Art historian, curator and author of multiple publications, Marcella Beccaria is Chief Curator and Curator of Collections at Castello di Rivoli Museo d’Arte Contemporanea. Following a degree in Art History and Criticism at the Faculty of Literature and Philosophy at Università di Torino, Beccaria completed an MA in Art History and Museum Studies at the Graduate School of Arts and Science, Boston University, Boston. Beccaria started her museum curatorial work in the United States at the Museum of Fine Arts Boston and she later worked at The Institute of Contemporary Art, Boston. At Castello she developed and valorized the permanent collection and she organized numerous exhibitions including Claes Oldenburg Coosje van Bruggen (2006), Una stanza tutta per sé (2008), Vito Acconci (2010), La storia che non ho vissuto (testimone indiretto) (2012), Marinella Senatore (2013-14), Jan Dibbets (2014), Gilberto Zorio (2017), Nalini Malani (2018). Additional co-curated exhibitions include L’emozione dei colori nell’arte (2017) and the monographs on Giovanni Anselmo (2016) and Wael Shawky (2016). Beccaria authored many catalogs, for example the first monographs about Roberto Cuoghi, Yang Fudong, Francesco Vezzoli, and she edited several books about Castello’s collections. As a writer, she also collaborated with magazines such as “Parkett” and “Flash Art”, and she published with museum institutions including La Biennale di Venezia, Venezia; Guggenheim Museum, New York; Museu Serralves, Porto; Stedelijk Museum, Ghent; Istanbul Biennial; Kunstmuseum Winterthur; FRAC Champagne-Ardenne, Reims; SAM-Singapore Art Museum, Singapore. She also authored Olafur Eliasson, the monograph published by Tate, London. She is a member of the Directing Committee of AMACI.
Carolyn Christov-Bakargiev to receive the 2019 Audrey Irmas Award for Curatorial Excellence
Carolyn Christov-Bakargiev, Director of Castello di Rivoli Museo D’Arte Contemporanea and Fondazione Francesco Federico Cerruti, has won the CCS Bard Award for Curatorial Excellence, which celebrated the outstanding achievements of a leading curator whose ” bold vision” has “shaped the way we conceive of exhibition-making today.” Prior awardees include Harald Szeeman, Lucy Lippard, Catherine David, and Sir Nicholas Serota.
Steyerl’s work focuses on the role of media, technology and the circulation of images in the era of digital nativism. For the exhibition at Castello, Steyerl will present the new sound and video-based multimedia installation The City of Broken Windows (2018), stemming from research into the practices of Artificial Intelligence industries, surveillance technologies and the contradictory roles Museums often play today.
Winner of the illy Present Future Prize 2017, Cally Spooner presentS a new work created specifically for this museum, which explores how our subjectivity and our own bodies are the object of continuous changes dictated by our technological condition.
Writer and philosopher Eric Sadin comes to speak for the first time in Italy about the impact of technology on economics, politics and individuality. He will present his first published book in Italian World Siliconization. The irresistible expansion of digital liberalism (Einaudi, 2018), and will offer a preview of his latest publication L’Intelligence artificielle ou l’enjeu du siècle. Anatomie d’un antihumanisme radical, available in Italy from 2019.
Walkie Talkies by Lauretana November 4, 3:30 pm Walkie Talkies stand, Artissima
Marcella Beccaria, Chief Curator at Castello di Rivoli and Renata Novarese, collector and President of Amici del Castello di Rivoli, will lead a guided tour structured as an informal dialog through the stands at Artissima. The visit will be held in Italian.
Curator, researcher and scholar Carolyn Christov-Bakargiev (1957, Ridgewood, New Jersey) is director of Castello di Rivoli Museo d’Arte Contemporanea and of Fondazione Francesco Federico Cerruti. She holds a visiting professorship at Northwestern University, and has taught at the University of Leeds, at the Goethe Universität Frankfurt Am Main and at Harvard University. Christov-Bakargiev was born in the United States from a Bulgarian father and an Italian mother and she returned to Italy to conduct her studies in Literature and Philosophy at the universities of Genoa and Pisa. She began her career in the arts writing reviews for the magazine Reporter and for the newspaper IlSole24Ore. Friendships with artists in Italy and internationally, including William Kentridge, Alighiero Boetti, Pierre Huyghe, Francis Alÿs, Mario and Marisa Merz, and Jannis Kounellis, propelled her curatorial work. Following a period at Villa Medici where she curated summer exhibitions (1998-2000), she served as Chief Curator at P.S.1 Contemporary Art Center affiliated to MoMA in New York. Amongst many other projects, at PS1 she organized the groundbreaking survey of Janet Cardiff’s work. In 2002 she returned to Turin to work at Castello di Rivoli upon invitation of its former director Ida Gianelli. In 2008 she curated the Sydney Biennial, followed by dOCUMENTA(13) in 2012, and the 14th Istanbul Biennial in 2015. The following year she returned to Turin where, until 2017, she directed both GAM Galleria Civica d’Arte Moderna e Contemporanea and Castello di Rivoli Museo d’Arte Contemporanea. Amongst her major publications is the monograph Arte Povera (London, Phaidon Press, 1999).
Cauleen Smith A screening of Smith’s works in the context of the discussion on violence against women November 17, 4 pm Theater
For the first time in Italy, renowned American artist and filmmaker Cauleen Smith will present a selection of her video works.
“The violences perpetrated against cis-gendered women throughout the world emerge from conditions and circumstances directly related not only to gender but to race and class as well. I can discuss these conditions as they relate to the history of sexual violence in North America. However, in the United States, violence against African American women cannot be uncoupled from violence against African American men. Black feminism does not separate the violences enacted through the deployment of capital growth. A crucial source for my lecture is The Combahee River Collective Statemen penned in 1977 by a group of African American women scholars.”
Cauleen Smith (born Riverside, California, 1967) is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, third world cinema, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Her films, objects, and installations have been featured in group exhibitions. Studio Museum of Harlem, Houston Contemporary Art Museum; Yerba Buena Center for Art, and the New Museum, New York, D21 Leipzig and Decad, Berlin. She has had solo shows for her films and installations at The Kitchen, MCA Chicago, Threewalls, Chicago. She shows her drawings and 2D work with Corbett vs. Dempsey. Smith is the recipient of several grants and awards including the Rockefeller Media Arts Award, Creative Capital Film /Video, Chicago 3Arts Grant, and the Foundation for Contemporary Arts, Chicago Expo Artadia Award, and Rauschenberg Residency. Smith was born in Riverside, California and grew up in Sacramento. She earned a BA in Creative Arts from San Francisco State University and an MFA from the University of California, Los Angeles School of Theater Film and Television. Smith lives in Los Angeles and faculty in the Art Program at California Institute of the Arts.
Milovan Farronato Between truth and fabrication: Chiara Fumai’s ‘disturbing’ muses Carolyn Christov-Bakargiev On Medea, Mothers and Cruelty December 8, 4 pm Conference Room
Entry is free for museum ticketholders (full price 8.50 €- concessions 6.50 €). Members of Torino Musei, Torino Piemonte Card and journalists are offered the reduced rate of 6.50 €
Curated by Nalini Malani and Carolyn Christov-Bakargiev Thanks to Nicoletta Fiorucci for making this program possible
Workshop for the training of performer pianists
October 2018 – January 2019 Application deadline: September 30th 2018
The Castello di Rivoli Museo d’Arte Contemporanea is launching a free workshop for pianists who want to be involved in the presentation of the performance Stop, repair, prepare: variations to the Hymn of Joy for a modified piano (2008) by Jennifer Allora & Guillermo Calzadilla, part of the Museum’s Collection.
Allora & Calzadilla have been collaborators since 1995, they have exhibited in some of the most important museums in the world and in 2011, they represented the United States at the Venice International Art Biennial. The artists’ practice is concerned with the relationship between the work of art as an object and its cultural meaning, focusing on themes such as ecology, democracy and communication. Seeking the active involvement of spectators, their work involves the use of multiple media including installation, sculpture, music and performance. Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano brings together several of these elements. The performance requires a pianist to play a Bechstein piano with wheels, modified with the creation of a hole. Through this hole, the pianist plays the Ode to Joy, 4th movement of the IX Symphony by Ludwig van Beethoven, moving the piano through the exhibition space during the performance. Combining the performative intervention with the idea of the ready-made, Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Pianocreates a mise-en-scéne about the complex variations and ambiguous mutations that History imposes. The Ode to Joy, chosen by the EU as the symbol of cooperation and brotherhood since the seventies, is also evocative of other events, such as the inauguration of the Haus der Kunst in Munich by the Nazis. In fact, the work was first conceived by Allora & Calzadilla for their exhibition at the Haus der Kunst in 2008. Their intention for the work has been for each pianist who interprets it, each visitor who experiences it, and each the place that hosts it, to modify the work, subject to personal interpretation and context.
The workshop A maximum of 7 pianists will participate in a free workshop held by Luca Ieracitano, who has performed the work since 2011. Some of the participants will be chosen as performers for the exhibition CastellodiRivoli@OGR.1-Heart of Darkness curated by Marcella Beccariato inaugurate at the OGR-Officine Grandi Riparazioni on February 1, 2019. The workshop will take place over a period of three months (November 2018 – January 2019) in a non-continuous manner, according to the following program:
– November and December: during the first phase of the workshop each candidate will be invited to attend two lessons of about 60/90 minutes (about one lesson per month). The lessons will focus on musical aspects, using a digital piano and not the work of art. – January: the second part of the workshop will also be comprised of two lessons for each candidate, plus a third one for those selected to perform at OGR-Officine Grandi Riparazioni. During this phase of the workshop the pianists will be able to practice on the actual work of art.
Specific dates will be coordinated between each participant, the Castello di Rivoli Museo d’Arte Contemporanea and Luca Ieracitano.
What will be played The performance, lasting 20-25 minutes, is based on the 4th movement of Beethoven’s IX Symphony, rearranged and adapted to be performed on the piano by Allora & Calzadilla. Each pianist who replies to the call will be asked to compose his own rearranged version of the last movement of the Beethoven’s IX Symphony, using the solo piano version by Franz Liszt as a starting point. In the video introduction required to apply, candidates will need their own digital piano, which will also be necessary for the first section of the workshop.
By clicking HERE you may download Franz Liszt’s piano script for your reference.
How to participate Candidates must send a CV and a video file of 12/15 minutes in which they interpret the score attached on a digital piano, following the schedule below.
– 30th September: deadline for submitting the application for participation – 25 October: communication of selected participants
Useful tips for the video – Take into consideration the conditions that you will encounter in the performance: the perforated piano places your body at a distance from the keyboard (distance hole / keyboard 40 cm, keyboard / arm distance 20 cm, keyboard / floor distance 70 cm). The uncomfortable position increases the difficulty of the performance. – Candidates must possess physical qualities that allow them to play. The hole has a diameter of about 38 cm, and the performer must fit into it. – The keys that go from D3 to F5 included (central C = C4) are without strings, because of the hole. The arrangement must therefore NOT use that region of the keyboard (those keys can however be used as a percussive element on the piano); – The arrangement includes margins for improvisations and personal insertions. However, these inserts must always be consistent with the original score. Simplifications and reductions are allowed, due to both the position and the lack of the aforementioned notes. The arrangement must however contain ALL the main points of the original piece. – The performance also includes the direct use of the tailpiece. This aspect will be dealt with directly during the workshop. – The performance includes a choreography, which will require you to make movements, moving the piano with your body while playing.
Examples of the performance Click HERE to see a video of the performance held at the Castello di Rivoli, 2008. Click HERE to see the video of the performance at Fondazione Trussardi, Milan, 2013:
Please send your application no later than September 30th to: Luca Ieracitano: email@example.com
In CC: Chiara Bertola: firstname.lastname@example.org Elena D’Angelo: email@example.com
Dear visitors, due to an internal activity of the Museum on July 3 and July 4 some rooms of the Castello building will be closed. Sorry for the incovenience. For that reason the rate of the museum will be reduced.
2 Tickets for 1
Sorry, this entry is only available in Italian. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.
Il Castello di Rivoli Museo d’Arte Contemporanea, in collaborazione con il Salone Internazionale del Libro di Torino, propone a tutti i visitatori della manifestazione la possibilità di visitare il Museo in due pagando un solo biglietto.
In occasione della 31° edizione del Salone Internazionale del Libro Un giorno, tutto questo, che si terrà presso il Lingotto Fiere dal 10 al 14 maggio prossimi, tutti coloro che acquisteranno un biglietto del Salone presso le biglietterie del polo fieristico riceveranno in omaggio un voucher che consentirà a due persone di visitare il Castello di Rivoli, la Collezione permanente e le mostre Metamorfosi: e se potessi essere un fiore? e Giorgio de Chirico. Capolavori dalla Collezione di Francesco Federico Cerruti pagando un unico biglietto al posto di due.
Per avere diritto alla promozione, il voucher dovrà essere consegnato alla biglietteria del Castello di Rivoli.
La promozione è valida fino al 1° luglio 2018.
Residency for Curators
The CRRI, Castello di Rivoli Research Institute, in collaboration with the Moraes-Barbosa Collection in São Paulo, is pleased to announce the new International Quinquennial Residency Program for Italian curators who want to research the Brazilian cultural scene.
The program focuses on the interaction with the local artistic community and the Brazilian intellectual field and offers the opportunity to be in residence in one of the most stimulating and complex cities of Latin America.
The first guest of the residency program is Marianna Vecellio, Curator at Castello di Rivoli, who will be staying in São Paulo in May 2018.
The call for the 2019 residency award will be published on the museum’s website in the fall and the winner will be selected by a jury of experts by the Moraes-Barbosa Collection and by the Castello di Rivoli Museum.
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