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DTSTART:20190331T010000
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DTSTART;TZID=Europe/Rome:20200328T180000
DTEND;TZID=Europe/Rome:20200328T193000
DTSTAMP:20260611T010821
CREATED:20200110T104128Z
LAST-MODIFIED:20200110T104128Z
UID:105200-1585418400-1585423800@www.castellodirivoli.org
SUMMARY:Roberto Antonetto. The furniture of the Cerruti Collection
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/roberto-antonetto-the-furniture-of-the-cerruti-collection/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/01/A293-2-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200418T180000
DTEND;TZID=Europe/Rome:20200418T193000
DTSTAMP:20260611T010821
CREATED:20200110T104444Z
LAST-MODIFIED:20200110T104444Z
UID:105202-1587232800-1587238200@www.castellodirivoli.org
SUMMARY:Giorgina Bertolino. Felice Casorati from Cerruti Collection
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/giorgina-bertolino-felice-casorati-from-cerruti-collection/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/01/A81_CASORATI-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200602T150000
DTEND;TZID=Europe/Rome:20200602T210000
DTSTAMP:20260611T010821
CREATED:20200528T090756Z
LAST-MODIFIED:20251125T120226Z
UID:105220-1591110000-1591131600@www.castellodirivoli.org
SUMMARY:Public presentation of the artwork Fifty-six Names by Marco Bagnoli
DESCRIPTION:On the occasion of the Festa della Repubblica\, next Tuesday June 2\, 2020 the Castello di Rivoli Museo d’Arte Contemporanea will open extraordinarily to the public from 3 pm to 9 pm. \nOn June 2\, visitors will be able to return to admire Marco Bagnoli’s Cinquantasei nomi (Fifty-six names\, 1999-2000). The artwork is set up outside the Castello in the ancient decagonal basin made in 1868 to celebrate the inauguration of the aqueduct in the city of Rivoli. \nThe 56 rods from which the water spurts\, similar to thin bamboo canes and five meters high\, are painted in blue and red and have been made of anodized aluminum with the contemporary technique of “lost foam” which originates from the ancient method of “lost wax”\, used to produce statues in bronze. \n“The work designed by Bagnoli\,” states Marcella Beccaria\, Chief Curator and Curator of Collections of the Museum\, “is composed by canes arranged in ‘quincunx’\, the arrangement in parallel rows staggered by half a step\, similar to the number five in the dice. Unit of measurement used since the time of the ancient Romans\, the quincunx corresponds to the fraction 5/12\, as indicated by the eponymous Latin word\, given by quinque ‘five’ and uncia ‘ounce’\, submultiple that indeed represents the twelfth part of a unit. In its visual form\, the quincunx is composed by a ‘V’\, five in Latin\, duplicated and upturned at the corner\, so to form the letter ‘X’. Currently adopted in arboriculture to arrange various types of plantations in a geometric shape\, the pattern of the quincunx can be traced back to ancient times. Already used in the Gardens of Babylon and perhaps by Noah after the Flood\, the quincunx could even descend from the arrangement of trees in Paradise\, which literally means garden. In nature\, the quincunx can be found in the structure of leaves\, flowers and seeds of tree species. Applications of the quincunx included the layout of military formations among the Macedonians\, the Greeks and the Romans\, and is also traceable in some ancient town planning\, in architecture\, in chess-board games\, and even in the Labyrinth of Crete\, as told by Sir Thomas Browne in The Garden of Cyrus\, a scholarly volume on the subject published in 1658. \nIntentionally\, Bagnoli’s work embraces these infinite references\, and the X-shaped structure at the basis of the work can be interpreted in relation to the formula SPACE X TIME which summarizes the artist’s research.” \nBiography\nAfter a scientific education and a degree in chemistry\, Marco Bagnoli (Empoli\, 1949)\, starts to work as an artist in the 70s. His important international exhibitions include Venice Biennale (1982\, 1986\, 1997)\, documenta\, Kassel (1982\, 1992)\, and Sonsbeek\, Arnhem (1986). Solo exhibitions where held in prestigious institutions\, such as De Appel\, Amsterdam (1980 and 1984)\, Centre d’Art Contemporain Genève\, Genève (1985)\, Musée Saint-Pierre art contemporain\, Lyon (1987)\, Magasin\, Centre National d’Art Contemporain\, Grenoble (1991)\, Castello di Rivoli Museo d’Arte Contemporanea\, Rivoli-Torino (1992)\, Centro per l’Arte Contemporanea Luigi Pecci\, Prato (1995)\, IVAM\, Centre del Carme\, Valencia (2000)\, České Muzeum Výtvarných Umění\, Prague (2009)\, Madre\, Museo d’Arte Contemporanea Donnaregina\, Naples (2015). In 1981 he conceived an installation for the Villa Medicea La Ferdinanda di Artimino\, followed by works made in dialogue with architectures of historical and spiritual importance\, such as\, in Florence\, the Cappella Pazzi (1984)\, the Octagonal Hall of the Fortezza da Basso (1989)\, the Abbey of San Miniato al Monte (1992\, 1994\, 2012\, 2018-2019)\, the Forte di Belvedere (2003\, 2017)\, the Boboli Gardens (2013)\, the Stazione Leopolda (2014). On May 2017 the artist opened the Atelier Marco Bagnoli in Montelupo Fiorentino. The Atelier is a multifunctional space\, conceived as a “total work of art” hosting an exhibition in progress of his works\, from 1972 to the present. Works by Bagnoli are part of the collections of several international institutions. Since 1976 the artist made many permanent installations\, including works for Palazzo Durini and the Piantagione Paradise of Bolognano in Pescara; Ascolta il flauto di canna (Listen to the Cane Flute)\, 1985-2007\, and Dacché sia notte\, entra (Since Night\, Enter)\, 2007\, in the park of Villa La Magia in Quarrata; Amore e Psiche\, 2010\, in the Parco Mediceo di Pratolino in Vaglia; Immacolata concezione (Immaculate conception)\, 2011\, inside the ChiantiBanca in Piazza Duomo in Florence; the fountain L’anello mancante alla catena che non c’è (The missing link to the chain that does not exist\, 1989-2017) in Piazza Ciardi in Prato. \nFor the celebrations of its Millennium 1018-2018\, the Abbey of San Miniato al Monte commissioned to the artist the work Janua Coeli\, an installation of works inside and outside the Basilica\, and of opening and closing ceremonial events. In 2018 Germano Celant published the monograph Marco Bagnoli (Skira\, Milan) with unpublished texts by the artist. \nPart of the permanent collection of the Museum\, the work by Bagnoli Cinquantasei nomi was presented for the first time at the Castello in June 2000\, commissioned by the former Director Ida Gianelli and produced with the contribution of Dongo S.p.A. The current restoration is made possible thanks to the support of Seda Group and Gianfranco D’Amato.
URL:https://www.castellodirivoli.org/en/evento/public-presentation-of-the-artwork-fifty-six-names-by-marco-bagnoli/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/05/Marco-Bagnoli_56-nomi_Pellion_LQ.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200623T183000
DTEND;TZID=Europe/Rome:20200623T193000
DTSTAMP:20260611T010821
CREATED:20200616T090734Z
LAST-MODIFIED:20251125T120113Z
UID:105223-1592937000-1592940600@www.castellodirivoli.org
SUMMARY:DIGITAL COMP(H)OST
DESCRIPTION:DIGITAL COMP(H)OST\nThe COMP(H)OST project resumes online! \nAfter the last appointment with the philosopher Emanuele Coccia\, the program of the COMP(H)OST project returns with a new cycle of panel discussion and a live music show. \nFrom 23 June onwards\, artists\, musicians\, composers\, scholars and writers will alternate on the Castello di Rivoli Youtube Channel\, every Tuesday until 14 July. This will create an opportunity to experiment with innovative formats and address the issues of hybridization and mixture from a technological\, biological and social point of view\, exploring new forms of public interaction and exchange. \nStarted with the LIVING MATTERS project conceived by US artist Claire Pentecost\, and continued with the contributions of the philosophers Vinciane Despret and Emanuele Coccia\, and artists Metahaven and Diann Bauer\, COMP(H)OST will draw to an end in the Autumn. \nCOMP(H)OST is a project produced by a.titolo\, NERO and the Castello di Rivoli Museo d’Arte Contemporanea\, in collaboration with the Witte de With Center for Contemporary Art in Rotterdam\, and is supported by Compagnia di San Paolo as part of the call “ORA! Produzioni di Cultura Contemporanea”\, with the contribution of Regione Piemonte\, the hospitality of Duparc Contemporary Suites and the collaboration of Film Commission Torino Piemonte. \nProgram:\nSTORIES FROM THE END OF THE WORLD\n\nTuesday 23 June – live streaming 6.30 pm \n \nGlaciers evaporating\, zoonotic pandemics and economic crises: society and nature merge in a future that we cannot know. What stories can tell the new stories? Matteo De Giuli and Nicolò Porcelluzzi\, co-authors of MEDUSA – a newsletter about climate and cultural changes – meet the writer Laura Pugno. \nLaura Pugno is the author of poetry\, prose\, essays and theatrical pieces. Among her latest books\, the novels La metà del bosco and La ragazza selvaggia (Marsilio\, 2018 and 2016)\, the essay In territorio selvaggio (Nottetempo\, 2018)\, and the poetry collections L’alea (Perrone\, 2019) and I legni (Pordenonelegge\, 2018). She collaborates with “L’Espresso” and since 2015 she has directed the Italian Cultural Institute of Madrid. \nMatteo De Giuli is a scientific journalist and editor of “il Tascabile”\, the cultural magazine of Treccani. He has collaborated with Radio3 Rai\, “Not”\, “National Geographic”\, “Il Venerdì di Repubblica”. \nNicolò Porcelluzzi is an editor of “il Tascabile”\, has written for “Internazionale”\, “L’Ultimo Uomo”\, “Not” and other magazines. He was the author of “Useless” literary magazine. \n  \nCHTHULUCENE. STAYING WITH THE TROUBLE\n\nTuesday 30 June – live streaming 6.30 p.m. \n \nWhat happens when humankind\, having irreparably altered the balance of planet Earth\, is no longer at the center of the world? And in the midst of the ecological crisis\, what relationships can be rescued not only between human individuals\, but among all species that inhabit the planet? Clara Ciccioni and Miriam Tola retrace the key passages of  the book Staying With the Trouble: Making Kin in the Chthulucene by Donna Haraway (published in Italy by NERO in 2019)\, highlighting the central role that the thought of the US philosopher has in our present. \nClara Ciccioni has a PhD in History and Social Sciences and is an independent researcher. She has collaborated as editor and translator with various Italian publishers. She is editor of the series Not of NERO Editions. \nMiriam Tola teaches in the Department of Media and Communication at the John Cabot University in Rome and at the Northeastern University in Boston. Her research weaves together feminist\, postcolonial\, political ecology and visual culture studies. \n  \n  \nCOMP(H)OST FESTIVAL\nTuesday 7 July – live streaming 9.00 pm \n \nMana\, Silvia Kastel\, Rainbow Island and Marta De Pascalis are the protagonists of a live-set and dj-set program that explores the theme of hybridization: from a technological point of view (an event unique in its kind\, where the interaction between “bodies” is completely redesigned)\, as well as biological (trans and post-human yearnings\, synthesis between man and machine\, questioning of identity)\, and ecological (reflection on the relationship between organic and artificial). \nMana is the latest project by Italian musician Daniele Mana\, formerly known as Vaghe Stelle and member of the One Circle with Lorenzo Senni and Francesco Fantini. His album Seven Steps Behind was released in 2019 by the legendary London-based label Hyperdub. \nSilvia Kastel comes from the underground free noise scene and is the founder of the label Ultramarine.  She went from Italy\, through New York\, to London (where she is currently based and has a show on NTS radio)\, in a path that saw her landing on an edgy alienating electronic style\, very well expressed in her album Air Lows\, released by the glorious London-based label Blackest Ever Black. \nRainbow Island is an interdimensional-psychedelic band based in Rome. Their latest album is entitled Crystal Smerluvio Riddims and follows their acclaimed debut album RNBW\, released in 2012. \nMarta De Pascalis is an Italian composer who works between Rome and Berlin\, specializing in productions bridging analog synthesis and tape loops. Her albums were released by the British label The Wormhole. \n  \nFOR A NEW GRAMMAR OF CIVIC ENGAGEMENT\nHOSPITALITY PRACTICES BETWEEN ARTS AND ACTIVISM\nTuesday 14 July – live streaming 6.00 pm  \n \nWhat does the term hospitality mean? What is the relationship between those who hosts and are hosted? How does the reciprocity that the Italian language assigns to this relationship – to the point of using a single word for both-\, survive and manifest itself in current practices? These and other issues\, crucial considering the worsening conditions of social injustice\, marginality and poverty diffused at all levels\, from the local ones of urban peripheries to the global one of migrant populations\, are addressed in a seminar conducted by Francesco Careri with the participation of Lorenzo Romito\, of Palestinian artist Sandi Hilal\, of French political scientist Sebastien Thiery\, of Maurizio Cilli and Stefano Mirti. \nFrancesco Careri and Lorenzo Romito are co-founders of Stalker. Since 1995 they have been developing practices that question ways of living and the city in its residual and peripheral conditions\, on the crossroad between artistic experimentation\, theoretical reflection and civil and political action. Among the most emblematic works of Stalker is the Ararat experience with Kurdish refugees at Campo Boario in Rome (1999-2007). Among their most recent projects\, C.I.R.C.O. Casa Irrinunciabile per la Ricreazione Civica e l’Ospitalità\, curated by Francesco Careri for the course of Civic Arts of Roma Tre University and BURB\, the Urban Biennial developed from the collaboration of Lorenzo Romito and Giulia Fiocca with the urban planners Andrea Curtoni and Giulia Mazzorin of the IUAV of Venice. \nSandi Hilal is an artist\, architect\, researcher and author of experimental education programs. With Alessandro Petti she founded Campus in the Camps in the Dheisheh Refugee Camp in Bethlehem and co-directs DAAR Decolonizing Architecture and Art Residency. In Sweden\, in 2016\, with a refugee community she started the Al Madafeh / Living Room project focused on the right to host. \nSébastien Thiery is a political scientist and member of the editorial board of the magazine “Multitudes”. In 2012 he founded PEROU\, the Pôle d’Exploration des Ressources Urbaines\, with Gilles Clément. He has published numerous books and is currently a scholarship holder at the Academy of France – Villa Medici in Rome where he is working on the candidacy of the hospitality act as a UNESCO Intangible Cultural Heritage of Humanity. \nMaurizio Cilli is an architect and artist who experiments with interpretation interventions of the transformation phenomena in territories. In 2020 he published Senza casa senza cosa\, from a study launched at the Triennale in the exhibition 999 domande sull’abitare contemporaneo curated by Stefano Mirti\, with whom he created Bottom Up!\, the most recent edition of the Turin Architecture Festival. Stefano Mirti is an architect and a designer\, one of the greatest experts in Interaction Design in Italy. Co-founder of Id-lab\, he has always been teaching and is director of the Scuola Superiore d’Arte Applicata in Milan. \nCOMP(H)OST is based on an idea from Marianna Vecellio and Sofía Hernández Chong Cuy \, and it is curated by Francesca Comisso and Luisa Perlo for a.titolo\, Marianna Vecellio for the Castello di Rivoli\, Lorenzo Gigotti\, Valerio Mannucci and Valerio Mattioli for NERO. \nThe documentation of previous COMP(H)OST events can be accessed online at www.comphost-project.com
URL:https://www.castellodirivoli.org/en/evento/digital-comphost/
LOCATION:Torino
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2020/06/Comphost_cover_programma.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200830T173000
DTEND;TZID=Europe/Rome:20200830T190000
DTSTAMP:20260611T010821
CREATED:20200731T131044Z
LAST-MODIFIED:20251125T115922Z
UID:105227-1598808600-1598814000@www.castellodirivoli.org
SUMMARY:The Chinese Lives of Uli Sigg
DESCRIPTION:On the occasion of  Facing the Collector. The Sigg Collection of Contemporary Art from China\, the first exhibition in Italy of the important collection of Uli Sigg (Lucerne\, 1946)\, Castello di Rivoli Museo d’Arte Contemporanea presents a closing screening night of  The Chinese Lives of Uli Sigg (2016)\, by internationally renowned director Michael Schindhelm. \nThe film-documentary traces the relationship between Uli Sigg and the Chinese society art throughout his careers\, from his first visit to China in 1979 for his company Schindler to nowadays. Sigg was the creator of the first joint venture company between the People’s Republic of China and the West\, and spent many years in China\, where he intertwined relationships and friendships with numerous artists\, identifying art as an extraordinary tool to better understand Chinese culture and life in depth. The connection between Sigg and the transformations of the Chinese art scene are depicted by its protagonist\, namely Ai Weiwei\, Cao Fei\, Feng Mengbo\, and Wang Guangyi\, alongside curators\, diplomatists\, architects and other close friends of Uli Sigg. \nOn the occasion of the screening\, there will be a conversation between filmmaker Michael Schindhelm and Chief Curator and Curator of Collections Marcella Beccaria. \nFree admission\, subject to availability\, with the reduced admission ticket to the Museum. Due to the health emergency\, the number of seats in the theater has been reduced in order to guarantee physical distancing. Please book here or call 011.9565.246.
URL:https://www.castellodirivoli.org/en/evento/the-chinese-lives-of-uli-sigg/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/07/Uli-Sigg.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200919T170000
DTEND;TZID=Europe/Rome:20200919T183000
DTSTAMP:20260611T010821
CREATED:20200826T085523Z
LAST-MODIFIED:20251125T115519Z
UID:105230-1600534800-1600540200@www.castellodirivoli.org
SUMMARY:Marco Bagnoli in conversation with Marcella Beccaria
DESCRIPTION:Castello di Rivoli Museo d’Arte Contemporanea hosts a conversation between the artist Marco Bagnoli and the Chief Curator and Curator of the Collections Marcella Beccaria\, with the participation of Curator of the Atelier Marco Bagnoli Pier Luigi Tazzi. \nFree admission with the reduced ticket to the Museum. Due to the health emergency\, the number of seats in the theater is limited. Please book here or call +39 011.9565.246.
URL:https://www.castellodirivoli.org/en/evento/marco-bagnoli-in-conversation-with-marcella-beccaria/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/08/Marco-Bagnoli_56-nomi_Pellion_LQ.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200920T160000
DTEND;TZID=Europe/Rome:20200920T190000
DTSTAMP:20260611T010821
CREATED:20200826T101330Z
LAST-MODIFIED:20251125T115423Z
UID:105232-1600617600-1600628400@www.castellodirivoli.org
SUMMARY:William Kentridge. Respirare
DESCRIPTION:William Kentridge\, Respirare\nDrafted by Carolyn Christov-Bakargiev with the assistance of Giulia Colletti\nChiesa di San Domenico – Via Teobaldo Calissano\, Alba (CN)\nSeptember 21 – December 8 2020\nOpening September 20\, 2020\, at 4 pm \n 
URL:https://www.castellodirivoli.org/en/evento/william-kentridge-respirare/
LOCATION:Torino
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2020/08/Screenshot-2020-09-11-at-11.30.32.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20201002T203000
DTEND;TZID=Europe/Rome:20201002T230000
DTSTAMP:20260611T010821
CREATED:20200922T143353Z
LAST-MODIFIED:20251125T115330Z
UID:105234-1601670600-1601679600@www.castellodirivoli.org
SUMMARY:Corona
DESCRIPTION:On October 2\, Castello di Rivoli presents the film festival PESTIFERA. The film Corona (2020) by artist and director Mostafa Keshvari will be premiered. The screening is preceded by a conversation between the director and the film critic Giampiero Frasca\, moderated by the President of the Cinema District Fulvio Paganin. The conversation will be also streamed via Zoom Webinar here Passcode: 994923
URL:https://www.castellodirivoli.org/en/evento/corona/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/06/IMMAGINE_COPERTINA_EVENTOFACEBBOOK2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20201005T110000
DTEND;TZID=Europe/Rome:20201005T120000
DTSTAMP:20260611T010821
CREATED:20200929T131206Z
LAST-MODIFIED:20251125T115234Z
UID:105237-1601895600-1601899200@www.castellodirivoli.org
SUMMARY:Lecture by Patrizio Di Massimo at Accademia Albertina di Belle Arti Torino
DESCRIPTION:On the occasion of the new project by the artist Patrizio Di Massimo (Jesi\, 1983. Lives in London) at the Castello di Rivoli\, which will open to the public on November 5 and will be realized in collaboration with the students of the Accademia Albertina di Belle Arti di Torino\, the artist introduces his work through a lecture open to the public. Di Massimo will introduce his long research on the genre of the portrait\, referring to historical-artistic examples that are important to him; will also present the most significant moments of the development of his own figurative painting practice in the last five years. The event is free while seats last. Due to the health emergency\, the seats in the Salone dell’Accademia have been reduced in order to guarantee physical distancing. You will also be able to follow the introductory conversation via the Zoom Webinar.
URL:https://www.castellodirivoli.org/en/evento/lecture-by-patrizio-di-massimo-at-accademia-albertina-di-belle-arti-torino/
LOCATION:Torino
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2020/09/Screenshot-2020-09-29-at-15.16.46.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20201212T160000
DTEND;TZID=Europe/Rome:20201213T000000
DTSTAMP:20260611T010821
CREATED:20201118T204559Z
LAST-MODIFIED:20251125T115032Z
UID:105240-1607788800-1607817600@www.castellodirivoli.org
SUMMARY:Digital PTSD. The Practice of Art and Its Impact on Digital Trauma
DESCRIPTION:Digital PTSD. The Practice of Art and Its Impact on Digital Trauma\nPart I: online program\, Saturday December 12\, 2020 \nRead the feature on Flash Art \nThe Castello di Rivoli Museo d’Arte Contemporanea presents a two-part online program of talks\, conversations and artworks between 2020-2021\, entitled Digital PTSD. The Practice of Art and Its Impact on Digital Trauma developed in the framework of the exhibition Espressioni. The Proposition.  \nIt is counterintuitive\, but Digital PTSD presents through an online platform a critique of the potential misuse of technologies. What are the traumatic consequences of the sudden increase in virtual activities in a period when spaces of aggregation\, such as museums\, are in lockdown? Digital PTSD invites to reflect on screen-based experience\, the physical erosion of living matter\, the transformation of life into big data and the new digital epistemic regime. \nParticipants in Part I include: Tabita Rezaire\, artist; Carolyn Christov-Bakargiev\, museum director\, exhibition maker\, writer; Beatriz Colomina & Mark Wigley\, architectural historians\, theorists\, curators; Cécile B. Evans\, artist; Matteo Pasquinelli\, cognitive sciences\, digital economy\, machine intelligence theorist; Hito Steyerl\, filmmaker\, visual artist\, writer\, and innovator of the essay documentary; Grada Kilomba\, artist and writer; Anne Imhof\, artist musician; Bracha L. Ettinger\, painter\, theorist\, psychoanalyst; Éric Sadin\, writer and philosopher; Vittorio Gallese\, cognitive neuroscientist; Ophelia Deroy\, philosopher and cognitive neuroscientist; Griselda Pollock\, feminist-postcolonial-queer-international art historian and cultural analyst; Agnieszka Kurant\, artist; Cally Spooner\, artist; Chus Martínez\, curator and writer; Stuart Ringholt\, artist; Marco Lutyens\, artist and hypnotist.  \nInvited speakers in Digital PTSD – Part II\, taking place on May 20\, 2021\, include: Devra Davis\, Irene Dionisio\, Catherine Malabou\, Otobong Nkanga\, Shoshana Zuboff\, amongst others. \nDIGITAL PTSD – PART I \nPARTICIPANTS BIOGRAPHIES\nCarolyn Christov-Bakargiev I \nCarolyn Christov-Bakargiev II \nCastello di Rivoli Museo d’Arte Contemporanea Director\, Carolyn Christov-Bakargiev introduces some of the concerns which prompted this program. She believes a trauma related to digital overload may be emerging and requires addressing and healing. Museums are the symbolic site of a society\, and\, as such\, in the future they must transform into a gym where the ability to connect the symbolic\, real and imaginary spheres can be exercised. Christov-Bakargiev proposes that it is necessary to re-imagine museums in the twenty-first century in light of this task\, bringing all these dimensions to intersect and overcome a binary\, Descartian approach to the body/mind\, real/virtual\, dichotomy. \nCarolyn Christov-Bakargiev is a writer\, art historian and curator. Currently\, she is the Director of Castello di Rivoli Museo d’Arte Contemporanea and Fondazione Francesco Federico Cerruti in Turin. She is the recipient of the 2019 Audrey Irmas Award for Curatorial Excellence. She was Edith Kreeger Wolf Distinguished Visiting Professor in Art Theory and Practice at Northwestern University (2013-2019). Christov-Bakargiev was Artistic Director of dOCUMENTA (13) in 2012. \n  \nTabita Rezaire\nPremium Connect\, 2017\nSingle channel video\, 13’\nCourtesy the Artist \nPremium Connect envisions a study of information and communication technologies (ICT)\, exploring African divination systems\, the fungi underworld\, ancestors communication and quantum physics to (re)think our information conduits. Embracing the idea that ICT acts as a mirror of the organic world\, capable of healing or poisoning depending on its usage and users\, Premium Connect investigates the cybernetics spaces where the organic\, technologic and spiritual worlds connect. How can we use biological and spiritual systems to fuel technological processes of information\, control and governance? Overcoming the organism/spirit/device dichotomies\, this work explores spiritual connections as communication networks and the possibilities of decolonial technologies. \nTabita Rezaire is an artist-healer-seeker working with screens and energy streams. Her cross-dimensional practice envisions network sciences – organic\, electronic and spiritual – as healing technologies to serve the shift towards heart consciousness. Navigating digital\, corporeal and ancestral memory as sites of struggles\, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality that affect the songs of our body-mind-spirits. She has shown her work internationally at Centre Pompidou Paris\, MoMa NY\, MASP São Paulo\, Gropius Bau Berlin\, ICA and Tate Modern London. Rezaire currently lives and works in Cayenne\, French Guiana\, where she is birthing AMAKABA. \n  \nIrene Dionisio\nGerm Theory\, 2020\nSingle channel video\, 1’14”\nCourtesy the Artist \nIn The Stack. On Software and Sovereignity\, Benjamin Bratton analyzes digital changes in the context of a review of political philosophy. From cloud platforms to mobile apps\, passing through the connectivity that increasingly crosses contemporary cities\, Bratton proposes to frame the different computational systems that act in everyday life no longer as forms that exist independently\, linked by contingent interactions\, but as a coherent whole; a fuzzy entity that Bratton calls an “accidental megastructure”\, both a computational infrastructure and a new governance architecture. This infrastructure takes the form of a stack structured by six interconnected levels: Earth (the raw material used by digital technology)\, Cloud (the weight of global corporations such as Google\, Amazon and Facebook on the sovereignty of states)\, City (the daily experience of the cloud-computerized urban space)\, Address (identification as a form of management and control)\, Interface (the interfaces that connect user and computer\, such as apps)\, User (human and non-human agents such as bots and some types of social accounts). Paraphrasing Bratton\, the data of the individuals shape the megastructure. At the same time\, the megastructure shapes the data of the individual and the space in which it moves. \n  \nBeatriz Colomina and Mark Wigley \nIn their landmark 2016 book Are We Human?\, Beatriz Colomina and Mark Wigley explored the way that the human species has always been continuously and radically redesigned by its technologies. In a time in which the smartphone is the first and last thing we touch each day\, the supposedly private spaces of the brain and the home been dramatically transformed. The brain has become a factory and the bed has become an epicenter of labor. In this short lecture\, they further expand this analysis to take into account some of the social and mediatic transformations triggered by the COVID-19 pandemic and the reliance on digital telecommunication that it exposed. \nBeatriz Colomina and Mark Wigley are architectural historians\, theorists and curators. Colomina is the Howard Crosby Butler Professor at Princeton University and her latest book is X-Ray Architecture (Lars Muller\, 2019). Wigley is professor of architecture at Columbia University and his latest book is Konrad Wachsmann’s Television: Post-Architectural Transmissions (Sternberg Press\, 2020). In their Are We Human? book (Lars Muller\, 2016) Colomina and Wigley explore the notions of “Homo Cellular” and “Design in Two Seconds”\, interested in understanding how the archaeology of design applies to social media and technological devices in relation to mechanisms of personal expression and the performance of labour. \n  \nCécile B. Evans \nCécile B. Evans is an American-Belgian artist living and working in London. Evans’ work examines the value of emotion and its rebellion as it comes into contact with ideological\, physical\, and technological structures. They have recently exhibited a new performance commission for the MOVE festival at Centre Pompidou\, Paris\, and are working on an ongoing adaptation of the Industrial Era ballet Giselle. Recent selected solo exhibitions include 49 Nord 6 Est – Frac Lorraine\, Museum Abteiberg\, Tramway\, Chateau Shatto\, Museo Madre\, all 2019; mumok Vienna\, 2018; Castello di Rivoli\, Galerie Emanuel Layr\, Tate Liverpool\, Kunsthalle Aarhus\, M Museum Leuven\, in 2017; De Hallen Haarlem\, 2016; and Serpentine Galleries\, 2014. \n  \nMatteo Pasquinelli \nMatteo Pasquinelli proposes to look at the history of the notion of trauma in order to understand the way we talk about trauma today. He offers a brief presentation highlighting\, through historical examples\, the ways in which the human mind organizes itself to survive trauma\, and how the study of these neuroplastic processes has been fundamental in the development of Artificial Intelligence technology and philosophy. In order to learn and progress\, our brain produces “small catastrophic reactions”\, which Pasquinelli defines as forms of “self-organized trauma”. Drawing on these research premises\, his presentation touches on the psychopathologies of intelligent machines and attempts at a definition of trauma in the age of A.I.. \nMatteo Pasquinelli is Professor in Media Philosophy at the University of Arts and Design\, Karlsruhe\, where he is coordinating the research group on Artificial Intelligence and Media Philosophy KIM. He edited the open-access anthology Alleys of Your Mind: Augmented Intelligence and Its Traumas (2015\, Meson Press) and\, with Vladan Joler\, the visual essay The Nooscope Manifested: AI as Instrument of Knowledge Extractivism. His research focuses on the intersection of cognitive sciences\, digital economy and machine intelligence. For Verso Books he is preparing a monograph on the history of AI provisionally titled The Eye of the Master. \n  \nHito Steyerl \nArtist Hito Steyerl introduces her presentation with her new short film Mein Internetvortrag: Vorteile der Automatisierung des Schauspielers der Schauspielerin w Mark Waschke (My Internet Lecture: The Advantages of Automatization for Actors and Actresses By Mark Waschke). The protagonist is a TV cop\, played by German actor Mark Waschke\, who discusses digitization of work\, avatar animations\, police brutality and protests. The video is followed by a short lecture by Steyerl\, titled 2020 in 10 memes. \nSteyerl is a filmmaker\, visual artist\, writer\, and innovator of the essay documentary. She is currently a professor of New Media Art at the University of the Arts\, Berlin\, where she co-founded the Research Centre for Proxy Politics. Steyerl has produced a variety of work as a filmmaker and author in the field of essayist documentary\, filmography and post-colonial critique\, both as a producer and theorist. She is widely published in periodicals\, newspapers\, journals and anthologies\, as well as her own publications\, including the critically acclaimed Duty-Free Art: Art in the Age of Planetary Civil War in 2017. \n  \nGrada Kilomba \nGrada Kilomba and Carolyn Christov-Bakargiev tackle some of the complexities of contemporary digital technologies\, highlighting the necessity to problematize their use beyond polarizing dichotomies. Kilomba’s work on colonial trauma provides a lens to consider how digitization cannot in itself be separated from the history of colonialism\, and to discuss the socio-political emancipation of marginalized communities through digital networks. \nGrada Kilomba is an artist and writer\, living in Berlin. Her work draws on memory\, trauma and post-colonialism. Kilomba is best known for her subversive writing and her unique practise of storytelling\, in which she brings her own writing into performance\, image and installation. Her work has been presented at the 10th Berlin Biennale\, 2018\, documenta 14\, Kassel\, 2017\, and the 32. São Paulo Biennale\, 2016. \n  \nAnne Imhof \nLooking at Caravaggio’s seminal painting Narcissus\, which will be featured in Anne Imhof’s upcoming show at Castello di Rivoli\, Anne Imhof and Carolyn Christov-Bakargiev consider the collapse of the image in its own reflection as a representation of the narcissistic times we live in\, punctuated by the constant capturing of selfies on our phones. However\, Imhof’s reading of narcissism shifts it away from a merely negative connotation\, opening the concept up to further levels of self-interpretation. A selfie could be a tool to re-discover ourselves in an unexpected way and understand what role we may play in this accelerated society\, if only we were willing to read our image differently. \nAnne Imhof is an artist musician based in Berlin. Through her sculptures\, paintings\, drawings and “durational performances\,” she offers an unprecedented expression of the experience of the contemporary world in which physicality is increasingly mediated by digital communication. The new forms of alienation and detachment dictated by the massive spread of social media and its new related gestures can be considered an essential component in the artist’s work. She was awarded with the Golden Lion at the Venice Biennale in 2017. \n  \nBracha L. Ettinger \nAs an artist\, and drawing on her cross-disciplinary knowledge in visuals arts\, philosophy and psychoanalysis\, Bracha L. Ettinger discusses her seminal concept of Matrixial gaze\, screen\, time and copoiesis\, to problematise the accelerated hyper-connectivity whose effect of digital stupor she assigns to “a fused screen-gaze in symbiosis with the psychic eye” which\, mounted upon narcissistic routes in denial of differences\, collapses the psychic future time at the service of a phallic Web of webs. Starting with an analysis of Caravaggio’s Narcissus in terms of Death-drive\, Ettinger ends with a discussion of care\, deceleration and compassion-beyond-empathy in relation to her painting Eurydice\, The Graces\, Demeter (2006-2012). \nL. Ettinger is an international visual artist\, painter and theorist\, psychoanalyst and philosopher\, whose wide-ranging artworks and writings have influenced art theory\, feminism\, cultural studies\, philosophy and psychoanalysis. Her artworking revolves around historical\, transgenerational and personal trauma of women in war. She is participating in Espressioni at Castello di Rivoli\, 2020-2021\, and has exhibited in Kochi Biennale\, 2018\, Colori at GAM Turin and Castello di Rivoli\, 2017\, 14th Istanbul Biennial\, 2015\, ELLE at Centre Pompidou\, Face à l’Histoire at Centre Pompidou\, Archive at Stedelijk Museum. She has coined the concept of Matrixial sphere. Her recent books include And My Heart Wound-Space (2015); Matrixial Subjectivity\, Aesthetics\, Ethics\, Vol I: 1990-2000 (Palgrave 2020)\, Vol II: 2000-2010. \n  \nÉric Sadin  \nIn his latest essay L’Ère de l’individu tyran. La fin d’un monde commun (“The Age of the Tyrant Individual. The end of a common world”)\, Éric Sadin delivers a new analysis through a historical\, political\, social\, economic and technical perspective on what he defines as the “tyrant individual”. A product of recent technological progress – including the development of the internet\, smartphones\, and applications magnifying our image and giving the feeling that the world is at our feet – this individual is an ultra-connected being\, withdrawn into his subjectivity\, convinced to be center of the world\, know everything\, do anything. Anchored in the I of Iphone\, the You of Youtube\, the tyrant individual sees a weapon in modern technological tools that will allow him to influence the course of things. \nÉric Sadin\, writer and philosopher\, is one of the leading thinkers of the digital world. He is invited to lecture around the world and his books are translated into several languages. He has just published his new essay\, L’Ère de l’individu tyran. La fin d’un monde commun\, (Grasset\, October 2020\, translated into Italian by Luiss University Press in 2021). He regularly publishes columns on Le Monde\, Libération\, Les Inrockuptibles\, Die Zeit. He has published several books\, in particular: Surveillance Globale – Enquête sur les nouvelles formes de contrôle (2009); La Société de l’anticipation (2011); L’Humanité Augmentée – L’administration numérique du monde (2013); La Vie algorithmique – Critique de la raison numérique (2015); La Silicolonisation du monde – L’irrésistible expansion du libéralisme numérique (2016\, translated by Einaudi\, 2017)\, L’Intelligence artificielle ou l’enjeu du siècle. Anatomie d’un antihumanisme radical\, (2018\, Italian translation by Luiss University Press\, 2019). \n  \nVittorio Gallese \nIn this presentation\, titled Digital World: The Experience of Self and Others in COVID-19 time\, Vittorio Gallese will discuss the relationship with digital images as de-materialised\, visual representations of reality. His arguments are grounded in the belief that technology has always been an extension of the mind\, thus the very definition of “artificial” is inherently connected to the “natural” cognitive ability to develop devices with the evolution of novel cognitive technologies. Through his talk he will take a closer look at the possible effects of digitisation on neuro-cognitive processes involved in social communication as well as in the constitution of the self\, especially in the context of the increased amount of time spent online during the recent lockdown\, which has significantly changed our engagement with what may constitute everyday reality. \nVittorio Gallese (Parma\, 1959)\, MD and trained neurologist\, is Professor of Psychobiology and Cognitive Neuroscience at the Dept. of Medicine & Surgery of the University of Parma\, Italy. Cognitive neuroscientist\, his research focuses on the relation between the sensory-motor system and cognition by investigating the neurobiological and bodily grounding of intersubjectivity\, psychopathology\, language and aesthetics. He is the author of more than 300 scientific publications and three books. \n  \nOphelia Deroy \nEntitled Digital forgetting\, Ophelia Deroy’s talk discusses how lockdowns have generated a tectonic shift towards the digital sphere\, with increasing Internet traffic and patterns of use changing quite dramatically. As the pandemic is likely to have a lasting digital legacy\, Deroy questions its external as well as internal impact. What do we remember of our online experiences? What could long-term effects on the arts and museums look like? Deroy will discuss these questions through neuroscientific and psychological evidence\, including her work with Tate Britain\, London\, to highlight a possible blind spot with wide-ranging implications: that we more easily forget what happens online. \nOphelia Deroy is professor of Philosophy of Mind at Ludwig Maximilian University of Munich and a member of the Graduate School in Systemic Neuroscience (GSN) in Munich. She is the former deputy director of the Institute of Philosophy at the University of London. She specializes in philosophy of mind and cognitive neurosciences and has widely published on issues related to multisensory perception and social interactions. In her recent research\, she tackles issues relating to how and why we share experiences\, notably in the arts and on digital platforms. \n  \nGriselda Pollock \nGriselda Pollock’s presentation\, titled Aesthetic Transformation and Trauma – On Screen Now!\, addresses the “age of digitalisation” before reflecting on the characteristics of trauma: something that happens but we do not know it; it haunts that we cannot grasp the shape of what haunts. Drawing on this interpretation\, Pollock asks whether our current social experience of physical distance and fearful dissociation and exposure to screen association may be defined as traumatic. Is it not the social conditions and the content rather than the technology that is stressing us. \nGriselda Pollock is a feminist-postcolonial-queer-international art historian and cultural analyst. She is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis Theory and History at the University of Leeds. Her most recent publications include the re-issue of the co-authored feminist classic Old Mistresses\, the editing of the collection of the theoretical writings of artist Bracha L. Ettinger (Palgrave 2020) and a monograph on the artist Charlotte Salomon (Yale 2018). As part of current research\, she is addressing aesthetic transformation and trauma in connection to our exposure to screens. \n  \nAgnieszka Kurant  \nAgnieszka Kurant presents an investigation of collective intelligence\, the algorithmic exploitations of social capital\, and the transformations of the human resulting from the automation of our decision making. The artist discusses her projects exploring the future of labor and creativity\, from crowdsourcing and ghost-work to the replacement of individual authorship with complex collective forms\, the audience as a factory of value production and the redistribution of capital from the art market. She will share her current research into the use of A.I. by corporations in the colonization of our dreams and of nature\, and her experiments with artificial societies and computational sociology. \nAgnieszka Kurant is an artist whose work investigates collective intelligence\, non-human intelligences (from microbial to Artificial Intelligence) and the exploitations of social capital under surveillance capitalism. She explores the transformations of the human and the future of labour and creativity in the 21st century\, from crowdsourcing and ghost-work to artificial societies. She is currently an Artist Fellow at the Berggruen Institute and was an artist in residence at MIT CAST in 2018. Her recent exhibitions include Broken Nature at MoMA\, Cybernetics of the Poor at Kunsthalle Wien\, Uncanny Valley at the De Young Museum\, all in 2020; the 16th Istanbul Biennial and The Age of You at MOCA Toronto\, both in 2019. \n  \nCally Spooner \nIn this presentation\, Cally Spooner joins an assortment of notes on her current research with a new proposal: that “digital PTSD” is the result of an aggressive reality; “the performance principle”\, identified in 1955 by Herbert Marcuse and found today in surveillance capitalist culture as well as chrono-normative regimes. The concept of temps mort (lit. “dead time”)\, after which Spooner’s ongoing work DEAD TIME is titled\, provides a framework to test states of duration\, undetectability\, waiting\, less controlled life and rehearsal as modes of resistance to our century’s demand for performance. \nCally Spooner lives and works in Turin. Rooted in her philosophy training\, her practice begins in writing\, unfolds as performance\, then settles as installation\, sculpture\, drawing\, film and sound. She uses duration\, erosion\, waiting\, rehearsal and collapse as acts of resistance\, in a present techno-capitalist climate\, to ask how might we tell the difference between what is alive and what is dead. Recent solo shows include DEAD TIME\, Parrhesiades\, London\, 2020; DEAD TIME\, The Art Institute of Chicago\, 2019; SWEAT SHAME ETC.\, Swiss Institute New York\, 2018; Everything Might Spill\, Castello di Rivoli\, Rivoli\, 2018. Spooner is also the LEGIBILITY COORDINATOR and LECTURER in OFFSHORE\, an embodied knowledge performance company and practical philosophy school\, founded by Spooner in 2017. \n  \nChus Martínez  \nIn her latest publication Corona Tales\, written in Spring 2020 and recently released in print\, Chus Martínez compiled a collection of short narrations that she posted daily on Instagram to reflect on the value of friendship. Corona Tales includes personal narrations such as the author’s grandparents’ recovery from tragic family losses and poverty in the aftermath of the 1918 Spanish flu\, and attempts to counterbalance our current enforced physical distancing by establishing a sense of nearness. In her talk\, Martinez discusses this story-telling format which took social media as a platform to highlight the importance of creating a bond with others during a time of great social crisis and isolation causing depression and anxiety. \nChus Martínez is a curator\, art historian and writer. She is currently Director of the Art Institute at the FHNW Academy of Art and Design in Basel\, where she also curates the exhibition space of the Institut Der Tank. Her latest book Corona Tales\, written and published online (followed by print edition) during the Spring 2020 lockdown\, offered a chance for gathering\, if just virtually\, demanding to identify vulnerabilities\, how the COVID-19 crisis was being generalized\, and how to research ways of doing. \n  \nStuart Ringholt \nStuart Ringholt‘s presentation shifts attention away from the digital as something built through binary code to instead place emphasis on the original Latin root of the word – digitus\, ‘finger’. He considers the violent roots of the handshake\, and\, more centrally\, the offensive and assaulting finger gesturing and actions he has personally experienced. He recounts his “digit stress” as well as a more general set of hand gestures used across the world – from insulting finger signs\, to the history of hand gestures in public protest and meditation. Warning: the subject matter and frank nature of the presentation may cause discomfort and stress to some viewers. \nStuart Ringholt was born in Perth\, Western Australia and lives and works in Melbourne\, Australia. His works in performance\, video\, drawing\, collage\, sculpture and collaborative workshops. Personal and social themes such as fear and embarrassment are often represented through absurd situations or amateur self-help environments. His Anger Workshops was first created for the 16th Sydney Biennale\, 2008\, and have been presented in dOCUMENTA (13)\, 2012. His naturist tours have featured in major survey shows of James Turrell\, Wim Delvoye and Pipilotti Rist. Ringholt is a lecturer at MADA Monash University and was awarded a PhD (Philosophy) in 2016. \n  \nMarcos Lutyens  \nA closing performance <<(C)O2(Si)_In this way>> \nArtist and hypnotist Marcos Lutyens takes the audience on a journey at the boundaries of carbon-based consciousness and the silicon frontier. The title includes (C)O2(Si) – the periodic table elements of Carbon\, Oxygen and Silicon ¬– thus forming the Italian word “COSÍ” (“in this way”). Carbon is the element on which our own materiality is based; Oxygen is what gives us sustenance and creates exchange; and Silicon is the basis of digital platforms. The <<…>> signs in the title denote what in coding is called “logical shifts\,” which help reframe the perspective of the operand\, in this case the audience. \nMarcos Lutyens is an artist based in Los Angeles and the UK. Lutyens’ practice targets the psychic and emotional well-being of his audiences by leading participants in hypnotic exercises that affect the deepest levels of their psyche. His works take form in installations\, sculptures\, drawings\, short films\, writings and performances. In the time of COVID-19\, Lutyens created a series of 12 Zoom performances to help the healing process of people in various countries around the world. He then went on to ease the pain of front-line doctors through multiple hypnosis sessions. \nThe event is staged over virtual backgrounds inspired by artist Claudia Comte’s exhibition How to Grow and Still Stay the Same Shape at Castello di Rivoli (October 31\, 2019 – January 10\, 2021). \nDigital PTSD Program \n  \n 
URL:https://www.castellodirivoli.org/en/evento/digital-ptsd-the-practice-of-art-and-its-impact-on-digital-trauma/
LOCATION:Torino
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LAST-MODIFIED:20251125T114749Z
UID:105247-1611244800-1611248400@www.castellodirivoli.org
SUMMARY:In conversation with Michele Di Monte
DESCRIPTION:As part of the public program of the Cerruti Collection\, the Castello di Rivoli in collaboration with the Barberini Corsini National Galleries in Rome\, presents a critical reading by curator Michele Di Monte on L’ora dello spettatore. Come le immagini ci usano at Palazzo Barberini. \nDi Monte\, interviewed by the director Carolyn Christov-Bakargiev and by the art historian Fabio Cafagna\, focuses on the masterpieces of Giandomenico Tiepolo\, Hans Memling and Sofonisba Anguissola\, amongst others\, offering unprecedented interpretations of the problematic and seductive relationship works of art establish with the viewer. \nThe conversation in hosted on Zoom (ID: 995 2815 4308) and Castello di Rivoli Official Facebook page on on Thursday 21 January at 4 pm.
URL:https://www.castellodirivoli.org/en/evento/in-conversation-with-michele-di-monte/
LOCATION:Torino
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DTSTAMP:20260611T010821
CREATED:20210225T111033Z
LAST-MODIFIED:20251125T114416Z
UID:105249-1615219200-1615226400@www.castellodirivoli.org
SUMMARY:Gender-based violence at the time of the pandemic. Mascarilla 19 - Codes of Domestic Violence
DESCRIPTION:To access the live digital streaming\, click HERE\nPasscode: 196123 \nGender-based violence at the time of the pandemic\nMascarilla 19 – Codes of Domestic Violence\nCastello di Rivoli will host a screening program produced by Fondazione In Between Art Film on 8 March on the occasion of International Women’s Day\nMonday March 8\, 2021\, 4 – 6 pm \nLive digital streaming from the Castello di Rivoli Theater \nThe Castello di Rivoli Museo d’Arte Contemporanea hosts Mascarilla 19 – Codes of Domestic Violence\, a project curated by Leonardo Bigazzi\, Alessandro Rabottini and Paola Ugolini\, produced by Fondazione In Between Art Film. \nOn the occasion of International Women’s Day\, the Museum proposes a meeting on the theme of gender-based violence with the Director of the Castello di Rivoli\, Carolyn Christov-Bakargiev\, the founder and President of Fondazione In Between Art Film and creator of Mascarilla 19 – Codes of Domestic Violence\, Beatrice Bulgari\, the Artistic Director of Fondazione In Between Art Film\, Alessandro Rabottini\, the curator Paola Ugolini and the artists Silvia Giambrone (Agrigento\, 1981)\, Elena Mazzi (Reggio Emilia\, 1984)\, MASBEDO (Nicolò Massazza\, Milan\, 1973; Iacopo Bedogni\, Sarzana\, 1970) and Adrian Paci (Shkodër\, Albania\, 1969). \nClosed to the public in compliance with the provisions for the containment of the spread of Covid-19\, the meeting will be recorded and  streamed online on Monday March 8 from 4 to 6 pm in the Museum Theater with participants on site. These films offer different perspectives on the drama of domestic violence in the unprecedented scenario of global isolation exacerbated by the pandemic: Domestication (2020) by Silvia Giambrone\,  Muse (2020) by Elena Mazzi\, Vedo rosso (2020) by Adrian Paci\, and Daily Routine (2020) by MASBEDO. \nAfter the greeting and the introduction\, Alessandro Rabottini will present Fondazione In Between Art Film project and the conversation in which the curator Paola Ugolini and the attending artists Silvia Giambrone and Elena Mazzi will take part\, while MASBEDO and Adrian Paci will join remotely. \nThe other films commissioned as part of Mascarilla 19 – Codes of domestic violence are:\nEspacios Seguros (2020) by Iván Argote (Bogota\, 1983); Flowers blooming in our throats (2020) by Eva Giolo (Bruxelles\, 1991); Sunsets\, everyday (2020) by Basir Mahmood (Lahore\, 1985); and Lacerate (2020) by Janis Rafa (Athens\, 1984) are simultaneously broadcasted on the digital platform. \nFondazione In Between Art Film was set up in Rome with the mission of spreading the culture of the moving image and supporting artists\, institutions\, and international centers of research that explore the dialog between disciplines and the grey areas in film\, video\, art\, performance and installation. Guided by its founder and president Beatrice Bulgari\, Fondazione In Between Art Film contributes to the international artistic debate by taking a closer look at the nature\, role\, and potential of moving images in our time. \n  \nIn collaboration with  \n \nSYNOPSES and ARTISTS’ BIOS\nSilvia Giambrone\nDomestication\, 2020\nVideo 2K\, 15’ [excerpt 5’]\nCourtesy the artist\, Studio Stefania Miscetti\, Galleria Marcolini\, Richard Saltoun Gallery and Fondazione In Between Art Film \nThe work of Silvia Giambrone is explicitly political in nature\, illustrating and denouncing the ways in which women are subjugated through cultural models regarding the body\, through norms of behavior\, and through the manipulation of our imaginations. Her work is a compelling device for reflecting on the domestication of violence and on the taboos surrounding this impulse; it examines how subjugation can employ a socially accepted language of love and affection\, a language to which we are so accustomed that we can no longer recognize it as a form of oppression. In her video Domestication\, Silvia Giambrone explores the conceptual model of the “Essay on the Education and Instruction of Children” written by Swiss theologian Johan Sulzer in 1748\, which revolves around the idea that “education is nothing other than learning to obey.” This obedience is obtained through both physical and psychological coercion\, in an approach to child-rearing that scholars now call “poisonous pedagogy.” This hurtful set of rules\, which formed the backbone of children’s education for centuries\, has had a series of cultural and behavioral repercussions that educators and psychotherapists consider responsible for the violence that permeates human relations even today. Two characters\, a man and a woman\, who have absorbed this paradigm of violence into their own relationship\, move in an evocative\, poetic way through a domestic setting. They are always shown alone in that shared environment\, as if each were a projection or memory in the other person’s mind\, but the objects they use serve as tangible signs of their actual presence. These everyday items\, seen through the distorting lens of violence\, are potentially dangerous and menacing: both witnesses and tools of a symbolic violence. The boundary between victim and abuser is so blurred that it becomes hard to say which is which; the whole video is pervaded by a tension that always seems on the point of erupting\, having festered within the domestic space as well as in the psyche of the people who live there. The visual register is an alternation between obsessive\, disturbing rhythms and moments that are almost dreamlike\, despite the plausibility of the setting and characters. \nSilvia Giambrone (Agrigento\, 1981; lives and works in Rome and London)\nShe studied at the Academy of Fine Arts in Rome (2002- 2006). She has held residencies throughout Europe and USA and been awarded several prizes over the past five years. She has recently been awarded the VAF prize\, the most important prize for young Italian artists. Giambrone\, who both lives and works between Rome and London\, works about both the physical and invisible evidences of the strong connection between violence and the ‘subjectification’ process. Some of her exhibitions include: Pandora’s Boxes\, CCCB Museum\, Madrid (2009); Eurasia\, Mart Museum\, Rovereto (2009); Moscow Biennale: Qui vive? (2010); Flyers\, Oncena Biennal de la Havana (2012); Re-Generation\, Museo Macro\, Rome (2012); Mediterranea 16 (2013); Let it go\, American Academy in Rome (2013); Critica in arte\, MAR Museum\, Ravenna (2014); Ciò che non siamo\, ciò che non vogliamo\, Museo MAG\, Riva del Garda (2014); A terrible love of war\, Kaunas Bienale\, Lituania (2015); ‘Suite Rivolta’\, Museu de Electricidade\, Doclisboa’s Passages\, Lisboa (2015); Every passion borders on the chaotic\, Villa Croce Museum\, Genoa (2016); W Women in Italian Design\, Triennale Design Museum\, Milan (2016); Archeologia domestica Vol. I\, IIC\, Köln (2016); Time is out of Joint\, La Galleria Nazionale\, Rome (2017); Corpo a corpo\, La Galleria Nazionale\, Rome (2017); Terra mediterranea: in action\, NiMAC\, Nicosia\, Cyprus (2017); Il corpo è un indumento fragile\, Museo Novecento\, Florence (2018); Young Italians 1968 – 2018\, Italian Institute of Culture\, New York City (2018); SHE DEVIL Remix\, Museo Pecci\, Prato (2018); Vaf Prize\, Museo d’Arte Moderna e Contemporanea di Trento e Rovereto\, Vaf Foundation (2019); Wall-eyes. Looking at Italy and Africa\, Keynes Art Mile\, Johannesburg (2019); Wall-eyes. Looking at Italy and Africa\, Cape Town (2019); Donne. Corpo e immagine tra simbolo e rivoluzione\, Galleria d’Arte Moderna\, Rome (2019); La Correzione\, Galleria Marcolini\, Forlì (2019); VII Premio Fondazione VAF\, Stadtgalerie Kiel\, Germany (2019); Italia. I racconti (in)visibili\, Styles Regional Gallery\, Gyumri\, Armenia (2019); Italia. I racconti (in)visibili\, Centro Cultural Las Condes\, Santiago del Cile (2019); Feminism in Italian contemporary art\, Richard Saltoun Gallery\, London (2019); Sovvertimenti\, Museo Novecento\, Florence (2019); Io dico io\, La Galleria Nazionale\, Rome (2020); Level 0\, Museo del Novecento\, Milan (2020). She works with Richard Saltoun Gallery in London\, Stefania Miscetti Studio in Rome and with Galleria Marcolini in Forlì. \n\nMASBEDO\n\nDaily Routine\, 2020\nVideo 4K\, 11’ [excerpt 5’]\nCourtesy the artists and Fondazione In Between Art Film \nMASBEDO is an artistic duo whose practice spans video\, film\, performance\, and installation\, all the way to collaborative projects in the field of theatre and opera. With a vocabulary of form that draws on the symbolic dimension of the moving image\, these two artists probe the deeper sphere of human relationships\, often exploring the themes of incommunicability and psychological distance. The protagonist of Daily Routine lives in a bare house of glass and concrete\, where just a few minimalist furnishings punctuate an otherwise empty space. From dusk into the night\, her solitude is interrupted only by a sequence of ordinary actions that seem to have become routine: checking the security cameras\, smoking a cigarette\, fixing dinner\, and exercising on an elliptical bike. It soon becomes clear that the austere\, see-through architecture is actually an instrument of control: everything is visible from outside\, and a distant gaze seems to detect every movement taking place inside this structure of surveillance. The silence that weighs on this house is interrupted only by a few peremptory phone calls\, which seem to be instructions that require no reply: a male voice checks that everything is locked up and expresses satisfaction with the flawless decor. Through a very spare use of action and narrative\, MASBEDO turns the camera into an obsessive tool of male domination\, depicting the frenzy of narcissism\, the yen for control\, and the expression of violence through the subtlest forms of objectification. In Daily Routine\, partner abuse has no need to manifest itself through sudden\, shocking acts: it is deeply entrenched in the relationship dynamics\, seeps into the walls and glints off the vast windows\, dwells in the silences and gives an infernal rhythm to physical exercise\, pervading even the act of nourishment. And it is precisely through the mechanical aspect of that workout that this film reveals its subtlest and most chilling side\, the bassline and constant beat of violence. \nMASBEDO are Nicolò Massazza (Milan\, 1973) and Iacopo Bedogni (Sarzana\, 1970)\nThey live in Milan and work together since 1999\, focusing on video art and installations. They express themselves through the language of video\, in different forms such as performance\, theater\, installation\, photography and recently cinema. In Italy they are recognized among the most important video artists and innovators in the field of contemporary art\, thanks to their unique feature of re-union of different arts and the multiplicity of languages in a single chorus. Their works have been exhibited in museums\, biennials and institutions around the world\, including: 2019 – ICA Milan Institute for Contemporary Art\, Palazzo Dugnani Milan; 2018 – MAMM Multimedia Art Museum Moscow\, Manifesta12 Palermo\, Kunstlaboratorium Vestfossen Oslo\, Centre Pompidou/Forum des Images Paris\, Haus der Kulturen der Welt Berlin; 2017 – Marta Herford; 2016 – Reggia di Venaria Reale Torino\, Museum of Contemporary Art Zagreb\, Nomas Foundation Roma\, Blickle Foundation Stuttgart; 2015 – MART Rovereto\, Changjiang Museum of Contemporary Art\, Art Basel Film Hong Kong Arts Centre; 2014 – Fondazione Merz; 2013 – Leopold Museum Vienna\, MAMBA Museo de Arte Moderno de Buenos Aires; 2012 – Castello di Rivoli Museo d’Arte Contemporanea\, Rivoli-Turin; 2011 – Art Unlimited Basel\, MAXXI Roma\, OK Offenes Kulturhaus Linz\, EMAF European Media Art Festival Osnabrück; 2010 – Center for Contemporary Art Ujazdowsky Castle Warsaw\, CAAM Centro Atlántico de Arte Moderno Las Palmas\, Kaohsiung Museum of Fine Arts Taiwan; 2009 – Museo Nacional Centro de Arte Reina Sofía Madrid\, 53. Esposizione Internazionale d’Arte la Biennale di Venezia; 2007 – Centro per l’Arte Contemporanea Luigi Pecci Prato\, Tel Aviv Museum of Art; 2006 – CCCB Centre de Cultura Contemporània de Barcelona\, DA2 Domus Artium 02 Salamanca\, Hangar Bicocca Milan. \n  \nElena Mazzi\n\nMuse\, 2020\nVideo 4K\, 13’ 30’’ [excerpt 5’]\nCourtesy the artist\, galleria Ex Elettrofonica and Fondazione In Between Art Film \nThe artistic vision of Elena Mazzi deals with the relationship of human beings to their environment. Taking a primarily anthropological approach\, she explores and records the personal and collective identity of a given territory\, highlighting different forms of interaction and transformation. In the video Muse\, Elena Mazzi leads viewers into the nightmare of gender violence through the disorienting beauty of the Greek and Roman statues in the Antiquarium of Palazzo Grimani in Venice. The video begins by showing details of the interiors as if they were still inhabited\, while a voiceover ushers us into the private world of the person who lived\, or perhaps still lives\, in those solitary rooms. The visual rhythm changes as the camera begins to show close-ups of the bodies and faces of these women and men from antiquity; bodies that have been restored\, put back together\, with breaks and mends in the marble; details of broken fingers; a series of legs and bodies; male and female statues seen in relation to each other from different angles\, with rays of natural light cutting in between. These are statues that have been stolen from other places\, in an era of brutal colonialism that clashes with the perfect aesthetic balance of their arrangement. They are bodies that speak to us of distant lands and times\, of love\, violence\, of myth\, pillage\, death\, and rebirth. The voiceover tells stories of rape\, of abduction\, of violent beings who transform themselves in order to capture their sexual prey: helpless\, beautiful human beings\, both male and female. The text has been constructed by selecting myths in which violence plays a pivotal role\, putting them into a broader narrative that ties this mythological past to the present and highlights how certain behavioral dynamics are still the same today. This visually powerful narrative takes us into the violent world of myth\, based on power and domination\, where violence is directly employed by a wrathful\, lustful god. \nElena Mazzi (Reggio Emilia\, 1984)\nElena Mazzi studied at the University of Siena and the IUAV in Venice\, after which she trained at the Royal Institute of Art (Konsthögskolan) in Stockholm. Starting from the examination of specific territories\, in her works\, she reinterprets the cultural and natural heritage of places\, interweaving stories\, facts and fantasies handed down by local communities\, in order to suggest possible resolutions to the man-nature-culture conflict. Her somewhat anthropological working method favours a holistic approach aimed at repairing the rifts that occur in society. She begins the work with observation and proceeds by combining various areas of knowledge. Her works have been exhibited in solo and group exhibitions\, including: Whitechapel Gallery in London\, BOZAR in Brussels\, Museo del Novecento in Florence\, MAGA in Gallarate\, GAMeC in Bergamo\, MAMbo in Bologna\, AlbumArte in Rome\, Sonje Art Center in Seoul\, Palazzo Ducale in Urbino\, Palazzo Fortuny in Venice\, the Golinelli Foundation in Bologna\, the Pecci Center for Contemporary Art in Prato\, 16th Quadriennale in Rome\, GAM in Turin\, the 14th Istanbul Biennial\, the 17th BJCEM Mediterranean Biennial\, Fittja Pavilion during the 14th Venice Biennale of Architecture\, COP17 in Durban\, the Italian Cultural Institute in New York\, Brussels\, Stockholm\, Johannesburg and Cape Town\, and the Bevilacqua La Masa Foundation in Venice. She has participated in various residency programs in Italy and abroad. She is the winner\, among others\, of the 7th edition of the Italian Council sponsored by the Ministry of Cultural Heritage\, the XVII Ermanno Casoli Prize\, the STEP Beyond Prize\, the OnBoard Prize\, the VISIO Young Talent Acquisition Prize\, the Eneganart Prize\, the Illy scholarship for Unidee\, Fondazione Pistoletto\, nctm and art prize\, the Fondazione Sandretto Re Rebaudengo prize\, the Lerici Foundation prize. \n  \nAdrian Paci\n\nVedo rosso\, 2020\nVideo\, 11’ 38’’ [excerpt 5’]\nVideo and audio Daria Deflorian\nCourtesy the artist\, kaufmann repetto\, Peter Kilchmann Gallery and Fondazione In Between Art Film \nSince the late 1990s\, Adrian Paci has developed an artistic practice that includes video\, film\, painting\, photography\, and installation. A central theme of his work is displacement\, which Paci explores through depictions of global migration and poetic\, metaphorical language that probes how images change and move between film and painting\, the shifting nature of personal memory\, and the relationships between history\, reality\, and the moving image. In Vedo rosso the images are barely there: the screen is filled with a pulsating red that\, for just a few moments\, is interrupted by the appearance of an eye. The almost paradoxical choice to address the drama of domestic violence through the negation of images suggests the “impossibility” of telling this story: the red is created by a finger blocking the cell phone camera\, as if by mistake\, a common problem when recording. It is as if the phone lens were unable to film the domestic realm and were constantly being thwarted\, driven back into a claustrophobic place. The eyes that fleetingly appear come from video portraits of Syrian refugee women that Paci filmed in Beirut in 2018: once again\, we are looking at a kind of movement—migration\, in the interest of survival—that is being hindered\, along with the chance for refugees to tell their own stories and help us move past mass media clichés. An original text written and performed by playwright and actress Daria Deflorian provides the narrative structure: the power of storytelling turns the absence of images into a dramatic space of listening that captures the audience\, conveying the complexities and contradictions of abuse and the entangling nature of certain relationships. Vedo rosso is a polyphonic composition for color and voice; weaving together three threads of isolation\, coercion\, and negation\, both spatial and internal\, it examines limitations—physical\, psychological\, individual\, and collective—and the longing to overcome them. \nAdrian Paci (Shkoder\, Albania\, 1969)\nAdrian Paci studied painting at the Academy of Art of Tirana. In 1997 he moved to Milan where he lives and works. Throughout his career he held numerous solo shows in various international institutions such as: National Gallery of Art\, Tirana ( 2019)\, Krems Kunsthalle ( 2019)\, Museo Novecento\, Florence ( 2017); MAC\, Musée d’Art Contemporain de Montréal (2014); Padiglione d’Arte Contemporanea – PAC\, Milan (2014); Jeu de Paume\, Paris (2013); National Gallery of Kosovo\, Prishtina (2012); Kunsthaus Zurich\, Zurich (2010); Bloomberg Space\, London (2010); The Center for Contemporary Art – CCA\, Tel Aviv (2009); Museum am Ostwall\, Dortmund (2007); MoMA PS1\, New York (2006) and Contemporary Arts Museum\, Houston (2005). Amongst the various group shows\, Adrian Paci’s work has also been featured in the 14th International Architecture Exhibition – La Biennale di Venezia (2014); in the 48th and the 51st edition of the International Art Exhibition – Triennale di Roma\, where he won first prize (2008); in the Biennale de Lyon (2009); and in the 4th Thessaloniki Biennale of Contemporary Art (2013). His works are in numerous public and private collections including Metropolitan Museum\, New York\, Museum of Modern Art\, New York\, Musée d’Art Contemporain de Montréal\, Centre Pompidou\, Paris\, Israel Museum\, Jerusalem\, MAXXI\, Rome\, Fundació La Caixa\, Barcelona\, Moderna Museet\, Stockholm\, Kunsthaus Zürich\, Zurich\, UBS Art Collection\, London\, Museum of Contemporary Art\, Miami\, New York Public Library\, New York\, Solomon Guggenheim Foundation\, New York\, Seattle Art Museum\, Seattle. Adrian Paci teaches painting and visual art at Nuova Accademia di Belle Arti NABA\, Milan. He has been a teaching art classes at Accademia Carrara di Belle Arti\, Bergamo\, 2002-2006\, IUAV\, Venice\, 2003-2015 and has been giving lectures and workshops in many Universities\, Art Academies and Institutions in different countries. \n\nIván Argote\n\nEspacios Seguros\, 2020\nVideo 2K\, 19’ 55’’ [excerpt 5’]\nCourtesy the artist\, Galerie Perrotin\, Galería Vermelho\, Galería Albarrán Bourdais and Fondazione In Between Art Film \nThe practice of Iván Argote centers on exploring the complex systems that govern the relationships between individuals\, and the ways in which history\, social roles\, and power shape the structures of cities and public space. His works rely on a wide range of media\, including video\, photography\, sculpture\, drawing\, and installation. In Espacios Seguros (Safe Spaces)\, Argote conceptually links two cities to which he is personally tied: Bogotá\, where he was born and raised\, and Paris\, where he trained as an artist and now lives. Two contexts that are very different from each other politically\, economically and socially\, but where the statistics and dynamics of violence against women are tragically similar. The artist films the inscriptions that have been posted around his neighborhood by Collages Feminicides\, an anonymous collective of women artists; using short phrases and simple but immediately recognizable graphics\, they highlight the pervasiveness of gender violence and femicide in France. The camera slowly zooms in on these collages\, while in the background the life of the city proceeds at its usual pace\, culpably indifferent to the tragedy they reveal. Argote thus shifts the sphere of dialogue from the private realm to the public one\, forcing us to reflect on the normalization of violence and the paradoxical nature of a problem that seems hidden but is actually right in plain view. Over the collages\, we hear the voice of Diana Rodriguez Franco\, “Secretaria de la Mujer de Bogotá”: head of the city’s department of women’s affairs\, charged with implementing public policies for preventing domestic violence and supporting victims. Interviewed by the artist\, this official explains how the program Espacios Seguros was developed in response to the growing number of cases of domestic violence during the COVID-19 pandemic. Although the text\, images\, and sound are in different languages\, they form a shared grammar that emphasizes the gravity of the situation and the need to act immediately. \nIván Argote (Bogota\, 1983; lives in Paris)\nThe works of Iván Argote explore the relationship between history\, politics\, and the construction of our own subjectivities. His films\, sculptures\, collages\, and public space installations attempt to generate questions about how we relate to others\, to the state\, to heritage and tradition. His works are sometimes anti-establishment critiques; taking a tone that is compelling yet tender\, they investigate the idea of bringing emotions to politics and politics to the emotions. Iván Argote’s solo exhibitions include: Juntos Together\, ASU – Arizona State University Art Museum (Tempe\, Arizona\, 2019); Radical Tenderness\, MALBA (Buenos Aires\, 2018); Deep Affection\, Perrotin (Paris\, 2018); Somos Tiernos\, Museo Universitario del Chopo (Mexico City\, 2017); Somos\, Galeria Vermelho (São Paulo\, 2017); La Venganza del Amor\, Perrotin (New York\, 2017); Sírvete de mi\, sírveme de ti\, Proyecto Amil (Lima\, 2016); Strengthlessness\, Standard High Line (New York\, 2016); An Idea of Progress\, SPACE (London\, 2016); Cómo lavar la losa coherentemente\, NC Arte (Bogota\, 2016); La puesta en marcha de un sistema\, Galeria ADN (Barcelona\, 2015); Reddish Blue\, DT Project (Brussels\, 2015); Let’s Write a History of Hopes\, Galeria Vermelho (São Paulo\, 2014); Strengthlessness\, Galerie Perrotin (Paris\, 2014); La Estrategia\, Palais de Tokyo (Paris\, 2013); and Sin heroísmos\, por favor\, CA2M (Madrid\, 2012)\, among others. He has also participated in several numerous group exhibitions\, biennials and film festivals such as: Desert X\, (Coachella Valley\, California\, 2019); Poéticas de la emoción\, Caixa Forum (Barcelona\, 2019); The Street: Where the World Is Made\, MAXXI (Rome\, 2018); How to See [What Isn’t There]\, Burger Collection Hong Kong at the Langen Foundation (Neuss\, 2018); Wonderland\, The High Line (New York\, 2018); Regreso al futuro\, Casa Encendida (Madrid\, 2018); Hybrid Topographies\, Deutsche Bank Collection (New York\, 2018); Bienal Sur (Buenos Aires – Bogotá\, 2017); Continua Sphères Ensemble\, Le Centquatre-Paris (Paris\, 2017); Du Verbe à La Communication\, Carré d’Art (Nîmes\, 2017); A Decolonial Atlas\, Vincent Price Art Museum (Monterey Park\, California\, 2017); Monumentos\, anti-monumentos y nueva escultura pública\, Museo de Arte de Zapopan (Zapopan\, 2017); Future Generation Art Prize\, Pinchuk Art Centre (Kiev – Venice\, 2017); Bread and Roses\, Museum of Modern Art (Warsaw\, 2016); Festival Hors Pistes\, Centre Pompidou (Paris – Malaga\, 2016); Ideologue\, Utah Museum of Contemporary Art (Salt Lake City\, UT\, 2016); Dear Betty: Run Fast\, Bite Hard!\, GaMEC (Bergamo\, 2016); Intersections\, Cisneros Fountanals Foundation (Miami\, 2015); 5th Thessaloniki Biennale (Thessaloniki\, 2015); Levitate\, Museums Quartier (Vienna\, 2015); L’éloge de l’heure\, MUDAC (Lausanne\, 2015); Buildering: Misbehaving the City\, Blaffer Art Museum & CAC Contemporary Arts Center (Houston – Cincinnati\, 2014); Colonia Apocrifa\, MUSAC (Léon\, 2014); The Part In The Story…\, Witte de With (Rotterdam\, 2014); Utopian Days – Freedom\, Total Museum of Contemporary Art (Seoul\, 2014); All about these…\, National Gallery of Arts (Tirana\, 2014); Festival Hors Pistes\, Centre Pompidou (Paris\, 2014); Los irrespetuosos\, Museo Carrilo Gil (Mexico City\, 2013); 30th São Paulo Biennial (São Paulo\, 2013); and Girarse\, Joan Miró Fundation (Barcelona\, 2012)\, among others. \n  \nEva Giolo\n\nFlowers blooming in our throats\, 2020\n16mm tranferred to digital support\, 8’ 42” [excerpt 5’]\nCourtesy the artist\, Fondazione In Between Art Film and Elephy \nEva Giolo is a visual artist who uses documentary strategies to explore personal and family histories\, through an intense gaze that is keenly attuned to women’s experiences. She often employs 16mm and found footage from home video archives and from her private life. Filmed in 16mm just after the lockdown caused by COVID-19\, Flowers blooming in our throats is an intimate\, poetic portrait of the fragile balances that govern everyday life in a domestic setting. The artist films a group of her female friends in their own homes\, performing various small actions in accordance with her instructions. Giolo chooses to walk a shifting line where gestures remain symbolically ambiguous\, expressing a kind of violence that is not immediately recognizable. Hands try to support or escape\, but also to grip or strike\, in a subtle interweaving of sounds and references that adds to the viewer’s sense of tension and unease. A dialogue of gestures made up of repeated visual sequences where time is marked by the spinning of a small toy top\, as unstable and precarious as the balance of a relationship. The artist repeatedly uses a red filter on her lens\, creating a conceptual device that relies on an element of abstraction to conceal and transfigure the image. The mechanical insertion of the filter over the lens thus becomes the simulation of a violent act\, immediately changing the way we perceive and remember an action we have seen before. This coexistence of opposites can also be found in the title\, which metaphorically suggests how the beauty of a natural phenomenon—and implicitly\, love—can turn into a suffocating force. \nEva Giolo (Brussels\, 1991)\nEva Giolo is an audio-visual artist. Her work in film shows a propensity to capture family stories—her own\, or other people’s. Using documentary strategies\, she paints portraits that open a window into unseen\, usually private\, inner worlds. Giolo obtained her MFA in Fine Arts at the Royal Academy of Arts (KASK)\, Ghent and her BFA from the Media Arts Department at KASK and Kanazawa College of Art in Japan. She completed her music education at the Institute of Contemporary Music in London. Recent screenings and exhibitions include: Vordemberge-Gildewart Award\, GEM (The Hague\, 2020); Folding Figures\, Brakke Grond (Amsterdam\, 2019); VISIO: Moving Images After Post-Internet\, Palazzo Strozzi (Florence\, 2019); Arthaus Artist Residency\, Arthaus Movie Theater (Havana\, 2019); Cedric Willemen Award\, Nona (Mechelen\, 2019); Expanded Trails\, FIDMarseille (Marseille\, 2019); Failures of Cohabitation\, M HKA (Antwerp\, 2019); Antarctica: An Exhibition about Alienation\, Kunsthalle Wien (Vienna\, 2018); Rencontres Internationales Paris/Berlin\, Haus der Kulturen der Welt (Berlin\, 2018); Homeless Movies\, Visite Film Festival\, Het Bos (Antwerp\, 2018); Memory Error\, Imagine Science Film Festival (New York\, 2017); On the Look Out\, TAZ#17 (Ostend\, 2017); Art Vidéo #2\, Côté Court (Paris (2017); Deep Focus\, International Film Festival Rotterdam (Rotterdam\, 2017); Unfold II\, Blaa Galleri (Copenhagen\, 2016); Homeless Movies\, Huis Van Alijn (Ghent\, 2016); Hommage\, BOZAR (Brussels\, 2016); Notes on Cinema\, Courtisane Film Festival (Ghent\, 2016/2019); Mu\, Ishibiki Gallery (Kanazawa\, 2014); II część\, In Out Film Festival (Gdansk\, 2014). Giolo is a winner of the VAF Wildcard for experimental film (2016) and the Cedric Willemen Award (2019). She has been nominated for the VG Award (2020). She is a former post-grad art resident at HISK (2018-2020)\, and she has been a WIELS resident in the summer of 2020. She is a founding member of Elephy. \n\nBasir Mahmood\n\nSunsets\, everyday\, 2020\nVideo\, 14’ 55’’ [excerpt 5’]\nCourtesy the artist and Fondazione In Between Art Film \nBasir Mahmood\, who originally trained as a sculptor\, uses video and photography to reflect on the mechanisms involved in the construction of cinematic language and to explore the aesthetic and political aspects of everyday life. Sunsets\, everyday is the result of an investigation that the artist undertook of the process\, both physical and cinematic\, involved in creating images of domestic violence. During the lockdown\, some victims courageously used social media to share photos of their faces\, as a way of encouraging other women to report such crimes. The marks on their bodies were the only tangible proof of the blows and the pain they had suffered\, and the artist took these as a point of departure for thinking about all the things that happen out of view. Mahmood commissioned a production team in Lahore to create and film\, in his absence\, a repeated scene of domestic violence\, based on his instructions and some reference images. While the main crew was busy with this task\, two camera operators were asked to constantly film the entire process and the elements of the set\, down to the last detail. This method of working from a distance\, which Mahmood often employs\, invites a reflection on the artist’s role and authorship\, turning him into a witness and observer of his own work. The process of staging violence is what generates the images on the screen\, but the act itself is almost completely hidden from the viewer. We see only narrow closeups and small portions of women’s bodies. Rejecting spectacularization\, the artist focuses instead on the cinematic process and the codes of its language. In this metacinema of violence\, the characters are the technicians and crew members struggling with his exhausting demand that they repeat the scene for sixteen straight hours of shooting. The set itself is explored by the camera with a forensic gaze\, and the objects that compose it are put on an equal footing with the people. Both are forced to witness to the violence enacted before them. The almost obsessive repetition of identical actions\, like washing the floor\, becomes a way of expressing the routine nature of violence. An act that is repeated with tragic continuity. Every day\, as inevitable as the sunset. \nBasir Mahmood (Lahore\, Pakistan\, 1985)\nBasir Mahmood studied in Lahore at the Beaconhouse National University. Soon after\, he received a year-long fellowship from Akademie Schloss Solitude in Stuttgart\, Germany\, for 2011. He was also later awarded a two-year research fellowship by the Rijksakademie van beeldende kunsten\, Amsterdam\, for 2016 and 2017. Mahmood engages with the situations around him by reflecting upon embedded social and historical terrains of the ordinary\, as well as his personal milieu. Using video\, film or photograph\, Mahmood weaves various threads of thought\, discovery\, and insight into poetic sequences and various forms of narrative. Since 2011\, his works have been widely shown in contexts that include: The Garden of Eden\, Palais de Tokyo (Paris\, 2012); III Moscow International Biennale for Young Art (Moscow\, 2012); The Broad Museum: Inaugural Exhibition\, Michigan State University (East Lansing\, Michigan\, 2012); Asia Pacific Time of Others\, Museum of Contemporary Art Tokyo (Tokyo\, 2015); Yinchuan Biennial (Yichuan\, 2016); Abraaj Group Art Prize Show (Dubai\, 2016); Contour Biennale 8 (Mechelen\, 2017); Tableaux Vivants\, Foundation Etrillard (Paris\, 2017); 10th Berlin Biennale for Contemporary Art (Berlin\, 2018); Freedom of Movement\, Stedelijk Museum (Amsterdam\, 2018); and Innsbruck International (Innsbruck\, 2020). Mahmood has received accolades from around the world for his work. Most recently he was shortlisted for Portugal’s prestigious\, highly competitive Paulo Cunha e Silva Art Prize; an exhibition with works by the six finalists held at Galeria Municipal do Porto in June 2020. Works by Mahmood are in various private collections and have also been acquired by the Queensland Art Gallery in Brisbane; the Stedelijk Museum in Amsterdam\, and the Centre National des Arts Plastiques in Paris. \n\nJanis Rafa\n\nLacerate\, 2020\nVideo 3.2K\, 16’ 20’’ [excerpt 5’]\nCourtesy the artist\, Martin van Zomeren Gallery and Fondazione In Between Art Film \nJanis Rafa primarily employs the language of cinema\, in feature films\, video essays\, and video installations. Her works\, which are often permeated by elements of magical realism\, explore the symbolic potential of the relations between humans and other species\, touching on universal themes such as mortality\, coexistence\, and environmental awareness. Lacerate blends elements of realism with a dreamlike\, symbolic dimension\, portraying the extreme decision of a woman who turns from victim into executioner. Inspired by the iconography of mythological and biblical paintings such as Artemisia Gentileschi’s Judith Slaying Holofernes\, Rafa nonetheless chooses to show the moment after the act of revenge—or self-defense—when the dramatic climax is already over. In a series of mises-en-scène shot only in natural light\, we see a domestic setting overrun by a pack of dogs that roam around restlessly\, attacking objects and furniture. The interior of this home is a mental space\, violated and lacerated like a body that has undergone violence. Fruit\, game\, and remnants of food are arranged like still lifes\, with allegorical elements evoking the precariousness of life and the loss of innocence. It is a suspended\, hostile ecosystem\, where the brutality suffered by other species is transferred by osmosis to human beings. In the vision imagined by the artist\, the hunting hounds and other dogs—which were perhaps owned by the couple and witnessed the abusive relationship over the years—have come back like ghosts from the past. Historically symbols of loyalty to their master\, the dogs here rebel and become the woman’s guardians\, supporting and protecting her in the process of liberation from her persecutor. It is thus the irrational\, animalistic part of the unconscious that has been unleashed\, allowing the woman to regain control over her life and save herself. \nJanis Rafa (Athens\, 1984; lives and works in Amsterdam and Athens)\nShe completed her education in Fine Art at the University of Leeds (2002-2012) with a doctorate in video art practice\, and was a resident at the Rijksakademie (2013-2014). In 2019 she presented her first museum solo exhibition at Centraal Museum Utrecht. She recently completed her first feature film\, Kala azar (2020)\, which had its world premiere in the Tiger Competition at the International Film Festival Rotterdam\, winning the AFK award for best Dutch (co)production. The film premiered in the US at New Directors/New Films at MoMA & Lincoln Center (New York)\, and was released in the Netherlands in August 2020. Rafa’s work has also been shown at Palazzo Medici Riccardi (2017)\, Centre d’art contemporain Chanot (2017)\, Kunsthalle Munster (2017)\, Museum Voorlinden (2017)\, EYE Film Institute (2016)\, Kunstfort Vijfhuizen (2016)\, Palazzo Strozzi (2015)\, State Museum of Contemporary Art Thessaloniki (2011)\, and Manifesta 8 (2010)\, among other venues. Her moving image works have been screened at film festivals such as: IFF Rotterdam\, Netherlands Film Festival\, BFI London\, Viennale IFF and Rencontres Internationales (2016\, 2010). Her work is in the collections of the Stedelijk Museum\, Amsterdam and Centraal Museum\, Utrecht.
URL:https://www.castellodirivoli.org/en/evento/gender-based-violence-at-the-time-of-the-pandemic-mascarilla-19-codes-of-domestic-violence/
LOCATION:Torino
CATEGORIES:conferenza
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210326T150000
DTEND;TZID=Europe/Rome:20210326T160000
DTSTAMP:20260611T010821
CREATED:20210316T112214Z
LAST-MODIFIED:20251125T114148Z
UID:105251-1616770800-1616774400@www.castellodirivoli.org
SUMMARY:Artists on the Frontline - Global Artists Response Fund Launch
DESCRIPTION:In partnership with Community Jameel & Tate Museums \nPanel discussion chaired by Anna Somers Cocks\, Founder Editor\, The Art Newspaper; Cara Courage\, Head of Tate Exchange\, Tate Museums; Phyll Opoku-Gyimah\, Co-Founder\, UK Black Pride; Carolyn Christov-Bakargiev\, Director\, Castello di Rivoli Museo d’Arte Contemporanea\, Turin \nThis pandemic is making us question everything from our economic systems to the role of the state\, and the purpose of art is no exception. What are artists doing to help and what is their responsibility? The pandemic has affected everyone everywhere from all walks of life\, but hardest hit are those communities living at the edges of society\, suffering social\, economic or conflict-driven hardship. They have the weakest health-care systems and the most acute mental health problems. This panel will discuss how artists are working on the frontlines of the current crisis and how the pandemic might change the art-world systems and values of the past decades. The panel will also mark the launch of several projects being supported by the Artists Response Fund including in Iraq\, in partnership with Community Jameel\, documenting and sustaining traditional cultural practices to address mental health needs among with the Yazidi and Marsh Arab communities\, and on the Navajo Nation in Arizona.
URL:https://www.castellodirivoli.org/en/evento/itartists-on-the-frontline-global-artists-response-fund-launch/
LOCATION:Torino
CATEGORIES:conferenza
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210516T120000
DTEND;TZID=Europe/Rome:20210516T170000
DTSTAMP:20260611T010821
CREATED:20210511T082458Z
LAST-MODIFIED:20251125T114027Z
UID:105255-1621166400-1621184400@www.castellodirivoli.org
SUMMARY:Giulio Paolini. “Le Chef-d’œuvre inconnu” | Finissage
DESCRIPTION:Giulio Paolini donates to Castello di Rivoli his large installation Le Chef-d’œuvre inconnu\, (2020) and presents the exhibition catalog during a book-signing event on May 16\, 2021 in the Bookshop. \nTo celebrate the last day of the Giulio Paolini. “Le Chef-d’œuvre inconnu” exhibition\, Sunday May 16\, 2021 at 12 pm the Castello di Rivoli Museo d’Arte Contemporanea organizes the presentation of the exhibition catalog in the presence of the artist\, the Director Carolyn Christov-Bakargiev and the curator of the exhibition Marcella Beccaria. \nThe Book\n \nThe two-volume publication was born on the occasion of the exhibition Giulio Paolini.“Le Chef-d’œuvre inconnu\,” to celebrate the artist’s eightieth birthday. \nVolume I Giulio Paolini.“Le Chef-d’œuvre inconnu\,” is dedicated to the exhibition\, which is discussed through new essays by Carolyn Christov-Bakargiev and by Marcella Beccaria. Richly illustrated with documentary images\, the catalog also traces the artist’s exhibition history at Castello di Rivoli. \nVolume II Giulio Paolini. Recital. Writings in verse 1987–2020 focuses on the artist’s poetry\, introduced by a new text by Andrea Cortellessa. \nGiulio Paolini designed the covers of the two volumes and created the new work Senza titolo (Untitled)\, 2020 for the inside of the dust jacket. \nThe Gift\nOn the occasion of his solo show at Castello di Rivoli\, Giulio Paolini generously donated to the Museum the large installation Le Chef-d’œuvre inconnu\, 2020 which welcomes visitors in Gallery 18. \nThe installation\, which becomes part of the Museum’s Permanent Collection\, is based on Disegno geometrico (Geometrical Drawing)\, 1960\, one of the primary works by the artist. Described by Paolini as his “first (and last painting)\,” Disegno geometrico refers to the squaring of a canvas –the first gesture an artist usually performs. Disegno geometrico is a rectangular canvas painted white\, on which Paolini has “chosen to copy\, according to the right proportions\, the preliminary sketch for any drawing\, namely the geometrical squaring of the surface.” \nIn the gallery at the second floor of the Savoy Residence\, the long lines traced on the floor match the outline of the diagonals of Disegno geometrico\, whereas each of the eight squaring points is marked by the presence of an easel with a transparent display case. Inside each case are paper fragments of sketches and cuttings from Paolini’s studio in Turin. Hanging from the ceiling at the center of the room\, corresponding to a ninth empty easel\, is another display case. Its presence raises the number of display cases present in ‘Le Chef-d’oeuvre inconnu’ to nine. \n“Visiting the large installation Le Chef-d’œuvre inconnu” – writes Marcella Beccaria – “is like walking among Giulio Paolini’s ideas and seeing them take shape before our eyes. This generous gift from the artist\, which we thank\, allows Castello di Rivoli to enrich the permanent collection\, documenting the fundamental path of the artist\, from the beginnings in the context of Arte Povera to the present.” \nBiography\nGiulio Paolini was born on 5 November 1940 in Genoa and lives in Turin. \nHis poetics focus on themes that examine the conception\, manifestation and vision of the artwork. After his inquiries on the elements that make up a painting\, his attention has turned to the act of exhibiting works\, to the consideration of the work as a catalogue of its own possibilities\, as well as to the figure of the author and his lack of contact with the work\, which either pre-exists or transcends him. \nSince his first participation in a group exhibition (1961) and his first solo show (1964)\, he has had countless exhibitions in galleries and museums the world over. His major retrospectives include: Palazzo della Pilotta in Parma (1976)\, Stedelijk Museum in Amsterdam (1980)\, Nouveau Musée in Villeurbanne (1984)\, Staatsgalerie in Stuttgart (1986)\, Galleria Nazionale d’Arte Moderna in Rome (1988)\, Neue Galerie am Landesmuseum Joanneum in Graz (1998)\, GAM Galleria Civica d’Arte Moderna e Contemporanea in Turin (1999)\, Fondazione Prada in Milan (2003)\, Kunstmuseum in Winterthur (2005)\, MACRO Museo d’Arte Contemporanea Roma in Rome (2013)\, and Whitechapel Gallery in London (2014). Among the most recent solo shows should be mentioned those at the Center for Italian Modern Art in New York (dialogue with Giorgio de Chirico’s works\, 2016) and at Fondazione Carriero in Milan (2018). \nHe has participated in many Arte povera exhibitions and has been invited on several occasions to Documenta in Kassel (1972\, 1977\, 1982\, 1992) and the Venice Biennale (1970\, 1976\, 1978\, 1980\, 1984\, 1986\, 1993\, 1995\, 1997\, 2013). \nSince 1969 he has also designed sets and costumes for the theatre\, notably the projects he devised with Carlo Quartucci in the 1980s and the sets for two Wagner operas directed by Federico Tiezzi (2005\, 2007). \nHaving trained as a graphic designer\, he has always nurtured special interest in the field of publishing and writing. From the very outset his artistic exploration has been accompanied by his thoughts\, collected in books he has personally edited: from Idem\, published in 1975 by Einaudi with an introduction by Italo Calvino\, to his most recent publications\, Quattro passi. Nel museo senza muse (Turin: Einaudi\, 2006)\, Dall’Atlante al Vuoto in ordine alfabetico (Milan: Electa\, 2010) and L’autore che credeva di esistere (Milan: Johan & Levi\, 2012). Many books have been published devoted to Paolini’s oeuvre: from the first monograph written by Germano Celant (New York: Sonnabend Press\, 1972) to the volume by Francesco Poli (Turin: Lindau\, 1990) and\, lastly\, the Catalogue Raisonné of his works dated 1960-1999\, edited by Maddalena Disch (Milan: Skira\, 2008).
URL:https://www.castellodirivoli.org/en/evento/giulio-paolini-le-chef-doeuvre-inconnu-finissage/
LOCATION:Torino
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210520T150000
DTEND;TZID=Europe/Rome:20210520T220000
DTSTAMP:20260611T010821
CREATED:20210506T100946Z
LAST-MODIFIED:20251125T113752Z
UID:105253-1621522800-1621548000@www.castellodirivoli.org
SUMMARY:Digital PTSD Part II. The Practice of Art and Its Impact on Digital Trauma
DESCRIPTION:Castello di Rivoli Museo d’Arte Contemporanea presents the second part of a program of talks\, conversations and artworks entitled Digital PTSD. The Practice of Art and Its Impact on Digital Trauma developed in the framework of the exhibition Espressioni. The Proposition. \nDigital PTSD. Part II is presented at Castello di Rivoli Theatre (free access with Museum ticket\, booking is essential) and live streamed on both e-flux and Castello di Rivoli websites (please register here). \nIt is counterintuitive\, but Digital PTSD presents through an online platform a critique of the potential misuse of technologies by proposing an interdisciplinary enquiry into the possibility that a trauma from hyper-digitization may be emerging\, at both individual and collective level. In the context of society’s growing reliance on online technologies and Artificial Intelligence\, Digital PTSD questions whether these tools may be sources of psychological distress\, undermining physical and mental well-being as well as facilitating the affirmation of a technocracy which ultimately poses a threat to our health and social justice. What are the traumatic consequences of the sudden increase in virtual activities during a period when spaces of aggregation\, such as museums\, have been in extended lockdown? Digital PTSD invites to reflect on screen-based experience\, the physical erosion of living matter\, the transformation of life into big data and the new digital epistemic regime. \nParticipants in Part II include: Ed Atkins\, artist; Janet Cardiff and George Bures Miller\, artists; Carolyn Christov-Bakargiev\, director of the museum; Devra Davis\, epidemiologist\, activist; Irene Dionisio\, author\, director\, visual artist; Aikaterini Fotopoulou\, psychodynamic neuroscientist; Vittorio Gallese\, cognitive neuroscientist; Vincent Hendricks\, philosopher\, logician; Catherine Malabou\, philosopher; Otobong Nkanga\, artist; Tabita Rezaire\, artist\, devotee\, yogi\, doula\, soon to be farmer; Legacy Russell\, curator\, writer; Miao Ying\, artist. \nThe event runs from 15:00 to 22:00 CEST (Central European Standard Time). Further information and program here. \nDigital PTSD – Part I took place on December 12\, 2020\, including: Tabita Rezaire\, artist; Carolyn Christov-Bakargiev\, museum director\, exhibition maker\, writer; Beatriz Colomina & Mark Wigley\, architectural historians\, theorists\, curators; Cécile B. Evans\, artist; Matteo Pasquinelli\, cognitive sciences\, digital economy\, machine intelligence theorist; Hito Steyerl\, filmmaker\, visual artist\, writer\, and innovator of the essay documentary; Grada Kilomba\, artist and writer; Anne Imhof\, artist musician; Bracha L. Ettinger\, painter\, theorist\, psychoanalyst; Éric Sadin\, writer and philosopher; Vittorio Gallese\, cognitive neuroscientist; Ophelia Deroy\, philosopher and cognitive neuroscientist; Griselda Pollock\, feminist-postcolonial-queer-international art historian and cultural analyst; Agnieszka Kurant\, artist; Cally Spooner\, artist; Chus Martínez\, curator and writer; Stuart Ringholt\, artist; Marcos Lutyens\, artist and hypnotist. Documentation of the full event can be watched here. \nDigital PTSD. The Practice of Art and Its Impact on Digital Trauma is a research program initiated and curated by Carolyn Christov-Bakargiev with Stella Bottai and Giulia Colletti. \n  \nDIGITAL PTSD – PART II\nPARTICIPANTS BIOGRAPHIES \n \nEd Atkins lives and works in Copenhagen. His upcoming solo exhibition Get Life / Love’s Work opens at the New Museum in New York in June 2021. Forthcoming exhibitions aslo include Tank\, Shanghai\, and Tate Britain. Recent solo exhibitions include Kunsthaus Bregenz and K21 Düsseldorf (both 2019); Martin-Gropius-Bau\, Berlin; MMK Frankfurt; DHC/ART\, Montréal (all 2017); Castello di Rivoli and Fondazione Sandretto Re Rebaudengo\, Turin; The Kitchen\, New York (all 2016). An anthology of his texts\, A Primer for Cadavers\, was published by Fitzcarraldo in 2016. An epic nothing\, Old Food\, was published by Fitzcarraldo in 2019. A new book of his drawings for children is published by Koenig Books this Spring. \n\n\n\n\n\n\n\n\nEd Atkins and Carolyn Christov-Bakargiev tackle some of the complexities of contemporary digital technologies\, including the challenges posed by the dramatic increase in digitization during lockdown affecting interpersonal relationships and screen-based social experiences. Over the past decade\, Atkins has created a complex body of work that considers the relationship between the corporeal and the digital through high-definition computer-generated (CG) animations\, theatrical environments\, elliptical writings\, and syncopated sound montages. Atkins and Christov-Bakargiev touch upon his upcoming commission Get Life/Love’s Work at the New Museum\, New York\, that focuses on the ways bodies and technologies are intertwined\, particularly in the field of digital communication and telepresence. \n\n\n\n\n\n\n\n\n \nJanet Cardiff and George Bures Miller live and work in British Columbia. The artists are internationally recognized for their immersive multimedia sound installations and their audio/video walks. They have created recent video walks at the Walt Disney Concert Hall in Los Angeles (2019)\, and for the Fruitmarket Gallery in Edinburgh (2019). Cardiff and Miller have shown at the Museum of Modern Art in New York (2019) Museum of Contemporary Art in Monterrey\, Mexico (2019); Oude Kerk\, Amsterdam (2018); 21st Century Museum\, Kanazawa\, Japan (2017) and Fondation Louis Vuitton\, Paris (2017). In 2020 they were awarded the Wilhelm Lehmbruck prize for sculpture. In 2001\, Cardiff and Miller represented Canada at the 49th Venice Biennale\, for which they received the Premio Speciale and the Benesse Prize. \n\n\n\n\nJanet Cardiff and George Bures Miller speak with Carolyn Christov-Bakargiev about their series of video and audio walks in relation to media alienation. Cardiff and Bures Miller’s work has since a long time acknowledged and deployed digital screens as tools affecting one’s perception of their surroundings\, transporting them to alternate realities and ultimately diverting the attention (and the senses) back to our material relationship with the world. Contrary to the visual flatness of smart devices\, their work establishes a three-dimensional\, layered physical space in which transformative scenarios unfold. In this conversation\, they discuss their approach to screen-based experience in their past work\, reflecting on the use of technology in the present day and the evolving relationship between online and offline experience. \n\n\n\n\n \nCarolyn Christov-Bakargiev is a writer\, art historian and curator. Currently\, she is the Director of Castello di Rivoli Museo d’Arte Contemporanea and Fondazione Francesco Federico Cerruti in Turin. She is the recipient of the 2019 Audrey Irmas Award for Curatorial Excellence. She was Edith Kreeger Wolf Distinguished Visiting Professor in Art Theory and Practice at Northwestern University (2013-2019). Christov-Bakargiev was Artistic Director of dOCUMENTA (13) in 2012 in Kassel\, Banff\, Alessandria-Cairo and Bamiyan-Kabul. In 2008\, she directed the Sydney Biennale and the Istanbul Biennale in 2015. \n\n\n\n\nCastello di Rivoli Museo d’Arte Contemporanea Director\, Carolyn Christov-Bakargiev introduces some of the concerns which prompted this program. In the context of society’s growing reliance on online technologies and Artificial Intelligence\, Digital PTSD questions whether these tools may be sources of psychological distress\, undermining physical and mental well-being as well as facilitating the affirmation of a technocracy which ultimately poses a threat to public freedom and social justice. What are the traumatic consequences of the sudden increase in virtual activities during a period when spaces of aggregation\, such as museums\, have been in extended lockdown? Digital PTSD invites to reflect on screen-based experience\, the physical erosion of living matter\, the trans-formation of life into big data and the new digital epistemic regime. \n\n\n\n\n \nDevra Davis\, Ph.D. MPH\, is Founder and President of Environmental Health Trust (EHT)\, a US-based not-for-profit organization providing research and education on avoidable environmental health hazards\, including radio-frequency radiation\, pesticides and toxic chemicals. A former senior official in the Clinton administration and an executive director at the US national Academy of Sciences\, Davis served as a Lead Author of the United Nations’ Intergovernmental Panel on Climate Change (1998-2002)\, and was part of the team awarded the Nobel Peace Prize in 2007 along former US vice-president Al Gore. Author of over 200 scientific publications and three popular books\, Davis holds visiting professor appointments at several universities.  \n\n\n\n\nDevra Davis presents scientific research on wireless microwave radiation. She shares why she has joined hundreds of scientists around the world who are calling to reduce children’s exposure to wireless microwave radiation through the introduction of updated regulations on the use of wireless devices\, and to halt 5G until further research and assessment on its potential health effects are carried out. \n\n\n\n\n \nIrene Dionisio is a filmmaker and artist. Her productions span video-installations\, documentaries\, films including Le ultime cose (2016)\, Sponde (2015)\, and La fabbrica è piena (2011) which were featured at many international festivals (Festival di Venezia\, Torino Film Festival\, Visions du Réel\, Taiwan Film Festival\, among others) and were awarded Premio Filmmaker\, Premio Solinas\, Premio Scam and and Jury Prize at Cinema-Verité in Iran. Dionisio’s work has been featured in solo and group exhibitions at Magazzino Italian Art\, New York; PAC\, Milan; OCAT\, Shanghai; Palazzo Grassi\, Venice; amongst others. \n\n\n\n\nFollowing A Germ Theory – A Teaser\, this new lecture-performance titled A Germ Theory_Earth by Irene Dionisio investigates\, visualises and performs Benjamin H. Bratton’s mega-structure on a double plane – physical and digital. A possibility emerges for both the artist and the audience to question the role of art in enabling a comprehension of reality and our increasing alienation from it. The interstice between digital and physical worlds becomes a free zone to allow new doubts and possible solutions to emerge\, and to contemplate the environmental topic with different parameters. \n\n\n\n\n \nAikaterini (Katerina) Fotopoulou\, PhD\, DPsych is Professor of Psychodynamic Neuroscience at University College London\, leading research on the mental-physical health interface\, including the European Research Council programme grants BODILY SELF and METABODY (www.fotopoulou.com). Fotopoulou has received several awards for her research\, including the Distinguished Young Scientist Award (2014) by the World Economic Forum and the Early Career Award of the International Neuropsychology Society (2016). She is co-founder and Treasurer of the International Association for the Study of Affective Touch (IASAT)\, board member of the European Society for Cognitive and Affective Neuroscience\, and co-editor of the volume From the Couch to the Lab: Trends in Psychodynamic Neuroscience\, Oxford University Press\, 2012. \n\n\n\n\nProximal\, interpersonal space is the space of bodily contact but also the space of social\, interactive possibilities. The physical space in which others can touch our skin and the imaginary space in which others can touch our emotions. Touch acquired a new resonance in the year of social distancing measures\, reminding us the well-studied role of contact comfort in development\, relatedness and health. In this talk Remote but not distant: Possibilities and Tensions of Digital Contact Comfort\, Fotopoulou explores data collected during the pandemic on the mental health effects of unprecedented touch deprivation in human adults\, as well as survey and experimental insights on experiences and attitudes to digital remote touch technology for mediating physical remoteness and social communication. \n\n\n\n\n \nVittorio Gallese\, MD and trained neurologist\, is Professor of Psychobiology and Cognitive Neuroscience at the Dept. of Medicine & Surgery of the University of Parma\, Italy. Cognitive neuroscientist\, his research focuses on the relation between the sensory-motor system and cognition by investigating the neurobiological and bodily grounding of intersubjectivity\, psychopathology\, language and aesthetics. He is the author of more than 300 scientific publications and three books. \n\n\n\n\nNeuroscience and physiology today can investigate the brain-body mechanisms enabling our interactions with man-made images\, shedding light on the functional mechanisms enabling their perceptual experience. Vision is a process far more complex than the mere activation of the “visual brain”. Our visual experience of images is the outcome of multimodal integration processes\, in which the motor system is one key player. In this talk Digital Visions\, Vittorio Gallese briefly discusses this new model of vision\, emphasizing that the multimodal integration of what we perceive is triggered by the potentiality for action that we express corporeally. He argues that the digital revolution has shifted the balance towards an ever-growing exposure to digital images and introduced a novel performative quality to our perceptual experience of them. Some implications of our digital visions are discussed. \n\n\n\n\n \nVincent F. Hendricks is Professor of Formal Philosophy at The University of Copenhagen. He is Founder and Director of the Center for Information and Bubble Studies (CIBS) financed by the Carlsberg Foundation and was awarded the Elite Research Prize by the Danish Ministry of Science\, Technology and Innovation and the Roskilde Festival Elite Research Prize both in 2008. He was Editor-in-Chief of Synthese: An International Journal for Epistemology\, Methodology and Philosophy of Science between 2005-2015. \n\n\n\n\nThe prime asset in the information economy is not microchips or oil – it’s attention. It is a cognitive resource to humans\, but to the information market\, governed by an attention economy\, it is THE asset\, potentially making us collateral damage. Every user of social media is not a client\, but a product – an information product\, taking and receiving attention as a function of the information emitted and circulated. As a user one may speculate as to what sort of information people are willing to spend their precious attention on and produce in line with the business principle: “Enough of me\, what about you\, what do you think of me?”. If one adds to that the way in which users influence each other\, before one knows it we ourselves have become the collateral damage of the attention economy in the information market. \n\n\n\n\n \nCatherine Malabou is a Professor of Philosophy at the Centre for Research in Modern European Philosophy\, at Kingston University London\, and in the departments of Comparative Literature and European Languages and Studies at University of California Irvine. Her last books include Before Tomorrow: Epigenesis and Rationality (Cambridge: Polity Press\, 2016\, trans. Carolyn Shread); Morphing Intelligence\, From IQ to IA (New York: Columbia University Press\, 2018\, trans. Carolyn Shread); and Le Plaisir effacé\, Clitoris et pensée (Rivages\, 2020). \n\n\n\n\nThe notion of ‘uncanny valley’ was developed by robotician Masahiro Mori to characterise the relationship between the degree of a robot’s resemblance to a human being and the emotional response to it. The concept of the uncanny valley suggests that humanoids which appear almost\, but not exactly\, like real human beings cause uncanny feelings of eeriness and revulsion in observers. “Valley” denotes a dip in the human observer’s affinity for the replica. The more resemblant the replica\, the stronger the feeling of uncanniness (bottom of the valley). In this presentation\, Malabou asks if digital PTSD is susceptible to be caused by artificial relationships with uncanny robotic lovers and friends\, and the disappointment generated by the solitude\, unfulfillment\, caused by a type of alterity that remains alien to any registered definition of alterity. An otherness to other- ness. Why exactly is robotic uncanniness\, what type of traumas does it generate\, and are there ways to deal with it? \n\n\n\n\n \nOtobong Nkanga lives and works in Antwerp. Her solo exhibitions include Castello di Rivoli Museo d’Arte Contemporanea\, Rivoli-Torino (upcoming); Middlesbrough Institute of Modern Art\, Middlesbrough (2020-21); Martin Gropius Bau\, Berlin and Henie Onstad Kunstsenter\, Høvikodden (both 2020); Zeitz MOCAA\, Cape Town; Tate St Ives (both 2019-20); Museum of Contemporary Art\, Chicago (2018). Additionally\, her work has been included in institutional group exhibitions such as 58th Venice Biennale (2019); Sharjah Biennial 14 (2019); documenta 14\, Athens–Kassel (2017); Moderna Museet\, Stockholm; Centre Pompidou\, Paris (both 2016); 13th Biennale de Lyon (2015). In 2019\, Nkanga received a Special Mention Award at the 58th International Art Exhibition of La Biennale di Venezia and was also awarded the Sharjah Biennial Prize (with Emeka Ogboh); the Peter-Weiss-Preis; and the Flemish Cultural Award for Visual Arts – Ultima. \n\n\n\n\nOtobong Nkanga’s practice reads the world on material terms\, mapping out how the body fits into a shared\, earthly narrative. In this conversation\, the artist speaks with Carolyn Christov-Bakargiev about digital PTSD in connection to alienated labour\, material extraction as well as digital addiction triggered by the loss of embodied relations accentuated by the pandemic. During the talk\, they also address the importance of Nkanga’s poly-sensorial approach to exhibition making\, and her research into capitalist production cycles which extract and shift energy from organic materials to inorganic\, invisible and intangible spaces making up the apparently seamless infrastructure of the digital world. \n\n\n\n\n \nTabita Rezaire currently lives and works in Cayenne\, French Guiana\, where she is birthing AMAKABA. She is an artist-healer-seeker working with screens and energy streams. Her cross-dimensional practice envisions network sciences – organic\, electronic and spiritual – as healing technologies to serve the shift towards heart consciousness. Navigating digital\, corporeal and ancestral memory as sites of struggles\, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality that affect the songs of our body-mind-spirits. She has shown her work internationally at Centre Pompidou\, Paris; MoMa\, New York; MASP São Paulo; Gropius Bau\, Berlin; ICA and Tate Modern\, London. \n\n\n\n\nTo mark the conclusion of the event\, Tabita Rezaire invites us on a journey into the ancestral realms\, to call upon those who have walked the path we are walking\, to inform and guide us. Join Rezaire to sit with the ancestors\, to travel through the lineages who have birthed us\, to honour\, receive\, release\, and embody the gift of life. The meditation was recorded by Rezaire at her home\, in a cabane in the Amazonian Forest near Cayenne\, in French Guiana. \n\n\n\n\n \nLegacy Russell is a curator and writer. Born and raised in New York City\, she is the Associate Curator of Exhibitions at The Studio Museum in Harlem. Her academic\, curatorial\, and creative work focuses on gender\, performance\, digital selfdom\, internet idolatry\, and new media ritual. She is the recipient of the Thoma Foundation 2019 Arts Writing Award in Digital Art\, a 2020 Rauschenberg Residency Fellow\, and a recipient of the 2021 Creative Capital Award. Her first book Glitch Feminism: A Manifesto (2020) is published by Verso Books. Her second book\, BLACK MEME\, is forthcoming via Verso Books. \n#GLITCHFEMINISM (2018) is a video essay and performative lecture based on Legacy Russell’s research toward her recent publication Glitch Feminism: A Manifesto (2020)\, a vital new chapter in cyberfeminism. Glitch Feminism explores the relationship between gender\, technology and identity. In this urgent mani- festo\, Russell reveals the many ways that the glitch performs and transforms: how it refuses\, throws shade\, ghosts\, encrypts\, mobilises and survives. Russell argues that we need to embrace the glitch in order to break down the binaries and limitations that define gender\, race\, sexuality. \n[Photo credits Mina Alyeshmerni] \n\n \nMiao Ying is an artist based in New York and Shanghai. She is among the first generation of Chinese contemporary artists who grew up with the internet\, Chinese economic reform and one-child policy\, and were educated in both China and the West. She is known for her projects and writings addressing Chinese internet culture and dealing with her Stockholm Syndrome in relation to censorship. Her solo exhibitions include M+ Museum\, Hong Kong (2018); New Museum\, New York (2016); Chinese Pavilion\, Venice Biennale (2015). Her work has been featured in international groups shows at Castello di Rivoli\, Turin (2020); 12th Gwangju Biennale\, South Korea (2018); MoMA PS1\, New York (2017); UCCA\, Beijing (2017)\, amongst others. She is recipient of the Porsche Young Chinese Artist of the year (2018- 2019). \n\n\n\n\nIn this new video by Miao Ying\, her former online project Hardcore Digital Detox (2018) is captured as a website performing itself to the camera\, introducing the audience to the core elements of Miao’s innovative digital detox philosophy. Digital detox is commonly known as a period during which a person refrains from using electronic connecting devices\, such as smartphones and computers. What makes Miao’s digital detox hardcore is that one can stay connected the whole time. A companion to Miao’s project Chinternet Plus (2016)\, Hardcore Digital Detox similarly occupies the negative space left by the restricted Chinese internet. Far from seeing this as a deficiency\, Miao celebrates the ingenuity\, humour\, and intelligence of Chinese internet users\, and the rich visual culture shared behind the firewall.
URL:https://www.castellodirivoli.org/en/evento/digital-ptsd-part-ii-the-practice-of-art-and-its-impact-on-digital-trauma/
LOCATION:Torino
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210523T183000
DTEND;TZID=Europe/Rome:20210523T220000
DTSTAMP:20260611T010821
CREATED:20210518T132515Z
LAST-MODIFIED:20210518T132515Z
UID:105260-1621794600-1621807200@www.castellodirivoli.org
SUMMARY:Natural Machines
DESCRIPTION:Teatro del Castello di Rivoli Museo d’Arte Contemporanea \nOre 18:30 e ore 20:30 \nNatural Machines \nIngresso gratuito
URL:https://www.castellodirivoli.org/en/evento/natural-machines/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/05/Dan-Tepfer-.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210528T203000
DTEND;TZID=Europe/Rome:20210528T223000
DTSTAMP:20260611T010821
CREATED:20210527T140451Z
LAST-MODIFIED:20210527T140451Z
UID:105266-1622233800-1622241000@www.castellodirivoli.org
SUMMARY:Cosmologia\, molti mondi\, entaglement... Ci sono piccose in cielo e in terra di quante ne sogni la tua filosofia
DESCRIPTION:Teatro del Museo \nAngelo Tartaglia – Relatore \nGiacomo Agazzini – Violino \nMusiche di Baci\, Chenna\, Reich \nIngresso gratuito su prenotazione \nIstituto Musicale Città di Rivoli \ntel 011/9564408 \nrivolimusica@istitutomusicalerivoli.it
URL:https://www.castellodirivoli.org/en/evento/cosmologia-molti-mondi-entaglement-ci-sono-piccose-in-cielo-e-in-terra-di-quante-ne-sogni-la-tua-filosofia/
LOCATION:Torino
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210602T110000
DTEND;TZID=Europe/Rome:20210602T190000
DTSTAMP:20260611T010821
CREATED:20210518T130856Z
LAST-MODIFIED:20210518T130856Z
UID:105258-1622631600-1622660400@www.castellodirivoli.org
SUMMARY:June 2d - Republic day- Museum Open
DESCRIPTION:  \nMuseum Open from 11 am to 7 pm
URL:https://www.castellodirivoli.org/en/evento/june-2d-republic-day-museum-open/
LOCATION:Torino
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210605
DTEND;VALUE=DATE:20210609
DTSTAMP:20260611T010821
CREATED:20210527T110438Z
LAST-MODIFIED:20210527T110438Z
UID:105264-1622851200-1623196799@www.castellodirivoli.org
SUMMARY:The Cerruti Collection reopens on Saturday June 5\, 2021
DESCRIPTION:The Castello di Rivoli Museo d’Arte Contemporanea is pleased to announce that the Cerruti Collection will reopen to the public on Saturday June 5\, 2021. \nThe Cerruti Collection will be open on Saturdays and Sundays from 11 am to 7 pm with pre-established visiting times according to the departure time of the shuttles from the Castello di Rivoli at 11.45 am\, 1.15 pm\, 2.45 pm\, 4.15 pm and 5.45 pm. \nThe visit to the Cerruti Collection is accompanied by an expert guide \nThe entrance ticket to the Cerruti Collection can be collected or purchased at the Castello di Rivoli Ticket Office.\nThe ticket also gives access to the exhibitions and permanent collection of the Castello di Rivoli.\nThe visit is reserved for people over 12 years old. \nDue to limited capacity in compliance with health regulations for the well-being of our visitors\, it is advisable to purchase entrance tickets online at the following link and collect them at least 10 minutes before the shuttle departs. \nFrom June 5 visitors will be able to return to admire some 300 works of sculpture and painting ranging from the Middle Ages to today\, plus approximately 200 rare and ancient books with exquisite book bindings\, and over 300 furnishings including by renowned cabinet makers and rare carpets: a journey into the history of art\, from furniture to decorative arts\, from the late Middle Ages to the Renaissance\, from the nineteenth century up to modernity. Extraordinary works which include those by Simone dei Crocifissi\, Bernardo Daddi\, Dosso Dossi and Pontormo\, up to fascinating paintings by Renoir\, Modigliani\, Kandinsky\, Klee\, Boccioni\, Balla and Magritte\, as well as Bacon\, Burri\, Warhol\, De Dominicis and Paolini.
URL:https://www.castellodirivoli.org/en/evento/the-cerruti-collection-reopens-on-saturday-june-5-2021/
LOCATION:Torino
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210624T090000
DTEND;TZID=Europe/Rome:20210624T230000
DTSTAMP:20260611T010821
CREATED:20210608T100256Z
LAST-MODIFIED:20210608T100256Z
UID:105272-1624525200-1624575600@www.castellodirivoli.org
SUMMARY:Special opening June 24\, from 9 pm to 11 pm
DESCRIPTION:Castello di Rivoli will be exceptionally open on Thursday 24 June from 9 pm to 11 pm. The public will be able to visit the A.B.O. THEATRON. Art or Life. Due to the ongoing health emergency\, entry to the Museum is limited. Please\, collect your free ticket at the Ticket Office. Numbers are limited.
URL:https://www.castellodirivoli.org/en/evento/special-opening-june-24-from-9-pm-to-11-pm/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/06/Night-Manica.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210624T160000
DTEND;TZID=Europe/Rome:20210624T163000
DTSTAMP:20260611T010821
CREATED:20210603T095257Z
LAST-MODIFIED:20251125T111655Z
UID:105268-1624550400-1624552200@www.castellodirivoli.org
SUMMARY:Patrizio Di Massimo in conversation with Leonardo Caffo
DESCRIPTION:Castello di Rivoli Museo d’Arte Contemporanea\, in collaboration with the City of Rivoli\, unveils a new project by Patrizio Di Massimo (Jesi\, 1983) which is part of the new program of site-specific commissions for the public space of the risalita meccanizzata\, an automated escalator system originally designed to connect the historical city center to the piazzale by the Castello. Specific areas of the pathway\, closed since 2011\, have been reinstated and opened to the public to view the project and become an unprecedented exhibition space which can host new contemporarty artworks\, specifically commissioned by Castello di Rivoli and open to the public Thursday to Sunday\, 11:30am to 6:30pm. The first project is curated by Stella Bottai. \nOn Thursday June 24 at 4pm (CEST) in the Museum Theater\, the artist will participate in a conversation with Leonardo Caffo\, philosopher in residence at Castello di Rivoli. At 4:45pm and 6:45pm\, special guided tours of The Escalator Cycle with the artist and the curator will be taking place. Due to the current health emergency\, the Theatre and the guided visits have limited capacity. Please reserve your place in advance by phone +39 011 9565 213 or by email educa@castellodirivoli.org.
URL:https://www.castellodirivoli.org/en/evento/patrizio-di-massimo-in-conversation-with-leonardo-caffo/
LOCATION:Torino
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2021/06/Picture-1.png
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210624T180000
DTEND;TZID=Europe/Rome:20210624T190000
DTSTAMP:20260611T010821
CREATED:20210603T114437Z
LAST-MODIFIED:20251125T111514Z
UID:105270-1624557600-1624561200@www.castellodirivoli.org
SUMMARY:Achille Bonito Oliva in conversation with Carolyn Christov-Bakargiev\, Andrea Viliani\, Marcella Beccaria and Leonardo Caffo
DESCRIPTION:In the Museum Theater\, Achille Bonito Oliva will engage in conversation with Director Carolyn Christov-Bakargiev\, Head  and Curator of CRRI  Castello di Rivoli Research Institute Andrea Viliani\, Chief Curator and Curator of Collections Marcella Beccaria\, and Philosopher in Residence Leonardo Caffo. Due to the ongoing health emergency\, entry to the theater is by advance timed booking only. There will be a guided tour to the exhibition at 7 pm. Please reserve 011 9565 213 or educa@castellodirivoli.org
URL:https://www.castellodirivoli.org/en/evento/achille-bonito-oliva-in-conversation-with-carolyn-christov-bakargiev-andrea-viliani-marcella-beccaria-and-leonardo-caffo/
LOCATION:Torino
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2021/06/ABO-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210717
DTEND;VALUE=DATE:20210719
DTSTAMP:20260611T010821
CREATED:20210705T150316Z
LAST-MODIFIED:20251125T111231Z
UID:105277-1626480000-1626652799@www.castellodirivoli.org
SUMMARY:Supercondominio 3. A gathering of new contemporary art spaces in Italy
DESCRIPTION:Saturday July 17\, 2021 \n3.45 – 6 pm / 6.30 – 9 pm Performative keynotes open to the public\, Castello di Rivoli Theater9 – 11 pm Closed-door assembly\, Manica Lunga\n00.00 – 8 am Participant sleep and dream\n8 – 9 am Conclusions  \nParticipants:\nADA | Almanac | Altalena | BASTIONE | BRACE BRACE | CASTRO | Clima | Condylura |Cripta747 | Gelateria Sogni di Ghiaccio | Helicotrema | INCURVA | Instudio | Istituto Sicilia | LocaleDue | Montecristo project | MRZB | Museo Burel | Nationhood | P.I.A. | Progetto | ~salgemma | Siliqoon | Soyuz | Spazio Volta | SPETTRO | ~takecare | Toast Project Space  \nSupercondominio 3 is curated by Giulia Colletti\, Treti Galaxie (Matteo Mottin & Ramona Ponzini) and Laura Lecce. \nFollowing the isolating experience of the lockdown\, Supercondominio – standing for a residential unit where several buildings have a few assets in common – becomes an image for an ecology of coexistence\, based on physical interpersonal relationships and on in-depth knowledge sharing. \nCastello di Rivoli Museo d’Arte Contemporanea has invited some of the most influential young Italian art spaces devoted to artistic production to the third edition of Supercondominio. Entitled Odorate Ginestre (Perfumed needle furze)\, in homage to the poet Giacomo Leopardi (Recanati\, 1798 – Naples\, 1837)\, who composed La Ginestra (The needle furze) in 1836. It is a weekend of art and reflection on interspecies habitats where animal\, vegetal\, fungal\, human\, and even artificial intelligences merge together. \nSupercondominio 3 takes its cue from a proposition drafted by curators Giulia Colletti\, Treti Galaxie (Matteo Mottin & Ramona Ponzini) and Laura Lecce: \n“The secret intoxication caused by the sublime category of catastrophe\, the obsession and perversion of ecological thinking\, the escapism to other planets\, and the constant desire for purification of places and living bodies\, are inextricably intertwined in our time\, affected as it is by climate change that is not only altering the physical environment where we live\, but also has consequences on our mind\, causing an unexpected sense of nostalgia for the places where we lived yet we perceive changed today. How can we embrace a different awareness of the environment? Can the behavior of Leopardi’s needle furze provide us with new perspectives on a rapidly changing future? How can we realign our temporality by riding the germ’s decay – as so vividly described by the poet Wole Soyinka (Abeokuta\, Nigeria\, 1934)? Finally\, is it possible to learn how to look at the sky with the same intensity with which a plant eats light\, as the poet Mariangela Gualtieri (Cesena\, 1951) suggests?”  \nThe event will take place on Saturday July 17 and Sunday July 18 morning\, 2021. \nUndertaking a two-day-long collective investigation\, Supercondominio 3 invites the participating art spaces to immerse themselves in a retreat on the moraine hill of Rivoli in the Susa Valley\, in Piedmont. An exercise that recalls the Japanese practice of bathing in the woods. As Walt Whitman (West Hills\, 1819 – Camden\, 1892) suggests: bending down and linger to observe a blade of summer grass. \nIn the afternoon\, participants will share their research in the Theater of the Museum with the public. \nAs for the previous two editions – when Combo supported the initiative\, participants will sleep in tents. This year\, tents will be offered by Ferrino and C. S.p.A.\, set up in the Manica Lunga gardens. Founded in Turin in 1870\, Ferrino has specialized in the production of equipment (tents\, backpacks\, sleeping bags) and technical clothing for over 150 years alongside lovers of the outdoors. Sleeping under the stars will also be a chance to pay homage to artist Susan Hiller (Tallahassee\, 1940 – London\, 2019). Participants will re-activate the Dream Mapping experiment\, which Hiller carried out in the Hampshire region back in 1973. Each participant will write down their dreams in a notebook on the morning of July 18\, sharing their personal experience. The results of this reflection and the documentation of the event will be collected by the CRRI Research Institute of the Museum. \n\nBIOGRAPHIES \nADA (Rome\, 2017) www.ada-project.it\nADA is a contemporary art gallery founded by Carla Chiarchiaro in Rome back in 2017. Its program is dedicated to the promotion of young artists\, particularly Italian ones. The identity of ADA stems from reflections related to the role of art and artistic practice in the contemporary world and its activity of enhancement and support to young art\, aims to share a path of growth and research with artists represented and with their audience. In 2020\, the represented artists Benni Bosetto and Diego Gualandris were selected for the 17th edition of Quadriennale di Roma – FUORI. \n\nAlmanac (Turin / London\, 2013) www.almanacprojects.com\nAlmanac is a nonprofit space founded in 2013 with venues in London and Turin. Investigating the potential of cultural change through creative collaborations\, Almanac works with the aim of activating a dialogue by directing the understanding of recent artistic research towards new registers of thought. In 2014\, Almanac Inn opens in Turin a platform with a program of residences\, solo exhibitions\, a public program of events\, and the production of publications with the aim of supporting the work of the young artists invited and offering the public a knowledge of their practices. \n  \nAltalena (Milan\, 2017) www.altalena.cc\nAltalena is a research project active founded in 2017\, which organizes interdisciplinary activities with the aim of promoting and sharing while fostering exchanges among the participants (artists\, curators\, writers\, historians). Since its foundation\, Altalena has overcome the exhibition format in favor of shared spaces where intertwining different practices\, producing speculative imaginaries\, and preferring communitarianism. Altalena has organized two residencies\, a reading group and has published three artist’s books. In 2019\, it was featured in Teatrum Botanicum at the PAV\, Turin\, and was selected for School of Waters – MEDITERRANEA 19\, Biennial of Young Artists from Europe and the Mediterranean\, San Marino\, with the performance Manuport. \n  \nBASTIONE (Turin\, 2017) instagram.com/associazione_bastione/\nBASTIONE is a cultural association founded by 14 artists in Turin. It was born in 2017 as a collective within the spaces of the Bastione San Maurizio. In January 2021\, the association moved its headquarters to Villa Rey\, Turin. The group’s work mainly revolves around the contamination of identities\, working on the reactivation of spaces through actions of care and symbiosis. \n  \nBRACE BRACE (Milan\, 2019) www.bracebrace.space\nFounded in 2019 by the visual artists Francesca Finotti\, Cecilia Mentasti\, and Francesco Paleari\, BRACE BRACE is a place for meetings\, sharing\, and research in contemporary art. BRACE BRACE is both an exhibition space and a curatorial project with an artistic direction strongly marked by interdisciplinarity. BRACE BRACE has developed an unprecedented autonomy in the context of cultural spaces in Milan. Elisa Di Nofa (communication and digital strategy)\, Flavia Albu (curating assistance) and Simone Salvatore Melis (graphic design) actively collaborate on the project. \n  \nCASTRO (Rome\, 2018) www.castroprojects.it\nCASTRO is a space devoted to education and production of contemporary art. Each year\, it hosts up to 6 artists and 2 under-40 curators\, selected by an international jury. The program includes workshops\, round tables\, meetings\, and seminars on contemporary art dedicated to the public. CASTRO wants to enhance artistic potential of the city of Rome\, developing partnerships with craftsmen\, professionals\, galleries\, and institutions in the city. The aim is to activate horizontal learning\, a system where the public learns from artists and artists from other artists and from the public. \n  \nClima (Milan\, 2016) www.climagallery.com\nClima is a contemporary art gallery founded by Francesco Lecci in Milan\, in 2015. It supports and represents young artists including Valerio Nicolai\, Lisa Dalfino & Sacha Kanah\, Andrew Ross\, Jason Gomez\, Matteo Nasini. The headquarters in Milan is situated in the contemporary art district of Porta Venezia\, in an apartment allowing artists to deeply connect with the historical areas of the city. Clima also organizes off-site projects with different artists. In 2020\, represented artist Valerio Nicolai was selected for the 17th edition of Quadriennale di Roma – FUORI. \n  \nCondylura (Bologna\, 2021) www.condylura.com\nCondylura is a research platform on contemporary arts based in Bologna\, founded by Paolo Gabriotti and Davide Visintainer. It produces a homonymous publishing series\, collaborating with artists for monographic publications. The name Condylura pays homage to a mole\, with a star-shaped nose and unique sensitive abilities. \n  \nCripta747 (Turin\, 2008) www.cripta747.it\nCRIPTA747 is a nonprofit organization founded in Turin in 2008. It is a place of research\, exchange\, and production. Through exhibitions\, screenings\, and events\, CRIPTA747 investigates new forms and languages offering the public an authentic and unprecedented perspective on the arts. Since 2017\, it organizes two mobility programs: Fellowship\, supporting artists with a research grants and Studio\, a shared study program for production. \n  \nGelateria Sogni di Ghiaccio (Bologna\, 2016) www.gelateriasognidighiaccio.com\nGelateria Sogni di Ghiaccio is an artist-run-space founded and coordinated by the artists Filippo Marzocchi and Mattia Pajè. The aim is to broaden individual artistic practices while offering artistic direction and production of events. The space is both a studio and an exhibition venue. Marzocchi and Pajè have been coordinating the space since October 2016\, hosting twenty-one events including solo and group exhibitions\, sound and performative programs. Gelateria Sogni di Ghiaccio is a place for experimentation and freedom. \n  \nHelicotrema (Venice\, 2012) http://helicotrema.blauerhase.com/\nSince 2012\, Helicotrema has been a nonprofit platform for the dissemination of narrative and multidisciplinary sound works – such as radio plays\, audio-documentaries\, experimental poems\, soundscapes – presented through collective listening sessions. \n  \nINCURVA (Favignana\, 2016) www.incurva.org\nINCURVA is an association founded in 2016\, aiming to make Western Sicily a fertile ground for research on contemporary art\, reactivating its public spaces\, and stimulating dialogue with its local communities through a platform for residences\, talks\, and exhibitions. \n  \nInstudio (Milan\, 2015) www.in-studio.net\nInstudio is a platform devoted to material and immaterial\, theoretical and practical art in Italy. Conceived as a video archive\, Instudio aims to document the often-unknown environments surrounding the artists at work. Using the artists’ words themselves\, Instudio translates the private experience of visiting the studios into visual documentation. Founded in 2015 by Davide Daninos and Jacopo Menzani\, it is currently coordinated together with Elena D’Angelo. Lately\, Instudio has developed international collaborations with Italian artists abroad\, including Artuner (London)\, the Italian Cultural Institute in Tokyo\, and the Mudam Luxembourg Museum. \n  \nIstituto Sicilia (Catania\, 2021)\nIstituto Sicilia was founded in 2021 by Claudio Gulli\, Pietro Scammacca\, Leonardo Caffo and Renato Leotta. It is a plurality of institutes\, paradigms\, an assembly of thoughts converging in diversity. Sicily is conceived as a floating entity in the Mediterranean. The epistemologies through which the Institute’s research is conceived are those of Sicily itself. A continuous set of layered and complex nature and culture where voices and images\, writings and desires generate a space of art and nature intersection. Istituto Sicilia is conceived on three fundamental axes: observation/research\, protection/dissemination\, growth/technique. Istituto Sicilia is a plural and assemblage territory\, a physically widespread project and also a concrete proposal to rethink southern culture. \n  \nLocaleDue (Bologna\, 2013) www.localedue.it\nLocaleDue was born in 2013 in Bologna. It is an observatory of experimental artistic practices\, located in the Manifattura delle Arti. It produced over seventy projects with over three hundred artists and curators. Each season the modalities and intentions of the programming are renewed. LocaleDue is managed by the founder Fabio Farnè and by the curator Gabriele Tosi. \n  \nMontecristo project (Cagliari\, 2016) www.montecristoproject.tumblr.com/\nMontecristo is an artistic and curatorial project and an exhibition space on an island off Sardinia. It was founded in 2016 by Enrico Piras (Cagliari 1987) and Alessandro Sau (Cagliari 1981). \n  \nMRZB (Turin\, 2018) www.mrzb.info/lungosturalazio.html\nLungo Stura Lazio – on the northern outskirts of Turin – is where the MRZB collective has built their studio and exhibition space\, inside of a settlement made of illegal shacks and gardens. Conceiving architecture as a process in constant motion\, MRZB has created an unstable and changing environment-organism. In September 2020\, the collective presented an impromptu program of exhibitions and events\, with internal experiments and collaborations with artists\, writers\, curators and musicians. Each event is accompanied by the creation of a fanzine\, expanding and reflecting around specific forms and contexts. MRZB is Andrea Parenti\, Désirée Nakouzi De Monte\, Filippo Tocchi\, and Pietro Cortona. \n  \nMuseo Burel (Belluno\, 2019) www.burel.org\nMuseo Burel is the Museum of Contemporary Art of Belluno. Since 2019\, it has been directed by Daniela Zangrando. Its research focuses on the relationship between territorial communities and contemporary arts\, through the analysis of artistic language. Museo Burel has presented artists such as Luca De Leva\, Jan Fabre\, Francesco Fonassi\, Luca Francesconi\, Giovanni Giaretta\, Sohrab Hura\, Ragnar Kjartansson\, Diego Marcon\, Nathaniel Mellors\, Alberto Tadiello\, Mungo Thomson; museum curators and directors such as Shumon Basar\, Meriem Berrada\, Francesco Bonami\, Andrea Lissoni\, Luca Lo Pinto\, András Szántó; other figures include Tracy Chawhan\, Marta Collini\, Cesare Poppi\, Gianni Secco\, and Chiara Valerio. \n  \nNationhood (Turin\, 2018) www.nationhood.it\nNationhood is a studio founded by Achille Filipponi and Matteo Milaneschi\, generating new codes and languages in the field of cultural communication. It focuses on editorial design\, collaborating with international brands and cultural institutions\, including Fondazione Fiera Milano; Egyptian Museum\, Turin; MACBA\, Barcelona; Triennale Milano and Chicago Radio Archive. Its activity ranges from the magazines to the creative management of digital projects and curatorship. Nationhood is also active in the field of university research and has received international mentions for the art direction and editorial direction of ‘ARCHIVIO MAGAZINE’. \n  \nP.IA. (Lecce\, 2017) www.piastudio.org\nP.I.A. is a radical research and production space for visual artists and curators based in Lecce\, founded by Jonatah Manno and Valeria Raho. Its main activity is providing access to tools\, information\, technical\, and theoretical knowledge in the disciplines of contemporary arts while promoting opportunities for meetings between students and art professionals in the Mediterranean area. \n  \nProgetto (Lecce\, 2019) www.progettospace.com\nProgetto is a space dedicated to contemporary art curated by artist Jamie Sneider. It welcomes international artists\, supporting them through residences and exhibitions\, in open dialogue with the Apulian territory and its history. \n  \n~salgemma (Lecce\, 2020) www.apuliartcontemporary.com/it/salgemmamappa/\nSalgemma is a curatorial research and digital publishing project founded by Roberta Mansueto and Rosita Ronzini. Salgemma carries out a process of mapping and rewriting places\, with the aim of encouraging mobility and an independent exercise of reflection on a contemporary artistic and cultural geography based in Puglia. \n  \nSiliqoon (Milan\, 2014) www.siliqoon.com\nSiliqoon is an art project and artist-run agency\, founded in Milan in 2014. Through various initiatives\, including the ‘Labs’ residency program or the ‘Qway’digital editions\, they support artists in the conception and production of new works. As an agency they collaborate with a vast network of artists\, curators and professionals to provide client-specific communication solutions\, and creative projects for brands\, cultural institutions or individuals. \n  \nSoyuz (Chieti\, 2017) www.the-soyuz.org\nSoyuz was born in 2017 as an exhibition project in the studio of the artist Rashid Uri. In his four years of activity it has conducted a research program based on a curatorial approach with the aim of producing exhibitions that reflect our time. The space takes its name from the Russian spacecraft with which it metaphorically shares\, in addition to the narrow spaces\, the prerogative of the name itself “meeting” offering its activity to the territory in which it was born. \n  \nSpazio Volta (Bergamo\, 2020) www.spaziovolta.comFounded in 2020 by Edoardo De Cobelli\, Spazio Volta is a nonprofit exhibition space dedicated to culture and contemporary art in\nBergamo. Overlooking Piazza Mercato delle Scarpe\, the space hosts temporary projects and exhibitions in the lower room of the former church of San Rocco. Spazio Volta also includes a reading room that hosts an editorial initiative in collaboration with REPLICA\, and an off-site space dedicated to site-specific projects within two wall arches\, foundations of the Carmine Monastery in the upper city. The space promotes young Italian and international artists\, supporting the creation of new exhibitions and stimulating dialogue with a wider audience\, thanks to the visibility offered by the window and its geographical position. SPETTRO (Brescia\, 2018) www.spettro.infoCultural association\, concert hall\, club\, production studio\, center for research in the performing arts\, SPETTRO is an adventurous space for experimental culture and contemporary music in Brescia. Since December 2018 it has hosted more than ninety international artists\, establishing a strong autonomous network\, free from the logic of profit. In addition to live music\, SPETTRO produces workshops\, meetings and collaborations with other European musical and artistic realities and is the home of a web radio. \n  \n~takecare (Bari\, 2017) https://takecarecollective.tumblr.com\n~takecare is a multidisciplinary research collective\, a curatorial project and a periodic fanzine. It was born in 2017 with the self-publishing project\, a periodic zine that investigates the writing practice of international artists and curators. Starting from June 2018 ~takecare proposes a series of performative workshops –Writing experiments– dedicated to experimenting with different languages\, such as the musical improvisation workshop – conduction method – and the writing + stretching workout. ~takecare leads the reflection on a medical-philosophical-experimental dimension\, where the care activity activates processes of de-subjectivization\, emancipation and resistance\, proposing a research approach that aims at participatory actions in the simultaneous involvement of different disciplinary fields and of the languages of art. The creator and founder of the project is Roberta Mansueto (Bari\, 1988)\, independent curator and art historian. \n  \nToast Project Space (Florence\, 2019) https://www.manifatturatabacchi.com/live/toast-project-space-il-nuovo-spazio-darte-indipendente/\nToast Project Space\, is a place for reflection on the languages and practices of contemporary times\, a place for the exchange of experiences\, which bridges a gap between the public and the work of art\, through a militancy and constant regeneration of the dialectical exchange between the artist\, critics and audiences. It was born in the former porter’s lodge in the Manifattura Tabacchi in Florence\, from an idea of the artist Stefano Giuri. The project developed during the course of the Artist Residences promoted by Manifattura Tabacchi. \n  \n \nCastello di Rivoli would like to thank \n \nThe activities of the CRRI are supported by the Region Piemonte and the Fondazione Compagnia di San Paolo \n 
URL:https://www.castellodirivoli.org/en/evento/supercondominio-3-a-gathering-of-new-contemporary-art-spaces-in-italy/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/07/PHOTO-2021-09-19-21-00-46.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210717T130000
DTEND;TZID=Europe/Rome:20210717T190000
DTSTAMP:20260611T010821
CREATED:20210713T110330Z
LAST-MODIFIED:20251125T110808Z
UID:105279-1626526800-1626548400@www.castellodirivoli.org
SUMMARY:Magic Electric Bus
DESCRIPTION:Magic Electric Bus\nArt\, Literature\, and Open air. The electric bus to Castello di Rivoli\nA program of Castello di Rivoli Museo d’Arte Contemporanea in collaboration with Iveco\, Arriva\, and Enel X\, Libreria Internazionale Luxemburg\, Turin\, with the support of Faust\, Turin \nCastello di Rivoli Museo d’Arte Contemporanea presents Magic Electric Bus\, a proposal by Gianluigi Ricuperati/Faust. The project is coordinated by Roberta Aghemo\, with the curatorial assistance of Giulia Colletti. From July to December 2021\, once a month\, an arts program will take place on board an electric shuttle\, during the journey of approximately 45 minutes from Turin to Rivoli. Decorated by the artist Claudia Comte\, The Magic Electric Bus connects Turin to Rivoli and welcomes personalities and artists\, who will present special contents to the participating public. The first journey will take place on Saturday July 17 with three guests from Turin: the novelist Gianluigi Ricuperati; the artist Ramona Ponzini\, who will present a site-specific soundtrack; and the artist Guglielmo Castelli\, who will produce a collaborative work with the travelers. On the bus\, Castello di Rivoli Director Carolyn Christov-Bakargiev will introduce and moderate the program. \nMagic Electric Bus intends to create a dialogue between literature\, art\, and Museum exhibitions. Each journey will involve an author and an artist on the bus and also writers connected remotely. \nAs for the project Glass-nost – organized by Castello di Rivoli in 2020\, Magic Electric Bus takes its cue from the notion of transparency. The windows of the shuttle are an element that divides but at the same time offers an unexpected reading of the city of Turin and connection between art and life. \nCarolyn Christov-Bakargiev\, Director of the Castello di Rivoli\, states “In 1967 the Beatles released Magical Mystery Tour. Fifty years later\, at the crossroads of the ecological crisis and the digital revolution\, Castello di Rivoli presents Magic Electric Bus\, a program in collaboration with Iveco Bus\, Arriva\, and Enel X. Once a month\, the public will be able to hop on an electric bus from Turin to Rivoli\, and live an artistic and magical experience.” \n“An invitation to travel / to that country resembling you. With these words\, Baudelaire reminds us that movement is a fundamental condition of living creatures that avoid being still. Covering the distance between Turin and Rivoli\, our Magic Bus fosters a dialogue between authors\, artists\, and arts professionals. As a narrator and writer\, who loves to dialogue with artists and representatives of other fields”\, states Gianluigi Ricuperati\, “I cannot imagine any more suitable condition than an electric bus to invoke the necessary alliance of places that look so much alike.” \nOn Saturday July 17\, participants will meet at 12.30 pm at the Libreria Internazionale Luxemburg\, Via Cesare Battisti 7 in Turin\, and continue on foot towards Piazza Castello where the shuttle will depart. \nTo join the ride\, please purchase your ticket (€ 15) on www.castellodirivoli.org. \nGuest authors of the following journeys include Marco Belpoliti\, Stephanie LaCava\, Igiaba Scego\, Valentina Maini\, Chiara Valerio\, amongst others. Guest artists and arts professionals include Otobong Nkanga\, Marzia Migliora\, Agnieszka Kurant\, and Achille Bonito Oliva\, amongst others. \nCalendar \nSaturday July 17\, 2021\nGianluigi Ricuperati\, Ramona Ponzini\, and Guglielmo Castelli\n12.30 pm meeting at Libreria Internazionale Luxemburg\n1 pm departure from Piazza Castello\, Turin\n7 pm departure from Castello di Rivoli to Piazza Castello\, Turin\n7.45 pm arrival in Turin \nSaturday September 25\, 2021\nOtobong Nkanga and Achille Bonito Oliva\n1.30 pm meeting at Libreria Internazionale Luxemburg\n2 pm departure from Piazza Castello\, Turin\n6 pm departure from Castello di Rivoli to Piazza Castello\, Turin\n6.45 pm arrival in Turin \nSaturay October 23\, 2021\n1.30 pm meeting at Libreria Internazionale Luxemburg\n2 pm departure from Piazza Castello\, Turin\n6 pm departure from Castello di Rivoli to Piazza Castello\, Turin\n6.45 pm arrival in Turin \nSaturday November 6\, 2021\n1.30 pm meeting at Libreria Internazionale Luxemburg\n2 pm departure from Piazza Castello\, Turin\n6 pm departure from Castello di Rivoli to Piazza Castello\, Turin\n6.45 pm arrival in Turin \nSaturay December 11\, 2021\n1.30 pm meeting at Libreria Internazionale Luxemburg\n2 pm departure from Piazza Castello\, Turin\n6 pm departure from Castello di Rivoli to Piazza Castello\, Turin\n6.45 pm arrival in Turin \nBiographies \nGuglielmo Castelli (Turin\, 1987) lives and works in Turin. He questions the relationship between inner and external space\, in a close relationship with literature\, the world of theater\, and scenography. Solo shows include Goodmorning Bambino\, Kunstlerhaus Bethanien\, Berlin\, 2018; group exhibitions include FUORI\, XVII Quadriennale d’Arte\, Palazzo delle Esposizioni\, Rome\, 2020; Recto/Verso 2\, Fondation Louis Vuitton\, Paris\, 2018; International Biennial of Contemporary Art De Melle\, France\, 2018; Challenging Beauty. Insights into Italian Contemporary Art\, Parkview Museum\, Singapore\, 2018; Drawings\, Artissima\, Turin\, 2017. He is a Forbes 30 Under 30 Europe 2016 Honoree. \nRamona Ponzini (Piacenza\, 1979) lives and works in Turin. Her practice combines visual art and literature\, with noise and jazz impromptu experimentation. Ponzini follows a purely conceptual matrix\, crossing the idea of “editing” and “sampling” of elements encoded and reprocessed through the use of loop machines. \nGianluigi Ricuperati (Turin\, 1977) is a writer. He has been director of Domus Academy for five years and interdisciplinary curator of the cultural program of MIA Fair since 2015. His essays\, reportages\, and novels have been published by Rizzoli\, Bollati Boringhieri\, Minimum Fax\, Mondadori\, Feltrinelli\, and Gallimard. He collaborates with Italian and international magazines\, newspapers such as ‘Volume’\, ‘Domus’\, ‘Abitare’\, ‘Vogue’\, ‘Dazed & Confused’\, ‘La Repubblica’\, ‘Il Sole 24 Ore’\, ‘Flash Art’ and ‘032c’. He is the founder of Faust\, the first center for the resurrection of books and aggregator of creative communities in Turin. \nIn collaboration with \n \nWith further collaboration of
URL:https://www.castellodirivoli.org/en/evento/magic-electric-bus/
LOCATION:Torino
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2021/07/bus.png
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210717T150000
DTEND;TZID=Europe/Rome:20210717T153000
DTSTAMP:20260611T010821
CREATED:20210713T120845Z
LAST-MODIFIED:20251125T110615Z
UID:105281-1626534000-1626535800@www.castellodirivoli.org
SUMMARY:Uýra Sodoma
DESCRIPTION:Florestas que dormem sob o asfalto (Forests that sleep under the asphalt)\nSaturday July 17\, 2021\, 3 – 3.30 pm\nOutdoor Atrium\, Castello di Rivoli \nAs part of Espressioni. The Proposition\, a project investigating histories of art to expand the traditional canons of “expression” related to European artistic movements\, Saturday 17 July at 3 pm Castello di Rivoli Museo d’Arte Contemporanea presents the performance of the indigenous artist Emerson Uýra (Santarém\, Brazil\, 1991) entitled Florestas que dormem sob o asfalto (Forests that sleep under the asphalt\, 2021)\, in anticipation of the artist’s participation in the 34th Biennale of Sao Paulo (September 4 – December 5\, 2021). The artist intertwines the ancestral wisdom of the peoples of Brazil with the canonical scientific and biological knowledge of modernity\, evoking lost properties and memories relating to plants and the beings that inhabit them. Uýra Sodoma looks like a ‘walking tree’\, a hybrid entity whose appearance is constantly evolving\, just like nature. \nAfter being presented at the Kunstraum Innsbruck on 10 July 2021\, Florestas que dormem sob o asfalto becomes a moment where Uýra Sodoma embraces the specificity of the flora of the Susa Valley. “Under the view of worlds that insist on everything being straight\,” the artist states\, “the seed claims the right to make curves.” It has just arrived. It is sleeping and Uýra Sodoma wakes it\, drawing its shape on the stone of the Museum courtyard\, watering it to move the forest under the ground. According to the artist it is movement and metamorphosis the truly pulsating and potential spirit of all living beings. \nThe photographic documentation of the performance at the Castello di Rivoli will be presented on the occasion of Espressioni. The Epilogue\, which will open to the public on November 4\, 2021. \nBiography\n \n  \nEmerson Uýra (Santarém\, Brazil\, 1991) is a performer\, biologist and teacher from the Amazonian city of Santarém\, Brazil. He uses art as a tool to disclose the indigenous environment. Uýra has participated in various exhibitions such as Salão Arte Paraná\, VII edition of the EDP Prêmio at Instituto Tomie Ohtake\, Instituto Moreira Salle or Museu de Arte in Rio de Janeiro. Through the alter ego Uýra Sodoma\, the artist travels in the river communities of the region teaching and promoting the protection of the environment. Uýra Sodoma was born in 2016\, when the artist decides to expand his university research and seek new ways of acting to bring the debate on ecological conservation to the communities of Manaus and its surroundings. In biology lectures or in photographic performances\, in make-up and camouflage\, in texts and installations\, Uýra Sodoma talks speaks of the forest and with the forest.
URL:https://www.castellodirivoli.org/en/evento/uyra-sodoma/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/07/Uýra-Sodoma-Foto-Selma-Carvalho-2018-Ensaio_Espírito-do-que-vive-scaled.jpg
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DTSTART;TZID=Europe/Rome:20210924T180000
DTEND;TZID=Europe/Rome:20210924T190000
DTSTAMP:20260611T010821
CREATED:20210920T120342Z
LAST-MODIFIED:20251125T110251Z
UID:105291-1632506400-1632510000@www.castellodirivoli.org
SUMMARY:Otobong Nkanga in conversation with Marcella Beccaria
DESCRIPTION:On 24 September at 6 pm\, Castello di Rivoli hosts a conversation between the artist Otobong Nkanga and Chief Curator Marcella Beccaria on the occasion of the opening Of Cords Curling around Mountains\, a personal exhibition dedicated to the artist. \nThe exhibition is conceived as a large site-specific project\, designed for the galleries of the Castello. Designing an unprecedented landscape\, the installation includes large irregularly-shaped rugs inspired by minerals\, such as quartz and malachite\, whose healing properties have been known since ancient times. Long hand-woven cords will culminate in sculptural objects and elements\, both organic and handcrafted\, endowing the work with a performative and relational component. \nThe exhibition is part of a collaboration project with the Center National d’Art Contemporain in Villa Arson\, Nice which\, from June 12\, will present the first solo exhibition in France dedicated to the artist. \nThe conversation will also be live streamed on the Museum  YouTube channel. \nBUY YOUR TICKET\n For everyone’s health and safety\, capacity is limited and entry is by advance timed ticket only. Purchase your ticket now to attend the conversation.
URL:https://www.castellodirivoli.org/en/evento/otobong-nkanga-in-conversation-with-marcella-beccaria/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/08/Colour-Carpet-detail-01A.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210924T190000
DTEND;TZID=Europe/Rome:20210924T193000
DTSTAMP:20260611T010821
CREATED:20210921T121015Z
LAST-MODIFIED:20251125T110207Z
UID:105294-1632510000-1632511800@www.castellodirivoli.org
SUMMARY:Leonardo Caffo | A.B.O. THEATRON. Art or Life | Special Visit to the exhibition
DESCRIPTION:On Friday 24 September at 7.00 pm\, philosopher Leonardo Caffo leads a special visit to the A.B.O. THEATRON. Art or Life in the context of his residence at the Castello di Rivoli.
URL:https://www.castellodirivoli.org/en/evento/leonardo-caffo-a-b-o-theatron-art-or-life-special-visit-to-the-exhibition/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/09/Leonardo-Caffo-filosofo-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20210925T140000
DTEND;TZID=Europe/Rome:20210925T200000
DTSTAMP:20260611T010821
CREATED:20210916T111249Z
LAST-MODIFIED:20210916T111249Z
UID:105286-1632578400-1632600000@www.castellodirivoli.org
SUMMARY:Magic Electric Bus
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/magic-electric-bus-2/
LOCATION:Torino
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/09/Bus.jpg
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DTSTART;TZID=Europe/Rome:20210925T150000
DTEND;TZID=Europe/Rome:20210926T200000
DTSTAMP:20260611T010821
CREATED:20210802T100649Z
LAST-MODIFIED:20251125T105921Z
UID:105284-1632582000-1632686400@www.castellodirivoli.org
SUMMARY:Anne Imhof. SEX | The Performance
DESCRIPTION:PERFORMANCE SEX\nCastello di Rivoli announces the performance SEX\, 2021\, by Anne Imhof will take place on Saturday 25 and Sunday 26 September as part of the exhibition Anne Imhof. SEX (until November 7\, 2021). PLEASE NOTE One of the acts of the performance will take place outside the Castello di Rivoli between 7 pm and 8 pm. It is open to the public who can attend for free. \nBUY THE TICKET\nIn consideration of the limited number of seats available\, in order to attend the performance it is necessary to make a reservation HERE \n  \nEXTRAORDINARY HOURS ON THE OCCASION OF PERFORMANCE\nThursday 23 September\, museum opening hours: 11-19\nThe exhibition Anne Imhof. SEX is closed. \nFriday 24 September\, museum opening hours: 11-17\nThe exhibition Anne Imhof. SEX is closed. \nSaturday 25 and Sunday 26 September Museum open from 11 to 19.\nThe exhibition Anne Imhof. SEX is closed. \nOn September 25 and 26 from 3 pm only those who have the ticket to the performance (€ 10) can have access to the exhibition Anne Imhof. SEX. \nNARCISSUS BY CARAVAGGIO WILL NOT BE VISIBLE ON SEPTEMBER 23\, 24\, 25
URL:https://www.castellodirivoli.org/en/evento/anne-imhof-sex-the-performance/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/08/11A0822-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20211023T140000
DTEND;TZID=Europe/Rome:20211023T180000
DTSTAMP:20260611T010821
CREATED:20210916T111553Z
LAST-MODIFIED:20251125T105817Z
UID:105288-1634997600-1635012000@www.castellodirivoli.org
SUMMARY:Magic Electric Bus Art\, Literature\, and Open air. The electric bus to Castello di Rivoli
DESCRIPTION:Castello di Rivoli Museo d’Arte Contemporanea presents Magic Electric Bus\, a proposal by Gianluigi Ricuperati. The project is coordinated by Roberta Aghemo\, and curated by Giulia Colletti. \nAfter the first journey on September 25 and until December 2021\, once a month\, an arts program will take place on board an electric shuttle\, during the journey of approximately 40 minutes from Turin to Rivoli. For the occasion\, IVECO BUS will supply an IVECO E-WAY Full Electric\, a completely green vehicle with the latest generation of safety and power system. Decorated by artist Claudia Comte\, the Magic Electric Bus connects Turin to Rivoli and welcomes personalities and artists\, who will present special contents to the participating public. \nAfter the success of the maiden voyage\, Magic Electric Bus returns on Saturday October 23 with four guests from Turin: the novelist Gianluigi Ricuperati\, the authors Mario Capello and Marco Lupo\, and the artists Guglielmo Castelli and Alice Visentin. While the painter Guglielmo Castelli proposes a participatory project under the sign of the Surrealist-inspired Cadavre Exquis and the artist Alice Visentin creates a musical performance on board\, involving musicians from the Piedmontese Alpine valleys\, the author Mario Capello reads pages of Lovecraft’s book just published by Einaudi. The author Marco Lupo reads an excerpt from his novel “Hamburg. La sabbia del tempo scomparso”\, edito da Il Saggiatore. On the bus\, Castello di Rivoli Director Carolyn Christov-Bakargiev will introduce the program. \nMagic Electric Bus intends to create a dialogue between literature\, art\, and Museum exhibitions. Each journey will involve an author and almost an artist or a writer.\nThe project develops through the windows of the shuttle that are an element that divides but at the same time offers an unexpected reading of the city of Turin and connection between art and life. \nCarolyn Christov-Bakargiev\, Director of the Castello di Rivoli\, states “In 1967 the Beatles released Magical Mystery Tour. Fifty years later\, at the crossroads of the ecological crisis and the digital revolution\, Castello di Rivoli presents Magic Electric Bus\, a program in collaboration with IVECO BUS\, Arriva\, and Enel X. Once a month\, the public will be able to hop on an electric bus from Turin to Rivoli\, and live an artistic and magical experience.” \n“An invitation to travel / to that country resembling you. With these words\, Baudelaire reminds us that movement is a fundamental condition of living creatures that avoid being still. Covering the distance between Turin and Rivoli\, our Magic Bus fosters a dialogue between authors\, artists\, and arts professionals. As a narrator and writer\, who loves to dialogue with artists and representatives of other fields\,” states Gianluigi Ricuperati\, “I cannot imagine any more suitable condition than an electric bus to invoke the necessary alliance of places that look so much alike.” \nOn Saturday October 23\, participants will meet at 1.30 pm at the Libreria Internazionale Luxemburg\, Via Cesare Battisti 7 in Turin\, and continue on foot towards Piazza Castello where the shuttle will depart. \nTo join the ride\, please purchase your ticket (€ 15) on www.castellodirivoli.org \nGuest authors of the following journeys include Marco Belpoliti\, Igiaba Scego\, Chiara Valerio\, amongst others. Guest artists and arts professionals include Guglielmo Castelli\, Marzia Migliora and Agnieszka Kurant\, amongst others. \nCalendar\nSaturay October 23\, 2021\nMario Capello\, Guglielmo Castelli\, Gianluigi Ricuperati and Alice Visentin\n1.30 pm meeting at Libreria Internazionale Luxemburg\n2 pm departure from Piazza Castello\, Turin\n6 pm departure from Castello di Rivoli to Piazza Castello\, Turin\n6.45 pm arrival in Turin \nSaturday November 6\, 2021\n1.30 pm meeting at Libreria Internazionale Luxemburg\n2 pm departure from Piazza Castello\, Turin\n6 pm departure from Castello di Rivoli to Piazza Castello\, Turin\n6.45 pm arrival in Turin \nSaturay December 11\, 2021\n1.30 pm meeting at Libreria Internazionale Luxemburg\n2 pm departure from Piazza Castello\, Turin\n6 pm departure from Castello di Rivoli to Piazza Castello\, Turin\n6.45 pm arrival in Turin \nIn collaboration with \n \nWith further collaboration of \n \nBiographies\nMario Capello (Carmagnola\, 1976) lives in Turin and works for Einaudi Stile Libero. After graduating and two years at the Scuola Holden\, in 2009 he published his first novel\, I fuochi dell’86 (Eumeswil). In 2015 he published L’appartamento (Tunué)\, while his translation of Howard P. Lovecraft’s book The Notebooks of Randolph Carter (Einaudi) has just been released. \nGuglielmo Castelli (Turin\, 1987) lives and works in Turin. His iconographic universe questions the relationship between inner and outer space\, between bowels and environment\, in a close relationship with literature and the world of theatre and scenography\, from which he comes. Recent solo shows include Goodmorning Bambino\, Künstlerhaus Bethanien\, Berlin\, 2018\, while selected group exhibitions include Fuori\, XVII Quadriennale d’Arte\, Palazzo delle Esposizioni\, Rome\, 2020; Recto/Verso 2\, Foundation Louis Vuitton\, Paris\, 2018; Biennale Internazionale d’Art Contemporain de Melle\, Melle\, France\, 2018; Challenging Beauty. Insights into Italian Contemporary Art\, Parkview Museum\, Singapore\, 2018; Disegni\, Artissima\, Turin\, 2017. In 2016 he was mentioned in “30Under 30 Europe” by Forbes Magazine. \nGianluigi Ricuperati (Turin\, 1977) is a writer. He has been director of Domus Academy for five years and interdisciplinary curator of the cultural program of MIA Fair since 2015. His essays\, reportages\, and novels have been published by Rizzoli\, Bollati Boringhieri\, Minimum Fax\, Mondadori\, Feltrinelli\, and Gallimard. He collaborates with Italian and international magazines\, newspapers such as ‘Volume’\, ‘Domus’\, ‘Abitare’\, ‘Vogue’\, ‘Dazed & Confused’\, ‘La Repubblica’\, ‘Il Sole 24 Ore’\, ‘Flash Art’ and ‘032c’. He is the founder of Faust\, the first center for the resurrection of books and aggregator of creative communities in Turin. \nAlice Visentin (Ciriè\, 1993) lives and works in Turin where she studied painting at the Accademia Albertina. Among the places where hers works have recently been exhibited are the Palazzo delle Esposizioni in Rome and the Italian Cultural Institute in Paris. In 2019 she won the AccadeMibact award organized by the DGAAP and the Quadriennale Foundation. She participated in the Q-Rated Torino 2019 workshop organized by La Quadriennale di Roma. In 2017 she held her first solo show in the non-profit space TILE.
URL:https://www.castellodirivoli.org/en/evento/magic-electric-bus-art-literature-and-open-air-the-electric-bus-to-castello-di-rivoli/
LOCATION:Torino
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2021/09/Bus.jpg
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