Kristin Jones is awarded a Fulbright Fellowship to Rome to study the role of water in public space.

While on a Fulbright Fellowship in Rome, Jones is struck by the existence of a perfectly rectangular section of the Tiber River between Ponte Sisto and Ponte Mazzini. Curious about the function of the site in antiquity, she asks if it was a water theater.

Kristin Jones and Andrew Ginzel make the first drawings of Piazza Tevere, imagined as the stage for a floating installation on the river.

Kristin Jones and Andrew Ginzel are awarded the first ever collaborative Rome Prize by the American Academy in Rome.

Jones discovers that Piazza Tevere is equal in dimension to Circus Maximus.

Kristin Jones and Andrew Ginzel collaborate with composer Edmund Campion to create 'Ellipsis' on the Summer Solstice at the Acquario Romano.

Kristin Jones first encounters the work of William Kentridge at Documenta X; she is moved by the 'Felix in Exile' film.

Kristin Jones is awarded a research Fulbright Fellowship to further develop her concept of Ephemeral Projects for the Eternal City. The proposal for the Piazza Tevere site, titled 'Trilogy,' includes three elements: wolf animation, Lumin-Essence – floating serpentine form and sound.

Artists Christo and Jeanne-Claude meet with Jones to discuss the Tiber project before she leaves for Rome. They agree to be on the advisory board and encourage her with their own motto: ”Never ever ever take NO for an answer.”

Jones begins her research on the Tiber, meeting architects and university professors Rosario Pavia, Gianfranco Marrucci and Carlo Gasparrini, director of the New City Plan of Rome.

Jones has a first meeting with Rome’s City Planning Office, discussing the revival of the Tiber and the potential of contemporary art to draw the public to the river.

Jones is intrigued by the multiple images of the she-wolf figure while visiting 'La Lupa Capitolina,' the 2000 Jubilee exhibition curated by scholar Claudio Parisi Presicce, at Rome’s Capitoline Museum.

Jones begins to explore the many depictions of the mythological icon of Rome’s origins, as well as processions on Corinthian and Etruscan vases in black figure style. She envisions an animated chronological procession of all the she-wolves throughout art history projected on the walls of Piazza Tevere.

Archaeologist Claudio Parisi Presicce from the Capitoline Museum offers historical oversight on the She-Wolf iconography and shares his archive of more than 300 photographs.

Kristin Jones creates a high-resolution digital archive for the Capitoline Museum in Rome - a collection of she-wolf depictions across art history from the 5th century BC to the 1600s, present in museums throughout the world.

Research begins on the 'Lumin-Essence' project with naval architect Andrea Vallicelli and professor Renzo Piva at the Engineering Department of La Sapienza, University of Rome.

Jones initiates sound, cinematic and fluid-dynamic feasibility studies with William Lenart and Megan Brothers from FTL Happold.

The Kitchen, a New York-based non-profit directed by Elise Bernhardt, becomes the US fiscal sponsor to help develop artistic works inspired by the Piazza Tevere site.

The David W. Bermant Foundation: Light Color Motion become avid supporters of the project and award grant funding for work on 'Lumin-Essence.'

Jones collaborates with architecture student Carlo Maria Ciampoli to create proposal images, drawings and perspectives, illustrating her vision for Piazza Tevere.

Jones and urbanist Rosario Pavia conceive the name 'Tevereterno' for the project.

"New York Artist Wants to Add Life to the Tiber," a Herald International Tribune article by Elisabetta Povoledo, brings the story of Jones’ vision for the Tiber to an international audience for the first time.

Kristin Jones invites William Kentridge to create a project for Piazza Tevere, proposing a she-wolf animation akin to the black panther from his 'Confessions of Zeno.'

Jones and Kentridge visit the Piazza Tevere site, experiencing the looming presence of St Peter’s in front of them and the Synagogue behind. They discuss the possible monumental scale of she-wolf animation projections.

Preliminary concept for Piazza Tevere as a public space for site-specific contemporary art is presented to Giovanni Borgna (Commissioner of Cultural Affairs for the City of Rome) and Eugenio La Rocca (Superintendent of the Beni Culturali of the City of Rome), as well as to the Commissioners of City Planning and Parks/Environment.

Achille M. Ippolito, architecture professor at Valle Giulia, organizes 'Forum Tevere' - a Tiber River conference with many speakers including Kristin Jones.

Jones launches the Tevereterno website (www.tevereterno.it) assisted by architecture students Laura Vellucci and Giovanni Pellicciotta.

With an interest of giving a voice to the river, Jones invites composer David Monacchi to record the Tiber and the fountains of Rome for the creation of a sound composition.

Jones is awarded a workshop fellowship by The Kitchen, creating the first series of preliminary She-Wolf animation studies.

Jones works with electro-mechanical engineer Marty Chafkin to develop a fluid-dynamics model of a floating serpentine form fabricated with LEDs.

'Ombre Perenni,' a collaborative installation-performance is presented at Chiostro di San Pietro in Vincoli, as a test for future projections on Piazza Tevere. Presented are animations by Alberto D'Amico and Alexandro Ladaga with Sylvia Manteiga, and music by Maurizio Martusciello.

Research begins to establish an Italian cultural association (Onlus) for programming on Piazza Tevere. The project is endorsed by the Chamber of Commerce, World Wildlife Fund, Greenpeace, LIPU and Italia Nostra, the City of Rome, Commission for Education, City Planning and Culture, US Embassy in Rome, American Academy in Rome, La Sapienza University of Rome, Marevivo, Legambiente, MACRO (Museo d'Arte Contemporanea Roma).

In the attempt to bring together separate entities for the recognition of Piazza Tevere’s potential, Jones meets with the Departments of Cultural Affairs, Urban Planning, Parks and Environment, National Museum of Contemporary Art and the City Museum of Contemporary Art.

Jones collaborates with architects Giuseppe Marino and Giovanni Caffio to redesign the Tevereterno website.

Jones works with architects of Rome’s City Planning Office: Carlo Gasparrini, Paolo Pineschi and Patrizia Pulcini, to incorporate her concept for Piazza Tevere into the new Master Plan of the City of Rome. She develops her drawings with Raffaella Massacesi (Studio Ippozone).

Rosario Pavia designs Lungotevere Boulevard with Kristin Jones, a proposal for Piazza Tevere’s site improvement.

The Rome City Plan (Piano Regolatore Generale - PRG) directed by architect Carlo Gasparrini is adopted, incorporating Jones’s concept for Piazza Tevere as a cornerstone for the revival of the Tiber.

Jones develops her 'Trilogy' proposal, working with architect Raffaella Massacesi.

Stephen Childress, professor of mathematics at the Courant Institute NYU, works with flow data of the Piazza Tevere site, producing a mathematical analysis of the Lumin-Essence serpentine form.

The Italian National Institute of Naval Architecture (INSEAN - directed by engineer Ulderico Bulgarelli) offers resources, including a flow tank to test fluid dynamic models for the Tiber River.

Gianni Fangucci from the State River Authority (Autorità di Bacino del fiume Tevere - ARDIS) engages boatman Otello Faina to explore the depth and the current of Piazza Tevere with Jones.

Jones tests a section of a model for Lumin-Essence, from a boat authorized by Carlo De Santis from ARDIS.

Jones invites students from the Accademia di Belle Arti to reimagine the She-Wolf, creating an exhibition with their drawings.

'She Shadows,' a second test for future projections on Piazza Tevere, was presented at Chiostro di San Pietro in Vincoli on the Summer Solstice. The program included animations by students from the Istituto Europeo di Design (IED), combined with an original composition 'Romulus + Remus Make a Rukus' by Alvin Curran.

Jones collaborates with illustrator Francesca Fini to create more than eighty she-wolf vector drawings. The figures are transcribed from historical photos in the Capitoline Museum’s digital archive, created by Jones.

Jones presents her vision for Piazza Tevere to Mayor Walter Veltroni, who campaigned with the slogan 'Il Tevere un Fiume da Vivere / The Tiber: A River to Live By,' receiving his enthusiastic endorsement.

Jones invites Philip Glass to compose a piece of music for the Tiber in collaboration with a visual artist. Glass proposes to work with Michal Rovner.

Sound engineer Neil Woodger from the ArupAcoustics studio in Manhattan makes an on site sound analysis in Rome, so as to build a three dimensional acoustical model of Piazza Tevere. Philip Glass experiences a recording of his own music within the model.

ACEA Engineering Fellowships are awarded to three engineering students at La Sapienza, the University of Rome, to work on the fluid dynamics for Lumin-Essence.

Tevereterno Onlus is founded at the law offices of Teseo Sirolli Mendaro on July 27. Members include Kristin Jones, Rosario Pavia, Carlo Gasparrini, Luca Zevi, William Barsanti and Nicole Dupré.

The proposals 'Lungotevere Boulevard' and 'Trilogy' are presented at Forum Tevere, an exhibition with more than 120 architectural proposals for the Tiber’s future revival, hosted by the Ordine di Architetti.

Jones consults with zoologist Luigi Boitani to interpret the posture and mannerisms of the she-wolf figures from the historical sources.

Scholar Claudio Parisi Presicce works with Jones to review the eighty she-wolf drawings and create a selection for the future frieze on Piazza Tevere.

'Biondo Tevere,' a proposed installation of suspended saffron ribbons over the Tiber, is engineered with Riccardo Vannucci. The title refers to the yellow-coloured silt and historic epithet of the river.

Aerial photographer Alex MacLean is granted permission to fly over Rome, photographing the Piazza Tevere site and Circus Maximus.

Kristin Jones returns to NYC to experience Christo and Jeanne-Claude’s ‘The Gates’ in Central Park. For this occasion, the New York Sister City Program invites public art representatives for a conference where Jones meets architect Maurizio Anastasi, representing Rome. Discussing nature in the heart of the city, with Central Park and Piazza Tevere in mind, they agree to work together and make things happen in Rome.

Jones returns to Rome more determined than ever. While observing city workers power-washing mud into the Tiber after flooding of the river walkway, Jones has an ‘epiphany’ about creating images by simply cleaning the travertine embankment walls.

Jones has a series of meetings with stone restorers in Rome. The answer for creating she-wolf figures by cleaning the Tiber embankment walls with high pressure hot water, appears during a conversation with restorer Tony Siegel on Ponte Sisto - observing the city workers removing graffiti from the surface of the bridge.

With the essential impetus of architects Erika Kruger and Dylan Hazelhurst, and coordinator Gaia Cianfanelli, Jones presents a proposal to the City of Rome to celebrate Rome’s birthday. The idea is to power-wash a parade of historical she-wolves along the right bank of Piazza Tevere.

Working with Kruger and Hazelhurst, the very first test was created by simply cutting out a small figure from a plastic bag and cleaning around it by hand with an abrasive pad.

The second test, coordinated by Gianfranco Lucchino and his team from Step Srl, involved removal of the weeds from the cracks on the wall and the involvement of AMA to power-wash the wolf stencils.

'She Wolves on the Tiber' - a frieze of twelve grand historical she-wolf figures was created by power-washing the right bank of high travertine walls at Piazza Tevere. Created in partnership with AMA Roma S.p.A. and the support of ACCUPIE and Olivetti Foundation.

'Solstizio d’Estate,' Tevereterno’s inaugural project on Piazza Tevere, celebrates the opening of the She Wolves frieze by Kristin Jones, with the illumination of 2758 candles (coordinated by Daniel K. Brown) and a musical performance with five choirs directed by Roberto Lanieri. Scores of volunteers were involved in the production of the opening event.

Tevereterno collaborates with architect Maurizio Anastasi to write a Memorandum of Understanding (Memoria di Giunta), bringing together Rome’s Commissioners of Culture and City Planning, as well as the multiple agencies that manage the Tiber River.

Kristin Jones works with Jee Hyun Yoo and Ji Hyun Song, students from the California Institute of the Arts, to create the first she-wolf animations from the vector drawings.

'Ombre dal Lupercale' was a night long program with six composer/artist pairs presenting ambient sound compositions and wolf animations, projected along Piazza Tevere’s embankment wall; 1,400 candles lit the water’s edge and four choirs directed by Roberto Laneri initiated the program.

Commissioner Roberto Morassut signs an agreement with the City of Rome and the Authority of the Tiber Watershed, to work together towards the revival of the Tiber.

Tevereterno Onlus holds a board meeting to celebrate the 2006 program and plan for the future, thanking Annamaria Granatello and Pasquale Pesce for their essential contribution.

Walking along the Tiber in the early mornings, Kristin Jones would often meet eel catcher Goffredo Delle, who recounted stories of the volume of eels caught across a lifetime. The two Delle brothers, 'Anguillarini' from Anguillara, experienced the decline of the Tiber from within.

The Memorandum of Understanding for Piazza Tevere is signed by a large convocation of City of Rome departments in November 2006.

Jones presents her artistic concept for Piazza Tevere as a free public space for contemporary art at Rome’s City Hall, in the context of La delibera del 2%.

At 'Jenny Holzer - For the Academy' scrolling projections of texts are cast along the entire length of Piazza Tevere’s right bank, exploring love and hate, peace and war. The program is produced in partnership with the American Academy in Rome and sponsored by FLOS lighting.

'Flussi Correnti' is a program with multiple elements: the sunset lighting of 2,000 candles; an immersive sound system designed by David Monacchi, amplifying compositions performed by Roman ensemble Ars Ludi; a concert of environmental sound recordings; and 'Luminalia,' a serpentine line of 1,000 candles floating on the river’s surface.

On March 26, the Italian Cultural Institute in NYC hosts a presentation titled 'Tevereterno: an urban project towards the revival of the Tiber River in Rome through contemporary art.' Artists Christo and Jeanne-Claude join Kristin Jones for the event, along with Gennaro Farina, a representative of Rome’s Department of City Planning, Carter Craft, the director of the Metropolitan Waterfront Alliance, and Luca Bergamo, the director of Local Forum and an honorary member of Tevereterno. Philanthropists Dorothy and Lewis Cullman host a reception.

Jones/Ginzel studio intern Diane Roehm joins Jones in Rome that summer, resulting in an essential long-term collaboration to develop Tevereterno’s concept and programming.

'She-Wolves: from Tiber to Hudson' is a special three-day program in New York, featuring compositions and animations created for the Tiber River in Rome ('Ombre dal Lupercale' 2006) and transposed to three downtown Manhattan sites on the Hudson River: Castle Clinton, the South Street Seaport and South Cove in Battery Park City. The program is produced in partnership with the River to River Festival (NYC).

The City Plan of Rome (Piano Regolatore Generale - PRG), including Kristin Jones’s concept and drawings of Piazza Tevere, is confirmed and approved by Mayor Walter Veltroni.

Rome’s City Planning Office team works with Jones and young architect Leonardo Baglioni to build a 3D model of the Piazza Tevere site.

Kristin Jones returns to New York to resume her studio and public art practice and further develops her own artistic ideas for the Tiber River site Piazza Tevere. Her vision for the potential of the site evolves into 'Twelve Proposals for the Tiber' drafted by architect Carlo Maria Ciampoli.

Jones develops a proposal for basic infrastructural improvements to promote public use of the Piazza Tevere site.

Jones works with Peter Kruty Editions in Brooklyn to produce 'She-Wolf as Shape of Time' - a series of 12 letterpress prints of she-wolf figures from the 2005 frieze, created from the vector drawings.

'Trilogy' is a celebration of Rome’s birthday in three parts, featuring: an exhibition of the 12 she-wolf prints in the Sala della Lupa at the Capitoline Museum; animations by Jones and Daniel K. Brown projected on Michelangelo’s famous museum facade; and Jones’ 'Wolflight,' an installation of more than 100 silver wolves on Piazza Tevere.

'She Wolves for Bosco Parrasio' is an iteration of Jones’ evolving she-wolf series. A procession of these figures encircles the elliptical garden of the 'Parisian Grove' on the Janiculum, the summer meeting place of the Arcadian Poets. The installation is a gift to Sandra Carraro for her generosity and support of the Tiber project.

At La Biennale di Venezia, Kristin Jones presents the concept for Piazza Tevere as a future oasis for culture and nature, participating in 'AILATI, Reflections from the Future,' the Italian Pavilion of the 12th International Architecture Exhibition curated by Luca Molinari. Architect Giuseppe Marino collaborates with Jones to create digital renderings and video documentation for the artistic proposals.

'Riflessi' and 'Fluviale,' proposals for the Gaggiandre di Sansovino and the Rio del’Arsenal, are presented at the Italian Pavilion at the Venice Biennale. The proposed installations include projected animations (developed by Kristin Jones and Daniel K. Brown with Johann Nortje) and live immersive sound (original music compositions by David Monacchi and Walter Branchi).

Urban place-maker Robert Hammond and composer Lisa Bielawa work in collaboration with Jones to produce 'Chance Encounter' on the Tiber. The work is presented in partnership with the American Academy in Rome (AAR) and MAXXI - Museo delle arti del XXI secolo, facilitated by Pino Fortunato. Thousands of people were drawn to the Piazza Tevere site to experience the project.

Tevereterno is recognized within UNESCO’s Management Plan for the city of Rome as an exemplary pilot-project, and acknowledged as critical to the dynamic renewal of the Tiber River.

William Kentridge and composer David Monacchi meet at Piazza Tevere, to discuss the possibilities of an immersive sound system for a future performance at the site.

Principessa Maria Camilla Pallavicini hosts a lunch at Palazzo Pallavicini, to encourage Kentridge and his future project for Rome, attended by many, including Rome’s former mayor Francesco Rutelli.

Kristin Jones meets William Kentridge at his Norton Lecture series at Harvard University. She transforms her invitation for creating a she-wolf animation into a proposal for a processional frieze at the Piazza Tevere site, across the full length of the travertine wall. This time, Kentridge agrees.

Jones builds a research team for the collaboration with Kentridge. Italian artists and researchers, Sara Spizzichino and Andrea Biagioni, explore the imagery of the tragedies of Rome in WWII. The theme quickly expands to include all the tragedies and victories of the city, its 'Triumphs and Laments.'

The first workshop with Kentridge’s and Jones’ teams takes place at the American Academy in Rome (team members: Philip Miller, Yoav Dagan, David Monacchi, Giuseppe Marino, Giovanni Caffio, Sara Spizzichino, Rivka Spizzichino, Andrea Biagioni).

Shadow and video projection tests for 'Triumphs and Laments' are done on Piazza Tevere.

Valeria Sassanelli, vice president of Tevereterno, submits a permit request to the City of Rome for 'Triumphs and Laments.'

Invited by Jones, 'WaterFire Roma,' Barnaby Evans’ signature work, takes place on the Piazza Tevere site with thirty floating bonfires burning from sunset to midnight, and a performance choreographed by Linda Foster. The program is produced in partnership with WaterFire (Providence), Fortunato Productions and GTECH.

Dr. Lila Yawn from John Cabot University joins 'Triumphs and Laments' as a curator of historical research, involving students in a research seminar for the frieze.

Tevereterno submits a request to the Lazio Region for a 20-year permit to present free public programming on Piazza Tevere.

Professor Giulia Caneva from Roma Tre University joins the project to contribute in the research for the power-washing technique and removal of plants from the embankment wall. She is a specialist in biological deterioration of stone, has researched and published on the black patinas of the Lungotevere.

Full scale stencils are created by a team of Tevereterno volunteers from Kentridge’s preliminary drawings for 'Triumphs and Laments,' at the studio of Roberto Malfatto.

Power-wash tests with the stencils are carried out upstream on the right embankment wall at Ponte Margherita coordinated by Gianfranco Lucchino of Step Srl and Massimo Peroni with his team from La XIII Cooperativa Sociale Onlus.

Jones and the research team work with Giuseppe Marino to build a digital timeline for 'Triumphs and Laments.'

Kristin Jones produces a workshop with William Kentridge and composer Philip Miller, to develop music and visuals for 'Triumphs and Laments' for Piazza Tevere. Isabelle Binet (assisted by David Valente) and Paolo Rocca assemble a group of diverse local musicians to engage in a series of musical experiments. Kentridge and Miller explore the theme of Rome’s greatest victories and worst defeats throughout history, with a preview event titled Kentridge Live a Roma at MAXXI’s outdoor plaza.

On site tests are carried out at Piazza Tevere to explore shadow and musical processions for 'Triumphs and Laments.'

Rome's Department of Sanitation (AMA) conducted a final test to confirm the equipment and pressure for realizing the proposed 'Triumphs and Laments' frieze figures. The process was documented by Stephen Natanson and Gianfranco Lucchino.

TEDxRoma (Teatro Olimpico) - Jones presents her dream for Rome and ongoing efforts to establish Piazza Tevere as an oasis for culture and nature. William Kentridge joins her on stage in a video presentation of 'Triumphs and Laments.'

Jones works with professor Lila Yawn and students at John Cabot University to confirm the collected images and texts for 'Triumphs and Laments.'

'The Kermesse' is an experimental drumming event on Piazza Tevere, conceived by Isabelle Binet at the invitation of David Monacchi and Kristin Jones, involving numerous percussion groups and Roman music schools. The event is produced in partnership with Open House Rome.

After much opposition and three years of debate, including the involvement of many professionals as advocates, The National Ministry of Culture finally grants the permits for 'Triumphs and Laments.' As a result, Kentridge is invited to show the preparatory drawings for the project in the Italian Pavilion at La Biennale di Venezia.

William Kentridge involves THE OFFICE performing arts + film, a New York company, to produce 'Triumphs and Laments.'

In August, Jones travels to Johannesburg to work with Kentridge on the layout of the figures for the 'Triumphs and Laments' frieze.

In September, the Lazio Region grants Tevereterno a 20-year permit to create free public programming on the Piazza Tevere site. This is achieved with the tenacity and dedication of Valeria Sassanelli, vice president of Tevereterno.

Kristin Jones visits Christo's studio in NYC, exchanging best wishes for the upcoming projects in Italy.

Alba Clemente hosts a reception in NYC for Tevereterno to cultivate support and promote 'Triumphs and Laments.'

Tevereterno’s member Emma Tagliacollo is appointed as the Volunteer Coordinator for 'Triumphs and Laments,' recruiting and organizing more than 300 volunteers for the opening event.

The 'Triumphs and Laments' frieze is power-washed on Piazza Tevere’s right embankment wall by Step Srl, directed by Gianfranco Lucchino and coordinated by Tiziano Fario. The frieze, with more that fifty figures revealed from the biological patina across 560 meters of the travertine wall, explores dominant tensions in the history of the Eternal City from mythological time to present.

A comprehensive exhibition of Kentridge’s preparatory work for 'Triumphs and Laments' is presented at Rome’s Museum of Contemporary Art (MACRO). The exhibition including charcoal and ink drawings, ‘cut outs’ and frieze mock-ups, is made possible by Lia Rumma Gallery, directed by Paola Potena.

Valentina Moncada di Paternò hosts a celebratory gathering for the musicians, artists, performers and the project team.

The opening program of 'Triumphs and Laments' is directed by Kentridge, with original music by Philip Miller and Thuthuka Sibisi, featuring two opposing musical and shadow processions that converge against the backdrop of the frieze. More than 30,000 people attend.

The 'Young Composers Commission (YCC),' conceived and directed by David Monacchi and produced by Kristin Jones, invites six emerging Italian composers to create spatial site-specific compositions for Piazza Tevere. The compositions are performed on the 32-channel sound system created for 'Triumphs and Laments.' The event is produced in collaboration with Conservatorio Statale di Musica Gioachino Rossini and Conservatorio di Musica Santa Cecilia – Roma.

'Essere,' a site-specific installation by Kristin Jones, includes a helical form entwined in a monumental wisteria vine, guarded by a silver She-Wolf. The elements are set in a narrow passageway situated within the ancient heart of Trastevere in Rome. The work was part of Divinazione, a group of artistic interventions and an exhibition curated by Andrea Fogli.

Jones exhibits a large-scale graphic panel documenting and celebrating artistic programming and 20 years of groundwork to establish Piazza Tevere as a destination for contemporary art. The panel also includes a proposal for future infrastructural improvements of the site. The work is displayed as part of a group exhibition titled 'TRASTEVERE: Intrecci d’arte e di vita,' curated by Andrea Fogli, at the Museo di Roma in Trastevere.