preferably on heavy paper;
I have a monochrome laser printer at home, I guess most people have an inkjet color printer at home – better.
with a letter opener or with a knife with a smooth blade not very sharp, mark all folding lines ( the red lines in drawing 2 – map cutouts and folds)
with a pair of good paper scissors or with a cutter, helping yourself with a ruler (follow the black lines of drawing 2 – map cutouts and folds)
starting from the two separate bodies B and C. A solvent glue type UHU would be preferable in order not to stain the ink and not to deform the paper.
If you only have water-based glues, be very thrifty, because putting too much of it would damage the paper, be very careful to avoid the risk of stains.
The loctite attak is also very good but be careful not to glue your fingers.
Eugenio Giliberti (Naples 1954) made his debut in the 1980s by animating a group of young Neapolitan artists (Evacuare Napoli) who participated in the then prevalent phenomenon of rediscovery and return to painting.
His research took a decidedly personal direction starting from 1987, when, with the first monochrome surfaces, he developed the foundations of a poetic building autonomous from the closest environment. The culmination of this segment of his research (1996) is the work called “seicentottantamilaquattrocento quadratini colorati” (ThE Gallery, Naples – 1996; Occurrence Gallery, Montreal – 1998; Ludwigsburg Kunstverein – 2001; Galleria Milano, Milan – 2006, Castello di Genazzano, 2013.
Followed by: “Platonic objects” (in “Italian sculpture of the 21st century”, Fondazione Arnaldo Pomodoro, Milan, 2010); LP- political work (in “Castelli in aria”, Museo di Castel Sant’Elmo, Naples – 2000; “futurama”, Museo Pecci – 2000, “curriculum vitae”, Museo di Castel Sant’Elmo, Naples – 2003).
In 2006, he moved to the countryside and founded “Selve del Balzo”, a small production community that processes the wood produced from the surrounding woods and, if necessary, helps him in the production of his works. The result is a new series of works, presented in solo exhibitions dedicated to him at the Galleria Giacomo Guidi in Rome (2008 -Working Class; 2010 – Il senso di Walden).
Constant in his exhibition activity is the attention to the host place. For some years now, in fact, in every new exhibition situation, Giliberti has been doing a sort of homage to the place, collecting news and testimonies about it and making small reproductions in wax or plasticine to be exhibited, together with the other works, right in the place reproduced: containers / content, gestures of “good manners” that constitute a further cycle of work, autonomous but perfectly integrated into the overall discourse of the work and to whose collection an entire exhibition was dedicated in 2008. (in “la meccanica della meraviglia”, Darfo Boario Brescia, curated by Mauro Pansera). He returns to the subject in “Bisbigli nelle stanze di Aurelia”, a solo exhibition in the Ducal Palace of Martina Franca curated by Angela Tecce (2012) and in the anthology “ho le mani impegnate sto pensando”, curated by Claudio Libero Pisano at the Ciac (Genazzano, Castello Colonna 2013), where he exhibits for the first time works belonging to a new cycle “Data Base”, dedicated to the ancient apple orchard in which his studio – masseria di Rotondi is located. Recent solo exhibitions (Capri – Museo Cerio, 2017; Pollica – Castello Capano, 2017) give an account of the evolution and complexity of the “data base” project to which the great axonometry of the Varco apple orchard also belongs, exhibited in “rendez – vous des amis” (2015 Fondazione Burri).
Orto Civile was a participatory art project focused on the relationship between care of the land and food, city and countryside, “modern” tradition and “innovative rediscoveries”. With the Matronage of the Donnaregina Foundation involved more than 60 Neapolitan families in the reactivation of the “small rural system” of the Masseria Varco in Rotondi.
But Orto Civile is also the name that today encapsulates all the poetics of the artist who, while from his residence in Rotondi launches the “minimal memory bank”, a project of writing a minor history, through the digital archiving of private correspondence collected with the collaboration of administrations, individuals and associations in the Caudino area, is engaged in Naples in the realization of a complex work of public art “voi siete qui – vico Pero – Giacomo Leopardi – Progetto di artista abitante” produced by the galleries Intragallery and Dafna and the Morra Foundation with the adhesion of the Municipality of Naples, III Municipalità del Comune di Napoli, Accademia di Belle Arti di Napoli, Istituto Nazionale di studi Leopardiani, Museo Madre. His last solo exhibition “indici-case-volo” (Intragallery – Naples 2019), second step of “progetto di artista Abitante”.