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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/
CATEGORIES:conferenza
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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/
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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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20201005T110000
DTEND;TZID=Europe/Rome:20201005T120000
DTSTAMP:20251125T115234Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20201002T203000
DTEND;TZID=Europe/Rome:20201002T230000
DTSTAMP:20251125T115330Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200920T160000
DTEND;TZID=Europe/Rome:20200920T190000
DTSTAMP:20251125T115423Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200919T170000
DTEND;TZID=Europe/Rome:20200919T183000
DTSTAMP:20251125T115519Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200830T173000
DTEND;TZID=Europe/Rome:20200830T190000
DTSTAMP:20251125T115922Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200623T183000
DTEND;TZID=Europe/Rome:20200623T193000
DTSTAMP:20251125T120113Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200602T150000
DTEND;TZID=Europe/Rome:20200602T210000
DTSTAMP:20251125T120226Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200418T180000
DTEND;TZID=Europe/Rome:20200418T193000
DTSTAMP:20200110T104444Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200328T180000
DTEND;TZID=Europe/Rome:20200328T193000
DTSTAMP:20200110T104128Z
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/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200308T100000
DTEND;TZID=Europe/Rome:20200308T190000
DTSTAMP:20200211T164823Z
CREATED:20200211T164823Z
LAST-MODIFIED:20200211T164823Z
UID:105215-1583661600-1583694000@www.castellodirivoli.org
SUMMARY:International Women's Day
DESCRIPTION:March 8 \nOn International Women’s Day\, Sunday 8 March\, Ticket-for-Two admission. \nOpening hours: 10am – 19pm
URL:https://www.castellodirivoli.org/en/evento/international-womens-day/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200224T170000
DTEND;TZID=Europe/Rome:20200224T190000
DTSTAMP:20251125T120543Z
CREATED:20200131T151350Z
LAST-MODIFIED:20251125T120543Z
UID:105206-1582563600-1582570800@www.castellodirivoli.org
SUMMARY:Uli Sigg and Ai Weiwei in conversation with Carolyn Christov-Bakargiev\, Marcella Beccaria\, and Giulia Zonca
DESCRIPTION:UPDATE \nThe Castello di Rivoli Museum of Contemporary Art\, in compliance with the measures requested by the Ministry of Health and by the Piedmont Region regarding the management of the current emergency\, has cancelled the opening of the exhibition Facing the Collector. The Sigg’s Collection of Contemporary Art from China scheduled for today. \nAt 5 pm\, however\, it will be possible to follow in live streaming the conversation between the collector Uli Sigg\, the Director of the Museum Carolyn Christov-Bakargiev\, the artist Ai Weiwei\, the Chief Curator of the Museum and curator of the exhibition Marcella Beccaria\, and the art critic of “La Stampa” Giulia Zonca.\nTo follow the live streaming click here \n  \nCastello di Rivoli Museo d’Arte Contemporanea presents the exhibition Facing the Collector. The Sigg Collection of Contemporary Art from China\, Uli Sigg’s (Lucerna\, 1946) prestigious collection. On Monday February 24 at 5 pm\, Uli Sigg and Ai Weiwei will be in conversation with Carolyn Christov-Bakargiev\, Marcella Beccaria\, and Maurizio Molinari in the Theater of Castello. \nSOLD OUT \nCaption: Ai Weiwei\, Uli Sigg (Newspaper Reader) (Uli Sigg – Lettore di giornale)\, 2004 tecnica mista\, 108 × 75 × 58 cm Collezione M+ Sigg\, Hong Kong. Donazione © Ai Weiwei
URL:https://www.castellodirivoli.org/en/evento/uli-sigg-and-ai-weiwei-in-conversation-with-carolyn-christov-bakargiev-marcella-beccaria-and-giulia-zonca/
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2020/01/Schermata-2020-01-31-alle-16.15.57.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200222T180000
DTEND;TZID=Europe/Rome:20200222T193000
DTSTAMP:20200110T100243Z
CREATED:20200110T100243Z
LAST-MODIFIED:20200110T100243Z
UID:105198-1582394400-1582399800@www.castellodirivoli.org
SUMMARY:Flavio Fergonzi. "Who said Morandi is repetitive?" Giorgio Morandi Paintings from the Cerruti Colletti
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/flavio-fergonzi-who-said-morandi-is-repetitive-giorgio-morandi-paintings-from-the-cerruti-colletti/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/01/Villa-Cerruti-039_LR.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200215T170000
DTEND;TZID=Europe/Rome:20200215T180000
DTSTAMP:20251125T120751Z
CREATED:20200203T120542Z
LAST-MODIFIED:20251125T120751Z
UID:105209-1581786000-1581789600@www.castellodirivoli.org
SUMMARY:Emanuele Coccia. METAMORPHOSIS. WE ARE ALL THE SAME LIFE
DESCRIPTION:COMP(H)OST #5\nSaturday February 15\, 2020 \nCastello di Rivoli di Museo d’Arte Contemporanea  \nTheater\, 5 pm   \n  \nCOMP(H)OST events will resume at the Castello di Rivoli Museo d’Arte Contemporanea on Saturday 15 February with the conference Metamorphosis. We are all the same lifeby philosopher Emanuele Coccia. \nAn important international figure of the contemporary philosophical discussion\, Emanuele Coccia attracted the attention of the general public with Life of Plants: A Metaphysics of mixture\, a book published in France in 2016 and two years later in Italy\, in which the author proposes a new reading of the genesis of life starting from plants. Agents of union between earth and sky\, plants are identified in Coccia’s reflection as the paradigmatic expression of the interrelation between all forms of life and matter\, through exchange and transformation methods that overcome oppositional binary logic in favor of unity. \nIn this perspective\, metamorphosis exemplifies the fluid condition of being. “We all experienced it when we were children – Coccia says – a caterpillar becomes a butterfly: the same life is incarnated in two bodies that have nothing in common. One is a huge digestive tube on legs that climbs along the ground\, the other is a machine that flutters to mate: they have neither the same anatomical identity\, nor the same clothes\, nor share a specific world\, yet they are the same self\, and they are intimately related to each other\, like we all are to our child self. This relationship is not limited to the caterpillar and the butterfly\, but extends to all living beings. Regardless of the species and the kingdom to which they belong\, all living bodies\, present\, past and future\, are the same life that is transmitted from body to body\, from species to species\, from era to era. Metamorphosis is the relationship that unites all living beings with the planet\, of which they are the expression: life is only the butterfly of this huge caterpillar that is our Earth”. \n  \nBiography\nEmanuele Coccia is an Italian philosopher who lives in Paris\, where he teaches at the École des Hautes Études en Sciences Sociales (EHESS)\, one of the most important schools of contemporary human sciences. Starting from studies on Averroes and Averroism\, his research turned to the ontological status of images and their regulatory power\, and to the investigation about the nature of living beings. Regarding these issues\, he has published numerous books\, translated into various languages\, including Sensible Life(Il Mulino\, 2011)\, which analyzes sensitivity as a complementary\, rather that opposed\, ability to rational thinking\, The good in things. Advertising as a moral discourse(Il Mulino\, 2014)\, and the most recent and well-known Life of Plants: A Metaphysics of mixture(Il Mulino\, 2018)\, which has been translated into ten languages. He has collaborated on editorial projects with the philosopher Giorgio Agamben and held lectures and courses in the universities of Freiburg\, Tokyo\, Buenos Aires\, Düsseldorf\, Amsterdam\, at Columbia University and Princeton. \nMETAMORPHOSIS. WE ARE ALL THE SAME LIFE is the fifth appointment COMP(H)OST\,and will be held at Teatro del Castello at 5 pm with free admission. The Rivoli Express shuttle round-trip service is available from the centre of Turin with departures from Piazza Castello and Porta Susa station (Piazza XVIII Dicembre). \nCOMP(H)OST is 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. \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. \n  \nWhat is Comp(h)ost\nCOMP(H)OST is a project in which the notion of composting meets the one of hospitality. With its references to the concepts of soil\, waste and fertility\, compost is a place of mixture and constant transformation between states of matter\, of alliances between forms of life\, in which “similar” and “different” are co-present in a condition of vitality and growth. \nInspired by the compost notion developed by philosopher and biologist Donna Haraway in her texts\, the formula of comp(h)ost proposed in this project takes on two complementary nuances: an organic one\, which concerns ecological issues in all their various articulations\, and a social one\, which examines the political and economic problems of our time. In this dual variation\, the project explores directions of artistic research and contemporary thought that in the light of current emergencies provide visions and productive suggestions of new scenarios and possible new life practices. \nBy evoking the generative and fertilizing power of the guest\, COMP(H)OST starts from the figure of the artist as an embodiment of mobility\, of “extraneousness” and as an essential element for the triggering of processes\, in order to reactivate their function as investigators about the themes of cohabitation\, ties\, cooperation\, cohabitation and the relationship between nature and artifice\, between waste and resource\, between what is and what could be. \nFor this purpose\, COMP(H)OST involves the artists Claire Pentecost\, Rossella Biscotti and Otobong Nkanga\, in the production of performances and workshops conceived specifically for the project\, as part of a programme of seminars\, conferences\, panel discussions\, talks and live performances that since July 2019 has already hosted\, among others\, the Dutch artists and designers Metahaven in conversation with the curator Leonardo Dellanoce\, Diann Bauer\, artist and co-founder of the xenofeminist collective Laboria Cuboniks\, philosophers Vinciane Despret and Emanuele Coccia. \nCOMP(H)OST declines the notions of hospitality and compost\, as an expression of exchange\, synergy and mixture\, in the very structure of the project\, which is realized through a real engagement of the city and its territory. People\, stories\, places\, planning and skills are involved in the development of the research and projects of the invited artists\, in order to establish new connections and give the audience a chance to learn about contexts and knowledge that are sometimes not very well known outside of their fields of specialization. In this perspective\, COMP(H)OST involved so far experts\, artists\, and realities such as the PAV – Parco Arte Vivente\, the non-profit organization COORPI Coordinamento Danza Piemonte\, and the new Circolo del Design. \nCOMP(H)OST is also a Communication Laboratory\, headed by filmmaker Irene Dionisio and photographer Francesca Cirilli\, for the production of audiovisual and photographic documentation and story-telling of the project. Started in May\, the Laboratory of COMP(H)OST is hosted at the Film Commission Torino Piemonte and involves a group of young artists\, photographers and filmmakers\, selected through a call for proposals\, composed by Daniele Alef Grillo\, Laura Barrios\, Michela Curti\, Matteo Grasso\, Federico Pozuelo\, Isabella Quaranta\, Michela Ronco\, Giovanni Sambo\, Francesca Ticca\, Giulia Travaglio\, Ettore Ventura and Carla Vivalda.
URL:https://www.castellodirivoli.org/en/evento/emanuele-coccia-metamorphosis-we-are-all-the-same-life/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/02/Ritratto-Emanuele-Coccia.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200125T170000
DTEND;TZID=Europe/Rome:20200125T180000
DTSTAMP:20251125T120842Z
CREATED:20191216T093814Z
LAST-MODIFIED:20251125T120842Z
UID:105193-1579971600-1579975200@www.castellodirivoli.org
SUMMARY:Giuseppe Penone in Conversazione with Carolyn Christov-Bakargiev
DESCRIPTION:Saturday January 25 at 5 pm\, you can discover the exhibition on the occasion of Giuseppe Penone in Conversation with Carolyn Christov-Bakargiev\, hosted at Spazio Incontri Fondazione CRC (Via Roma\, 17\, Cuneo) \n  \nIn collaboration with 
URL:https://www.castellodirivoli.org/en/evento/giuseppe-penone-in-conversazione-with-carolyn-christov-bakargiev/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200118T180000
DTEND;TZID=Europe/Rome:20200118T190000
DTSTAMP:20251125T121115Z
CREATED:20191211T164536Z
LAST-MODIFIED:20251125T121115Z
UID:105191-1579370400-1579374000@www.castellodirivoli.org
SUMMARY:Lori Waxman. We're out of milk. Can you pick some up on your way home from the museum?
DESCRIPTION:Closing event in the frame of the exhibition Michael Rakowitz Imperfect Binding at Castello di Rivoli\nJanuary 18\, 2020\, From 6.00 till 7.00 \nSala Gioco\, Circolo dei Lettori\, Via Bogino 9\, Torino\n \nOn the occasion of Michael Rakowitz. Imperfect Binding\, drafted by Iwona Blazwick\, Carolyn Christov-Bakargiev and Marianna Vecellio\, the first survey exhibition in Italy featuring Iraqi-American artist Michael Rakowitz (New York\, 1973)\, winner of the prestigious Nasher Prize 2020\, Castello di Rivoli Museo d’Arte Contemporanea presents a closing conference led by art critic and art historian Lori Waxman (Montreal\, 1976). \nFollowing the story of their life and sharing experiences\, Lori Waxman traces an intimate biography of her husband Michael Rakowitz\, painting an original portrait of the artist. Waxman takes the audience on a journey made of daily routine\, obsessions\, and research\, which shape Rakowitz’s personality and artistic vision. \nLori Waxman will give a talk in the only way that an art critic can about her artist husband’s artwork: casually and personally and a bit messily. Topics she will discuss include their first meeting\, the way they have influenced each other’s professional practices\, art life with two children Renée and Jude\, their family experience of d13\, and the way that the unexpected occurrences of their shared lives have impacted their work. \nFree access subject to availability. \nBiographies\nLori Waxman is art critic and columnist for Chicago Tribune; she is Senior Lecturer in Art History\, Theory\, and Criticism & New Art Journalism at School of the Art Institute of Chicago; her texts has been published on 4Columns\, Momus\, Brooklyn Rail\, Artforum\, New Art Examiner\, Tema Celeste e Parachute\, amongst others. In 2017\, Sternberg Press Berlin published her book Keep Walking Intently. The Ambulatory Art of the Surrealists\, the Situationist International\, and Fluxus. On the occasion of her book launch\, a few guest artists presented their performances inspired by her work at Graham Foundation\, Chicago\, in the frame of NY Art Book Fair. In 2018\, she has been awarded the Rabkin Foundation Award. Since 2005\, Lori Waxman has conducted a work of performance art about art criticism entitled the 60-wrd/min art critic. Through this ongoing performance she has provided brief written reviews to visual artists in various geographical locations\, on a first-come\, first-served basis. \nMichael Rakowitz is an artist who lives and works in Chicago. In 1998 he started paraSITE\, a project in which he builds inflatable shelters for the homeless that connect to the external air intakes of a heating\, ventilation or air conditioning system of a building. His works have been presented in various international contexts including dOCUMENTA(13); PS1; MoMA\, MassMOCA; Castello di Rivoli Museo d’Arte Contemporanea; 16th Sydney Biennial; 10th Istanbul Biennial; 8 Sharjah Biennial; Tirana Biennial; National Design Triennial at Cooper-Hewitt and Transmediale 05. He held solo exhibitions at Tate Modern\, London; Lombard Freid Gallery\, New York; Alberto Peola Contemporary Art\, Turin and Kunstraum\, Innsbruck. His public project\, Return\, was presented by Creative Time in New York in 2006. Among the awards received: Nasher Prize\, 2020; Tiffany Foundation Award\, 2012; Award for Creative Capital\, 2008; Jury Prize\, Sharjah Biennial; Scholarship for Architecture and Environmental Structures\, New York Foundation for the Arts\, 2006; Dena Foundation Award\, 2003 and Grand Prix Design 21\, UNESCO\, 2002. His works are present in important private and public collections including: Museum of Modern Art\, New York; Neue Galerie\, Kassel; Museum of Contemporary Art\, Chicago; Smart Museum of Art\, Chicago; Van Abbemuseum\, Eindhoven; British Museum\, London; Kabul National Museum\, Kabul and UNESCO\, Paris.
URL:https://www.castellodirivoli.org/en/evento/lori-waxman-were-out-of-milk-can-you-pick-some-up-on-your-way-home-from-the-museum/
LOCATION:Sala Polivalente
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2019/12/Lori-Waxman-1-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20200111T180000
DTEND;TZID=Europe/Rome:20200111T193000
DTSTAMP:20251125T121313Z
CREATED:20200102T100410Z
LAST-MODIFIED:20251125T121313Z
UID:105196-1578765600-1578771000@www.castellodirivoli.org
SUMMARY:Maria Teresa Roberto. Emilio Vedova\, An Embodied Gesturality
DESCRIPTION:Experiencing Art. Cerruti Collection masterpieces come to life through a series of lectures by renowned scholars \n 
URL:https://www.castellodirivoli.org/en/evento/maria-teresa-roberto-emilio-vedova-an-embodied-gesturality/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2020/01/Villa-Cerruti-085_LR.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191214T100000
DTEND;TZID=Europe/Rome:20191214T170000
DTSTAMP:20191126T164538Z
CREATED:20191126T164538Z
LAST-MODIFIED:20191126T164538Z
UID:105030-1576317600-1576342800@www.castellodirivoli.org
SUMMARY:Art Weekend for families
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/art-weekend-for-families/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191124T210000
DTEND;TZID=Europe/Rome:20200112T013000
DTSTAMP:20251125T121437Z
CREATED:20191022T081401Z
LAST-MODIFIED:20251125T121437Z
UID:105023-1574629200-1578792600@www.castellodirivoli.org
SUMMARY:Roberto Cuoghi  M I R A C O L A
DESCRIPTION:Miracola San Carlo \nL’alluminata intesa \nCo insania de cervello \nSaetta fora’l fiato \nDe’ lumi letigiosi \nPriva de’ razzi al vampo \nRasciuga la popilla \nPoi sottoposta al cielo \nSpiraculo del vero \nContempra for di sensi \nRefressa al negro smalto \nLa biscia per la coda \n  \nNew luminous installation for Luci d’Artista\nDrafted by Carolyn Christov-Bakargiev \nLight designer: Andrea Berselli – Programming: Eva Bruno \nNetwork: Fabrizio Ganzerli – Technical material: TEMA S.r.l. Modena \nInstallation: CIEM S.a.s. Turin \nTurin\, Piazza San Carlo \nFrom November 24\, 2019 until January 12\, 2020. \nM I R A C O L A  timetable \n9\,18 pm ; 9\,38 pm ; 10\,03 pm; 10\,28 pm; 10\,53 pm; 11\,28 pm; 12\,08 pm; 12\,33 pm\, 00\, 12 am \n  \nCastello di Rivoli Museo d’Arte Contemporanea has commissioned for the City of Turin an unprecedented public lighting installation designed by the Italian artist Roberto Cuoghi(Modena\, 1973) for Luci d’Artista.  \nThe Turin-based Luci d’Artista festival\, established in 1998 and unique in the world\, represents a veritable open-air contemporary art exhibition that every year from the end of October to the beginning of January illuminates the squares and streets of Turin from the center to the outskirts. \nThis new Luce d’Artista\, donated by Roberto Cuoghi to the City of Turin\, renews the vocation of the City to commission new public works of art and to expand its collection of Luci d’Artista. Created to coincide with the 500th anniversary of the death of Leonardo da Vinci (1519)\, the work required the active collaboration of all public and private premises in Piazza San Carlo in a new form of citizen participation. The work\, realized by IREN\, is co-produced by the City of Turin and Castello di Rivoli in collaboration with Fondazione per la Cultura Torino and Fondazione Contrada Onlus\, with the main sponsorship of FPT Industrial. This work was made possible also with the generous support of Hauser & Wirth. \nRoberto Cuoghi’s work M I R A C O L A is an unprecedented and synaesthetic experience in one of Turin’s main squares\, Piazza San Carlo\, where public and private lights will periodically fade\, creating a luminous choreography that immerses passers-by in moments of absolute darkness\, to then illuminate the square. The passage from light to darkness generates tension and expectation. \nM I R A C O L A(from mirari – admire)\, suggests a visual phenomenon out of the ordinary\, attributed to supernatural causes. The experience of darkness that appears as a result of the synchronization of the lights of the square appears as the miraculous experience of disappearance\, of not appearing. \nRoberto Cuoghi states\, “I have symphonized the lights of the ‘living room’ of Turin\, to force them to consider the cognitive constraints that separate light from darkness; for the characteristics that I wanted it to have and that it has\, M I R A C O L A is an anti-rhetorical work\, not vandalizable\, replicable and non-invasive.” \nThe work is a re-thinking of darkness not only as an absence of perception but also as a device generating individual and collective experience\, a bit like living the square at night as it was lived in the eighteenth century\, before artificial lighting. This is the light installation by Cuoghi with which the City of Turin pays tribute to the theories on the relationship between light and shadow by Leonardo da Vinci\, precisely in the year of the celebrations for the 500th anniversary of his death. Leonardo\, in his Treatise on Painting (circa 1540) writes: “Shadow is the privation of light\, and only opposition of dense bodies opposed to light rays; shadow is of the nature of darkness\, light is by nature light\, one ascends and the other demonstrates; I am always in company with bodies; and the shadow is of greater power than the light\, which prevents it from prohibiting and entirely deprives the bodies of light\, and light can never hunt throughout the shadow of bodies\, that is\, dense bodies.” According to Christov-Bakargiev\, “This reflection of Leonardo could be read in relation to the principle of obscuration. There is light\, and it is right that there is. Darkness is always an exceptional event due exclusively to the absence of light\, be it natural or artificial. The dark instead no! The darkness is always and only natural! Even if\, in the present time\, to produce darkness we have to turn off artificial light\, the same that illuminates our city spaces prolonging life at night. In the final analysis\, being in the dark would be the most natural thing in the world and instead to us contemporaries it appears as a completely artificial experience. Today I think that Leonardo would not have added more light and other energy consumption to the already hyper-illuminated city. He would have taken it away. And he would have dreamed.” \nOnce again in Cuoghi’s work\, who represented Italy at the Venice Biennale in 2017\, experimenting\, doing\, learning\, inventing are fundamental and everything comes together to create and recreate situations in which the centrality of the viewer and his ability to interaction with the artwork is fundamental. \nThe artist thanks Jacopo Galavotti\, Italianist and teacher of metrics and stylistics. \nThanks to Marcella Beccaria\, Chief Curator and Curator of the Castello di Rivoli Museo d’Arte Contemporanea Collections. \nThe Castello di Rivoli and the City of Turin thank the stores\, offices\, entreprises and the inhabitants of Piazza San Carlo for their cooperation\, including Algozzini Gioielli\, Banca Monte dei Paschi di Siena S.p.A.\, Benetton\, Biraghi\, Brooksfield Torino 1971\, Bruschi-Pavin Boutiques\, Caffè Mokita\, Caffè San Carlo\, Caffè Torino\, Crédit Agricole\, Deutsche Bank\, Garaffo Gioielleria\, Gelati Cecchi 1936\, Gioielleria Monticone\, Giorgio Cavalitto\, Goethe-Institut Torino\, Hermès\, Intesa Sanpaolo S.p.A.\, Francesca Lavazza\, Alessandro Marcato\, Mediolanum\, Ordine degli Architetti di Torino and Fondazione per l’Architettura/Torino\, Ordine degli Ingegneri della Provincia di Torino\, Posh Torino\, Gianluigi Ricuperati\, Sinatra Profumerie\, Giorgina Siviero\, Stone Island\, Stratta\, Y Piazza San Carlo\, as well as all those who wish to remain anonymous. \nThe work has been realized with the generous support of Hauser & Wirth  \n \n\n\nMain Sponsor\n\n\n\nIn collaboration with\n\n\n  \nBiographical notes\nRoberto Cuoghi (b. Modena\, Italy\, 1973) lives and works in Milan. The artist creates works that act as devices or psycho-sensorial machines capable of de-locating (even only from the point of view of suggestion)\, in other spaces and other times\, the visitor\, the ultimate recipient of the created situation. A new\, poetic and alienating approach\, which uses the eyes and the conceptual and emotional apparatus of the other to expand the potential of the work to infinity. Cuoghi experiments with sculpture\, installation\, sound\, painting\, drawing\, photography\, performance and conceptual actions. Slight physical alterations\, complete metamorphoses\, temporary disappearances\, journeys in the immediate future or in the more remote past are some of the elements that characterize his everyday life. Comparing his own obsessions\, the artist reinvents himself and his own practice\, making metamorphosis his modus operandi. Cuoghi has participated in three editions of the Venice Biennale: Il mondo magico\, Italian Pavilion\, 57. Esposizione Internazionale d’Arte\, Biennale di Venezia\, Venice\, 2017; Il Palazzo Enciclopedico\, 55. Esposizione Internazionale d’Arte\, Biennale di Venezia\, Venice\, 2013; Fare Mondi/Making Worlds\, 53. Esposizione Internazionale d’Arte\, Biennale di Venezia\, Venice\, 2009. His solo shows include: Perla Pollina 1996-2016\, Centre d’Art Contemporain Genève\, Genève / Museo MADRE\, Naples\, 2017; Putiferio\, DESTE Foundation Project Space\, Slaughterhouse\, Idra\, 2016; da iḍā e piṅgalā a iḍā e iḍā o piṅgalā e piṅgalā\, Le Consortium\, Dijon /Aspen Art Museum\, Aspen\, CO\, 2014-2015; Šuillakku – corral version\, New Museum\, New York\, 2014; ZOLOTO\, Galleria Massimo De Carlo\, Milan\, 2012; Roberto Cuoghi\, Hammer Museum\, UCLA\, Los Angeles\, 2011; Šuillakku\, Castello di Rivoli Museo d’Arte Contemporanea\, Rivoli / ICA\, London\, 2008. His works has been displayed in several group exhibitions including: Dall’argilla all’algoritmo\, Arte e tecnologia\, Gallerie d’Italia\, Milan\, 2019; Sanguine. Luc Tuymans on Baroque\, Fondazione Prada\, Milan\, 2018; 3D Double Vision\, Los Angeles County Museum\, Los Angeles\, 2018; The Residue of Memory\, Aspen Art Museum\, Aspen\, CO\, 2012; 10000 Lives\, Gwangju Biennale\, Gwangju\, 2010; Skin Fruit\, New Museum\, New York\, 2010; Fractured Figure\, Deste Foundation Centre for Contemporary Art\, Athens\, 2007; Sequence 1\, Palazzo Grassi\, Venice\, 2007; Of Mice and Men\, 4. Berlin Bienniale for Contemporary Art\, Berlin\, 2006. \n \nDownload: CS_Cuoghi Luci d’artista 2019
URL:https://www.castellodirivoli.org/en/evento/roberto-cuoghi-m-i-r-a-c-o-l-a/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2019/10/Rendering-per-M-I-R-A-C-O-L-A-2019.-Courtesy-lartista-e-Hauser-Wirth.-Foto-courtesy-Castello-di-Rivoli-Museo-dArte-Contemporanea-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191120T190000
DTEND;TZID=Europe/Rome:20191120T200000
DTSTAMP:20251125T121753Z
CREATED:20191025T125827Z
LAST-MODIFIED:20251125T121753Z
UID:105027-1574276400-1574280000@www.castellodirivoli.org
SUMMARY:DIANN BAUER. If Nature Is Unjust\, Change Nature
DESCRIPTION:COMP(H)OST #4\nWednesday\, November 20\, 7 pm \nCircolo del Design \nVia San Francesco da Paola 17 \n  \n\n\nXenofeminism is the line of thought that in recent years has most investigated the relationship between gender policies and accelerating technologies\, with the objective of drawing on and surpassing the legacy of cyber theory developed in the 1980s by Donna Haraway. Originally formulated in the Xenofeminist Manifesto by the transnational collective Laboria Cuboniks\, Xenofeminism has quickly established itself as one of the main turning points in the debate that in recent years has seen the world of politics and the arts confront: the meeting with Diann Bauer\, visual artist and co-founder of Laboria Cuboniks\, will be an opportunity to discuss not only the influence and developments of the original manifesto\, but also the way in which its themes continue to reverberate in arts and in the creative languages of the contemporary world. \nIn particular\, Diann Bauer will speak about her work in relation to Xenofeminism proposing that the understanding of “alienation” provided by that project could open ways for thinking about how we\, as a species\, approach the existential threats of climate change. It is an idea that she has developed in collaboration with another working group of artists and architects called A.S.T. (the Alliance of the Southern Triangle). \nIF NATURE IS UNJUST\, CHANGE NATURE\, is the fourth appointment of COMP(H) OST\, a project that deals with the trans-disciplinary themes of hospitality\, exchange and coexistence\, cooperation and cohabitation\, transformation and fertility\, via artistic productions\, seminars\, workshops\, conferences\, panel discussions\, conversations\, and live performances at the Castello di Rivoli and in different locations throughout the city of Turin \n\n\n\nOn this occasion\, COMP(H)OST will be a guest of Turin’s Circolo del Design\, a new open\, inclusive and participatory space\, which sets out to explore the contemporary\, the experimentation and the actors that represent the avant- garde in the various fields of design. The meeting with Diann Bauer will take place as part of the Ciclo dei Mercoledì (Wednesday Cycle)\, which highlights contemporary themes thanks to the contribution of specialists – in disciplines different from design\, who open the debate starting from the core of their own research. These Wednesday meetings are organized with the scientific curatorship of c.lab\, an inter-university laboratory run by Politecnico di Torino and Università degli Studi di Torino. \nBIOGRAPHY\nDiann Bauer is an artist and writer based in London. She is part of the working group LaboriaCuboniks who in 2015 wrote Xenofeminism: A Politics of Alienationandthe collaborative A.S.T. based in Miami\, whose focus is Urbanism and climate change. Bauer has screened and exhibited internationally at Tate Britain and The Showroom\, London\, The Sharjah Biennale 13\, UAE\, Deste Foundation\, Athens\, The New Museum\, New York. She has taught and lectured widely at universities and cultural institutions including: Cornell University\, Yale University and Cooper Union (US)\, HKW (Germany)\, DAI (Netherlands)\, AshkalAlwan (Lebanon)\, Ocean Space\, Venice\, Goldsmiths\, The Baltic\, The Tate and the ICA (UK). \nCOMP(H)OST is 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 hospitality of Duparc Contemporary Suites and the collaboration of Film Commission Torino Piemonte. It is based on an idea from Marianna Vecellio and Sofía Hernández Chong Cuy. \nCOMP(H)OST 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.
URL:https://www.castellodirivoli.org/en/evento/diann-bauer-if-nature-is-unjust-change-nature/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191117T160000
DTEND;TZID=Europe/Rome:20191117T180000
DTSTAMP:20191002T083201Z
CREATED:20191002T083201Z
LAST-MODIFIED:20191002T083201Z
UID:105014-1574006400-1574013600@www.castellodirivoli.org
SUMMARY:[:it]Est-Ovest Festival - Il ponte sulla Drina
DESCRIPTION: 
URL:https://www.castellodirivoli.org/en/evento/itest-ovest-festival-il-ponte-sulla-drina/
CATEGORIES:concerto
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191102T180000
DTEND;TZID=Europe/Rome:20191102T200000
DTSTAMP:20251125T121928Z
CREATED:20191025T103156Z
LAST-MODIFIED:20251125T121928Z
UID:105025-1572717600-1572724800@www.castellodirivoli.org
SUMMARY:Living the Sprawl. Conversation with Metahaven
DESCRIPTION:LIVING THE SPRAWL\nConversation with Metahaven \nIntroduction by: Leonardo Dellanoce \n  \n  \nTeatro del Castello\, 6pm \n  \nLeading interpreters of the languages arisen with the use of new technologies\, protagonists of a research able to range from the world of design to theoretical thinking\, Metahaven will discuss for the first time in Italy their latest works in a live debate with curator Leonardo Dellanoce. \nFollowing the LIVING MATTERS project by American artist Claire Pentecost and the conference RETURN TO EARTH\, WITH THE BIRDS of Vinciane Despret\, LIVING THE SPRAWL is the third appointment of COMP(H)OST\, a project that deals with the trans-disciplinary themes of hospitality\, exchange and coexistence\, cooperation and cohabitation\, transformation and fertility\, via artistic productions\, seminars\, workshops\, conferences\, panel discussions\, conversations\, and live performances at the Castello di Rivoli and in different locations throughout the city of Turin. \nCreated as a “speculative design” collective\, Metahaven have over time focused on how our spaces are defined by the flow of information and propaganda that\, having originated in the digital world\, has ended up shaping the concrete reality of our daily experience. Key to Metahaven’s thought is the concept of sprawl: an ecosystem in which different versions of what we call “reality” coexist\, and in which so many parallel narratives proliferate that our notion of truth is redefined. So what value does the concept of identity acquire in an environment saturated with mutually contradicting stimuli\, starting from the overlap between the old rhetoric of sovereign states and the global scale on which today’s computational apparatus acts? \nStarting from their work in the field of documentaries and moving image\, the two founders of Metahaven Vinca Kruk and Daniel van der Velden will talk with curator Leonardo Dellanoce (Digital Earth) about their most recent works\, touching on themes ranging between art and cinema\, design and poetry\, and the representation of abstractions\, in an attempt to understand how\, through an imaginary defined by them as “soft sci-fi”\, it is possible to decipher an environment in which nature and culture coincide\, and in which it seems to have become impossible to distinguish between facts and fiction\, between imaginary pasts and artfully constructed futures. \nLIVING THE SPRAWL by Metahaven with Leonardo Dellanoce will take place in conjunction with the “Notte delle arti contemporanee”\, with the special late opening of the Castello di Rivoli until 10.00 pm. \nThe conference is in English with consecutive interpretation: free admission subject to availability. \nBIOGRAPHIES\nThe work of Metahaven consists of filmmaking\, writing\, and design\, and is united conceptually by interests in poetry\, storytelling\, propaganda\, and digital superstructures. Films by Metahaven include The Sprawl (Propaganda about Propaganda) (2015)\, Information Skies (2016)\, Hometown (2018) and Eurasia (Questions on Happiness)(2018). Recent solo exhibitions include Version History at the ICA London (2018)\, and Earth at Stedelijk Museum Amsterdam (2018). Recent group exhibitions include Ghost:2651 in Bangkok (2018)\, the Sharjah Biennial (2017)\, and the Gwangju Biennale (2016). Recent publications by Metahaven include PSYOP (2018)\, and Digital Tarkovsky (2018). \nLeonardo Dellanoce is an Italian curator who lives in Amsterdam. In his research he explores technological realities using art and design as navigation tools. He has worked with artists\, designers and theorists on various collaborative projects. Among these: Vertical Atlas: a Techno-political Cartography\, Het Nieuwe Instituut\, Rotterdam (2018) and Digital Earth (2019). He is the editor of the magazine “Volume”\, for which he developed the research project Trust in the Blockchain Society.
URL:https://www.castellodirivoli.org/en/evento/living-the-sprawl-conversation-with-metahaven/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191101T080000
DTEND;TZID=Europe/Rome:20191101T190000
DTSTAMP:20251125T122023Z
CREATED:20190905T125555Z
LAST-MODIFIED:20251125T122023Z
UID:105002-1572595200-1572634800@www.castellodirivoli.org
SUMMARY:Becoming Male in the Middle Ages  Pedro Neves Marques
DESCRIPTION:Becoming Male in the Middle Ages \nPedro Neves Marques  \nIn collaboration with HAUT \nilly Present Future Prize 2018 Exhibition \ndrafted by Marianna Vecellio \n1 November 2019 – 23 February 2020
URL:https://www.castellodirivoli.org/en/evento/becoming-male-in-the-middle-ages-pedro-neves-marques/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191030T180000
DTEND;TZID=Europe/Rome:20191030T220000
DTSTAMP:20251125T122257Z
CREATED:20191022T074458Z
LAST-MODIFIED:20251125T122257Z
UID:105021-1572458400-1572472800@www.castellodirivoli.org
SUMMARY:Claudia Comte. How to Grow and Still Stay the Same Shape
DESCRIPTION:Claudia Comte. How to Grow and Still Stay the Same Shape \nDrafted by Carolyn Christov-Bakargiev and Marianna Vecellio \nOctober 31\, 2019 – August 30\, 2020 \nOpening: October 30\, 2019 \nAt 6 pm in the Theatre Marianna Vecellio in conversation with Claudia Comte.
URL:https://www.castellodirivoli.org/en/evento/claudia-comte-how-to-grow-and-still-stay-the-same-shape/
CATEGORIES:conferenza
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20191012T190000
DTEND;TZID=Europe/Rome:20191012T200000
DTSTAMP:20251125T132222Z
CREATED:20191008T111018Z
LAST-MODIFIED:20251125T132222Z
UID:105016-1570906800-1570910400@www.castellodirivoli.org
SUMMARY:Vinciane Despret\, RETURN TO EARTH\, WITH THE BIRDS
DESCRIPTION:COMP(H)OST\nCastello Theater \n7 pm \n\nFree Admission \n  \n\nOne of the most prominent contemporary thinkers\, the Belgian philosopher and psychologist Vinciane Despret presents her most recent research for the first time in Italy\, only a few days after the publication of her latest book Habiter en oiseau (Actes Sud). \nAfter the LIVING MATTERS project by American artist Claire Pentecost\, the conference RETURN TO EARTH\, WITH THE BIRDS by Vinciane Despret is the second event of COMP(H)OST\, a project that deals with the transdisciplinary themes of hospitality\, exchange and coexistence\, cooperation and cohabitation\, transformation and fertility\, via artistic productions\, seminars\, workshops\, conferences\, panel discussions\, conversations\, and live performances at the Castello di Rivoli and in different locations throughout the city of Turin. \nLinked to authors such as Isabelle Stengers and Bruno Latour\, Despret has focused her analysis on the relationship with science\, on the animal world and the relationship between human psychology and ethology\, through which she explores “the political consequences of our theoretical choices”. \nDuring COMP(H)OST\, she will discuss her most recent research on the subject of the territory. As she herself explains: “In many texts we nd the idea that we humans are ‘instinctively territorial’. Could this instinct\, inherited from our animal ancestors\, explain our idea of private property\, territory\, frontier and lastly of nation? This would mean forgetting that these concepts are recent and historically positioned. Making animals into small bourgeois owners\, eager for exclusivity\, is not only a serious anachronism from the point of view of the history of evolution\, but it also means neglecting the inventiveness and the great diversity in the ways of living\, of sharing spaces and of being alone that is found among territorial beings”. \n\n\n\nIn particular the conference will look at the many researches conducted by ornithologists regarding birds. Why birds? Because they are the first to have aroused the curiosity of observers\, both amateurs and scientists\, on the question of territories. Then\, during these researches\, increasingly complex ways of organization were discovered. The territories become places of artistic performance\, of inventive forms of socialization; issues of composition and partition emerge. And the work of researchers\, since then\, has no longer been to seek a theory or an explanation\, but to honor these ways of organizing life together. \nRETURN TO EARTH\, WITH THE BIRDS by Vinciane Despret takes place on the occasion of GDC15 QUINDICESIMA GIORNATA DEL CONTEMPORANEO promoted by AMACI Associazione dei Musei d’Arte Contemporanea Italiani. The conference is in French with simultaneous translation in Italian\, with free admission subject to availability. \nBIOGRAPHY\nVinciane Despret (Anderlecht\, 1959) is a Belgian philosopher and psychologist\, associate professor at the University of Liège\, where she lives and works. Her entire career has focused on the relationship between human psychology and ethology. She worked for approximately twenty years mainly on the understanding of animals\, a field of research in which she has published a number of essays and various books\, including some that have been translated into Italian: What Would Animals Say If We Asked the Right Questions? (2016)\, Hans\, le cheval qui savait compter [Hans\, the Horse That Could Count] (2004)\, Quand le loup habitera avec l’agneau [When the Wolf Shall Dwell with the Lamb] (2002). In 2008 she also curated the exhibition Bêtes et hommes at the Grande Halle de La Villette in Paris. She has won important prizes\, including the “Humanités scienti ques” award from SciencesPo and the “Wernaers International Fund for Research and Dissemination of Knowledge” award. \nCOMP(H)OST is curated 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 hospitality of Duparc Contemporary Suites and the collaboration of Film Commission Torino Piemonte. \nCOMP(H)OST is based on an idea from Marianna Vecellio and Sofía Hernández Chong Cuy\, and 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.
URL:https://www.castellodirivoli.org/en/evento/vinciane-despret-return-to-earth-with-the-birds/
CATEGORIES:conferenza,Dipartimento Curatoriale
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190925T190000
DTEND;TZID=Europe/Rome:20190925T220000
DTSTAMP:20190910T085225Z
CREATED:20190910T085225Z
LAST-MODIFIED:20190910T085225Z
UID:105004-1569438000-1569448800@www.castellodirivoli.org
SUMMARY:Street Workout Rivoli Castello
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/street-workout-rivoli-castello/
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190924T170000
DTEND;TZID=Europe/Rome:20190924T190000
DTSTAMP:20251125T132429Z
CREATED:20190917T081317Z
LAST-MODIFIED:20251125T132429Z
UID:105011-1569344400-1569351600@www.castellodirivoli.org
SUMMARY:Provenance: Can You Bank on It?
DESCRIPTION:Tuesday\, September 24\, 2019\, 5:00 to 6:30 p.m.  \nConference Hall\, Castello di Rivoli Museum of Contemporary Art  \n  \nCastello di Rivoli is pleased to announce the forthcoming talk Provenance: Can You Bank on It? presented at Castello di Rivoli Conference Hall by Dr. Lynn Rother\, Senior Provenance Specialist at The Museum of Modern Art\, New York followed by a Q&A. The evening program is part of the Workshop for Provenance Research\, a two-week study session including lectures\, hands-on exercises and discussion rounds with international experts in Provenance Research and Art Law jointly run by CRRI\, Centre for Research Castello di Rivoli\, and the Education Department\, led by Dr. Lynn Rother. \n  \nThe biggest art deal of the Nazi era occurred in August 1935 when the Prussian Finance Minister paid the enormous amount of 7.5 million German marks to the Dresdner Bank to acquire 4\,401 works of art for the Berlin museums. This momentous historical event is hardly known; Lynn Rother is one of the few scholars to research this extraordinary transaction and analyze its consequences in her book. “Kunst durch Kredit” (Art as Collateral) was published in 2017 to great critical acclaim in Germany and won the translation prize “Geisteswissenschaften International.” Using the sale of the Flemish old master paintings from the former collection of the Prince of Hohenzollern-Sigmaringen as a case study\, Provenance: Can You Bank on It? will examine the methodology\, sources\, and challenges of Nazi-era provenance research as it relates to art as collateral and the hidden aspects of the art market. \n  \nThe talk is followed by a Q&A featuring Dr. Lynn Rother\, Dr. Mara Wantuch-Thole\, a Berlin-based attorney specialized in advising private clients as well as German and international public institutions in the art sector and Paul Cossu\, a member of New York’s Pryor Cashman’s Art Law Group\, where he handles a range of litigation and transactional matters on behalf of auction houses\, artists\, museums\, and collectors \n  \nThe talk and Q&A are in English. \n  \nThe evening program is organized in collaboration with Family office Tosetti Value\, a benchmark in the enhancement and maintenance of family wealth. \n  \n \n  \n  \n  \n  \n  \n  \n \n  \n  \n  \nLynn Rother joined The Museum of Modern Art as Senior Provenance Specialist in 2015. She oversees provenance research\, procedures\, documentation and funding in conjunction with all curatorial departments regarding works in the Collection\, loans\, acquisitions\, and deaccessions. Before coming to MoMA\, she held various research positions at the Berlin State Museums working on all facets of World War II-era provenance as well as on digital initiatives co-financed by the European Commission. A former Fellow of The Getty Research Institute in Los Angeles and of the German Historical Institute in Moscow\, she has a Master’s degree in art history\, economics and law from the University of Leipzig and a Ph.D. in art history from the Technical University of Berlin. Beyond her World War II provenance research\, her academic interests are the history of 20th-century collecting\, art market practices\, and the digital humanities. \n  \n \n  \n  \n  \n  \nMara Wantuch-Thole is an attorney admitted to the Bar in Germany. She is specialized in advising private clients as well as German and international public institutions in the art sector. Prior to founding her law firm\, Mara worked in several international corporate law firms\, for public cultural institutions\, as an advisor for the Spoliation Advisory Panel in the United Kingdom\, and for a Berlin-based law firm specialised in art and foundation law. \n \n  \n  \n  \nPaul Cossu is a member of Pryor Cashman’s Art Law Group\, where he handles a range of litigation and transactional matters on behalf of auction houses\, galleries\, artists\, museums\, collectors and other members of the arts community. Paul has litigated several high-profile stolen art and art forgery cases\, including cases concerning artwork alleged to have been looted by the Nazis. On the transactional side\, Paul handles a variety of purchase\, sale\, co-ownership\, consignment\, commission\, and loan agreements for a broad array of gallery\, advisory\, and art dealer clients.
URL:https://www.castellodirivoli.org/en/evento/provenance-can-you-bank-on-it/
CATEGORIES:conferenza,CRRI,workshop
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BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190921T120000
DTEND;TZID=Europe/Rome:20190922T200000
DTSTAMP:20251125T132515Z
CREATED:20190902T081830Z
LAST-MODIFIED:20251125T132515Z
UID:105000-1569067200-1569182400@www.castellodirivoli.org
SUMMARY:For an Imaginist Renewal of the World. The Alba Congress: 1956-2019
DESCRIPTION:“Our Congress is like a huge and unknown chemical reaction”. \nPinot Gallizio\, 1956 \n   \nFor an Imaginist Renewal of the World. The Alba Congress: 1956-2019  \nFrom September 21 to 22\, 2019 \nAlba (CN) \nDrafted by Carolyn Christov-Bakargiev and Caterina Molteni \n  \nCastello di Rivoli Museo d’Arte Contemporanea and Fondazione CRC are organizing from 21 to 22 September 2019\, For an Imaginist Renewal of the World. The Alba Congress: 1956-2019\, a poetic reenactment of the First World Congress of Free Artists that took place from 2 to 8 September 1956 in Alba (Pinot Gallizio’s and Elena Verrone’s hometown)\, which anticipated by a year the foundation of the International Situationist in Cosio di Arroscia\, hometown of the artist Piero Simondo. \nWith the theme “The Free Arts and Industrial Activities”\, the congress gathered artists and intellectuals from eight different countries\, with the participation of representatives of the International Letterism\, of the Nuclear Art Movement and the dissolved CoBrA group\, under the coordination of the Experimental Laboratory of the International Movement for an “Imaginist Bauhaus” (MIBI)\, founded by Asger Jorn\, Pinot Gallizio and Piero Simondo in September 1955. \nThe three artists proposed a project of relationship between art and technique in contrast with the functionalist approach of the time. “Based on a subjective artistic research in favor of a democratic and collaborative vision of an art accessible to all”\, states the director of Castello di Rivoli Museo d’Arte Contemporanea Carolyn Christov-Bakargiev\, “their laboratories were conceived as a space of collective and experimental work\, in which artistic sensitivity met the scientific and alchemic knowledge of materials (dust\, resins\, pigments). The interests extended to popular cultures and urban planning with the aim of realizing the idea of a “free” artist\, capable of operating and developing his own research transversely in different fields of knowledge.” \nIn the years preceding the Congress\, Asger Jorn had recently completed his experience with the CoBrA group (1948-1951) and traveled around Europe in search of a new collective vitality in the artistic production.  Meanwhile\, Pinot Gallizio\, a central figure in the Alba socio-cultural life as city councilor\, former partisan\, passionate researcher of popular cultures\, nomadism\, botany\, chemistry and archeology\, had come into contact with the young artist and philosophy student Piero Simondo\, who moved to Alba in 1952\, where he attended his girlfriend and philosophy student Elena Verrone. Gallizio and Simondo met soon after at a conference in Alba by Simondo and Michele Lo Sacco on the theme of German Expressionism. \nIn Albisola in 1955\, Gallizio and Simondo met Asger Jorn for the first time. The Danish artist had organised in those years the International Ceramics Meetinginvolving part of the Nuclear’s\, Lucio Fontana\, Karel Appel and Corneille\, Emilio Scanavino and Tullio Mazzotti d’Albisola. This exhibition introduces the artists into the debate against functionalism thanks to a new exhibition organised on the occasion of the International Congress of Industrial Designof the X Triennale di Milano. In the dispute over the relationship between art and technique\, in particular addressed to Max Bill’s functionalist aesthetics\, the artists play a central role in ceramics. The use of this material\, thanks to the element of unpredictability present in the processes of cooking and taking color\, allowed to project standardized and functional design objects from a perspective based on the dynamic experience of matter. \nThe First Congress of Free Artists started from these assumptions and concluded with the adoption of a common theoretical platform centered on the idea\, dear to the Lettrists\, of a ‘unitary urbanism’: the construction of an environment that\, thanks to the synthesis of art and technique\, was the place of a future lifestyle. \n\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n		\n\nFor an Imaginist Renewal of the World. The Alba Congress: 1956-2019 will be a widespread event and will take place in the council hall of the Municipality of Alba\, in the Centro Studi Beppe Fenoglio\, in the “Beppe Fenoglio” Hall and the Alba Wine School “Umberto I”\, spreading into the streets and alleys of the city. The program includes a series of ‘reports’ that will retrace the historical background\, the development and the theoretical and artistic implications of the Congress in the present time\, thanks to the contribution of art historians Maria Teresa Roberto and Giorgina Bertolino (Archivio Gallizio\, Turin)\, of the art historian Francesca Comisso from the curatorial collective a.titolo\, of art critic and curator Achille Bonito Oliva\, of Lori Waxman\, Senior lecturer at the School of the Art Institute of Chicago\, art historian and journalist\, of Tom McDonough\, Associate Professor of Art History Department at Binghamton University. \nThe 1956 Congress will also be reactivated by a series of ‘communications’ entrusted to artists and curators who will reinterpret the poetic and artistic heritage of its participants\, literally taking on their roles. As short readings\, projections of archive materials (es. Cinema Lettrista) and poetic actions\, these communications involve: Luca Avanzini\, Bernard Blistène\, Ludovica Carbotta\, Alex Cecchetti\, Cooking Sections\, Irene Dionisio\, Liam Gillick\, Renato Leotta\, Michael Rakowitz\, Gianluigi Ricuperati\, Amelia Simondo\, Hans Ulrich Obrist and Alice Visentin. \nA third part of the Congress has been conceived by art historian Lori Waxman as a public performance program on the art of walking. This will consist of the re-performance of historical pieces of walking art\, all of which will relate to the Situationist spirit either directly or indirectly. \nThe program foresees the participation of the public that can\, following the instructions of a booklet\, recreate the different works along the streets of Alba in the movements between the different venues hosting the Congress.
URL:https://www.castellodirivoli.org/en/evento/for-an-imaginist-renewal-of-the-world-the-alba-congress-1956-2019/
CATEGORIES:conferenza,Dipartimento Curatoriale,workshop
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END:VCALENDAR