia, 11.11.1980. [Doc >]
Venturoli, Marcello, Immagini moderne dedicate a Roma, Capitolim. [Doc>]
Zein, Roula, Al Hayat, London, 14.11.1991. [Doc>]
… … … Data collection underway … … …
… … …
a.b., Mostre d’Arte – Momo, Il Messaggero, 1.4.1970. [Doc >]
r.f., “Un passaggio obbligato per il giovane regista”, La Repubblica, 5.7.1980. [Doc >]
“Ciclo Astrale”, Computer Music Journal, MIT Press, 16(3) 1992: 15. [Doc >]
“Luciano Momo”, L’Espresso, 12.4.1970. [Doc>]
“In pace con l’Universo”, Momento Sera, 2.11.1968. [Doc>]
“Los directores Sahlan Momo y Amos Gitai hablan en la Filmoteca”, El Pays, 3.3.1983. [Doc>]
“Sahlan Momo”, The New York Times International Edition– International Herald Tribune, 26.2.1977. [Doc>]
… … … Data collection underway … … …
… … …
MAIN SEMAR REVIEWS – GENERAL
Angeli, Mimmo, “Con carta dal cotone libri a lunga durata. Iniziativa di un editore-pittore romano”, Il Corriere Mercantile, 16.6.1989. [Doc>]
Bormann, Gottfried, “Bücher mit Werfallsdatum?”, Allgemeine Zeitung Mainz, 13.10.1988. [Doc>]
Di Giammarco, Rodolfo, “La fabbrica delle parole”, La Repubblica, 25.11.1989. [Doc>]
Mitenzwei, Stefanie, “Momo träumt von alter Zeit”, Mainzer Rhein-Zeitung, 11.10.1988. [Doc>]
Krohn, Rüdiger, “Hat Schreiben überhaupt noch Zukunft?”, Badische Neueste, 10.10.87. [Doc>]
Petrignani, Sandra, “Libridine”, Il Messaggero, 13.10.87. [Doc>]
Zappalà, Antonio, “Il libro, prodotto ‘durevole’”, in De Marginis Sophia (Rome: Semar, 1986). [Doc>]
… … … Data collection underway … … …
… … …
Al. O., “Città che vai editore che trovi”, Millelibri, Mondadori, 10.1991. [Doc>]
“Bücher aus langlebigen Papier”, Wandelhalle der Bücherfreunde. Gesellschaft der Bibliophile (2)1988: 44-67. [Doc>]
“Bücher für 2500 Jahre”, Uldenburgische Volkazeitung, 9.10.87. [Doc>]
“Bücher für 2500 Jahre und Amerikas neuer Karl May”, 9.10.87. [Doc>]
“Che bel libro, è di cotone”, La Repubblica, 30.4.1993. [Doc>]
“Edizioni per la conservazione”, Centro Studi per la conservazione della carta, Milan, (1) 2,1987. [Doc>]
“Il sistema Semar per la conservazione”, Il quotidiano di Foggia, 1.4.1995. [Doc>]
“Internationales Symposium zur Haltbarkeit der im heutigen Verlagswesen verwendeten Werkstoffe, Deutcher Drucker, 31 (6) 1988. [Doc >]
“Resisteranno 2500 anni i libri stampati sul cotone”, La Provincia, 30.5.1989. [Doc>]
“Semar. Visioni dal mondo”, La Rivisteria, Milano, 12.1991. [Doc>]
“Spezialpapier ermöglicht längere Lebensdauer für Bücher”, Allgemeine Papier-Rundschau, 5.10.87. [Doc>]
“Schwefelsäure frisst gedrucktes Kulturgut”, Mainzer, 13.10.88. [Doc>]
“Una carta garantita per 2500 anni”, Il giornale dell’Arte, Allemandi – Mondadori, (41) 1.1987. [Doc>]
“Una casa editrice per l’eternità”, Libertà, 24.5.1989. [Doc>]
“Un sistema Semar per conservare i libri nel tempo”, Il Globo, 29.4.1993. [Doc>]
“Verlangsamter Alterungsprozess bei Publikationen”, Der Druckspiegel (12) 1987. [Doc>]
… … … Data collection underway … … …
… … …
MAIN SEMAR REVIEWS – BOOKS
… … … Data collection underway … … …
… … …
MAIN ENCYCLOPEDIAS & CATALOGUES
Banca dati Compositori Italiani, (Rome: Italian National Music Council – CIDIM).
Bibliography of Art and Architecture in the Islamic World. General Reference Works, ed. Susan Sinclair (Leiden: Brill, 2011).
Catalogo Comanducci, (Turin: Comanducci 1979/’80/’81 etc.).
Catalogo dei Film d’Artista, (Rome: Filmstudio 70) 1980.
Catalogo Nazionale d’Arte Moderna, (Turin: Bolaffi – Mondadori 1977/’78/’79/80/’81 etc.).
Dizionario degli scritti d’artista, (Rome: Magma 1978).
Dizionario degli artisti italiani del XX secolo, (Turin: Bolaffi – Mondadori 1978).
IDEA:Guide international des arts électroniques, (Luton: Chaos, University of Luton Press 1995).
Indómita Luz, Catalogue exhibition (Cuenca, Spain: Fundación Antonio Pérez 2018). [Doc>]
Kompendium Zeitgenössischer Handpressendrucke: Compendium of contemporary hand-press printing. Ed. Heinz Stefan Bartkowiak (Hamburg: H.S. Bartkowiak 1992).
La personne Sahlan Momo (Website. Paris: Centre Pompidou).
Opere dalle collezioni della Galleria Nazionale d’Arte Moderna. ’60-’70. Arte italiana. Percorsi della ricerca. (Roma: De Luca 2007).
Nederaland Intituut voor Kunstgeschiendenis – RKD (The Hague: Website).
Pintura y Escultura de la colección Irene Cábez – Ignacio C. Muñoz, (Cuenca, Spain: Fundación Antonio Pérez 2005). [Doc >]
The Artist and the Book in Twentieth-Century Italy, eds. Ralph Jentsch, Mirella Bentivoglio et. al. (Turin-New York: Allemandi – MoMA 1992: 199). Catalogue exhibition, The Museum of Modern Art (MoMA), New York, 14.10.1992– 16.2.1993. [Doc >]
… … … Data collection underway … … …
… … …
AWARDS
Premio Cultura, Rome, Presidenza del Consiglio dei Ministri, 1988. [Doc>]
Premio Cultura, Rome, Presidenza del Consiglio dei Ministri, 1989. [Doc>]
… … … Data collection underway … … …
… … …
MAIN MUSEA & COLLECTIONS
Bavarian State Library, Munich, Germany.
Calcografia Nazionale [National Institute for the Graphic Art], Rome, Italy.
Galleria Nazionale d’Arte Moderna (GNAM) [National Gallery of Modern Art], Rome, Italy.
Institute of Contemporary Art (ICA), London, GB.
Ministry of Culture, National Cultural Institute, Bologna, Italy.
Museo Arte, Trento, Italy.
Museo della Grafica, Pisa, Italy.
Museum für Kunsthandwerk, Frankfurt, Germany.
Museum of Modern Art (MoMA), New York, USA.
Last updated: June 2023.
References. | 2. Work.
33 Chronological order of topics and related guests speakers: Il Sogno [The Dream], Elemire Zolla; L’Uovo Cosmico [The Cosmic Egg], Mario Piantelli – Crescenzo Fiore; Ursound, Mario Piantelli – Shalom Bahbout; Gli Angeli [The Angels], Shalom Bahbout – Alberto Ventura; La Manifestazione [The Manifestation], Massimo Raveri – Alberto Ventura; La Polarità [The Polarity], Massimo Raveri – Alberto Ventura; L’Anthropos Celeste [The Heavenly Anthropos], Mario Piantelli – Alberto Ventura; L’Eden [The Eden], Crescenzo Fiore – Shalom Bahbut; La Musica delle Sfere [The Music of the Spheres], Antonello Colimberti; L’Anima [The Soul], Crescenzo Fiore – Franco Sivelli; Il Tempo [Time], Massimo Raveri – Alberto Ventura; La Legge [The Law], Massimo Raveri – Alberto Ventura – Shalom Bahbut; La Grande Madre [The Great Goddess], Mario Piantelli – Crescenzo Fiore; La Natura [Nature], Crescenzo Fiore – Franco Sivelli; L’Essere Umano [The Human Being], Sjalom Bahbut – Alberto Ventura; La Nascita [The Birth], Crescenzo Fiore – Franco Sivelli; Il Cibo [Food], Mario Piantelli – Crescenzo Fiore – Shalom Bahbut; I Genitori [The Parents], Shalom Bahbut – Alberto Ventura; L’Infanzia [Childoohd], Shalom Bahbut – Alnerto Ventura; La Amicizia [Friendship], Franco Sivelli – Alberto Ventura; L’Apprendimento / Il Gioco [Learning / Playing], Massimo Raveri – Crescenzo Fiore; La Pubertà [Puberty], Shalom Bahbut – A.lberto Ventura; Il Sesso [Sex], Franco Sivelli – Maurizio Bettini; L’Amore (Love], Mmassimo Raveri – Crescenzo Fiore; Il Matrimonio [Marriage], Shalom Bahbut – Alberto Ventura; I Figli [Children], Maurizio Bettini – Fabio Scialpi; Il Destino [Destiny], Massimo Raveri – Alberto Ventura – Shalom Bahbut; Gli Studi [Education], Massimo Raveri/Crescenzo Fiore; La Società e la Politica [Society and Politics], Mario Piantelli – Alberto Ventura; Autorità e Autorevolezza [Authority and Prestige], Massimo Raveri – Crescenzo Fiore; Il Lavoro [The Work], Massimo Raveri – Alberto Ventura; L’Arte [Art], Alberto Ventura; La Ricerca [The Quest], Fabio Scialpi – Alberto Ventura; Il Digiuno [The Fast], Shalom. Bahbut – Massimo Raveri – Alberto Ventura; Il Viaggio Interiore [The Inner Journey], Mario Piantelli – Alberto Ventura; La Religione [Religion], Massimo Raveri – Shalom Bahbut; Lo Spazio Sacro [The Sacred Space], Massimo Raveri – Alberto Ventura; Il Maestro [The Teacher], Mario Piantelli – Alberto Ventura; L’Iniziazione[The Initiation], Fabio Scialpi – Crescenzio Fiore; Il Misticismo [Mysticism], Massimo Raveri – Alberto Ventura – Shalom Bahbut; La Conoscenza [Knowledge], Fabio Scialpi – Crescenzo Fiore; La Purificazione [The Purification], Massimo Raveri – Crescenzo Fiore; Morte e Post-Morte {Death and After-Death], Alberto Ventura – Crescenzo Fiore; La Reincarnazione [The Reincarnation], Fabio Scialpi – Shalom Bahbut; Il Paradiso [The Paradise], Alberto Ventura – Massimo Raveri.
34 Advisory Board: Feisal Abdul Rauf, Ahmad Akgündüz, Mohamed Aziza [Shams Nadir], Wite A. Carp, Kenneth Cragg, Carl W. Ernst, John L. Esposito, Pinchas Giller, Martin S. Jaffee, Anna Masala, Martinus P. Muskens, Seyyed Hossein Nasr, Giuseppe Scattolin, Awraham Soetendorp, William F. Vendley.
35 Patron, Arvo Pärt. Advisory Board: Laurent Aubert, Gregory Barz, Joep Bor, Massimo Bray, Chartwell Dutiro, Kudsi Ergüner, Scheherazade Hassan, Keith Howard, Nazir A. Jairazbhoy (°), Kaoru Kakizakai, James Kippen, Ton Koopman, Peter L. Manuel, Bruno Nettl, J.H. Kwabena Nketia, Jordi Savall, John M. Schechter, Tran Quang Hai, Sarah Weiss.
36 See related webpage for content list.
37 See the relevant web sections for content list.
