BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Castello di Rivoli - ECPv6.16.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://www.castellodirivoli.org/en/
X-WR-CALDESC:Events for Castello di Rivoli
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:Europe/Rome
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20170326T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20171029T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20180325T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20181028T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20190331T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20191027T010000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+0100
TZOFFSETTO:+0200
TZNAME:CEST
DTSTART:20200329T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0200
TZOFFSETTO:+0100
TZNAME:CET
DTSTART:20201025T010000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180407T160000
DTEND;TZID=Europe/Rome:20180407T173000
DTSTAMP:20260610T174005
CREATED:20180328T141059Z
LAST-MODIFIED:20180328T141059Z
UID:104887-1523116800-1523122200@www.castellodirivoli.org
SUMMARY:Gianluigi Ricuperati MORE THAN MEETS THE EYE - Metamorphosis as absolute narrative machine
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/gianluigi-ricuperati-more-than-meets-the-eye-metamorphosis-as-absolute-narrative-machine/
CATEGORIES:conferenza,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2018/03/Schermata-2018-03-28-alle-16.25.22.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180421T160000
DTEND;TZID=Europe/Rome:20180421T173000
DTSTAMP:20260610T174005
CREATED:20180328T142518Z
LAST-MODIFIED:20180328T142518Z
UID:104889-1524326400-1524331800@www.castellodirivoli.org
SUMMARY:Carolyn Christov-Bakargiev | Metamorphoses by Ovidio
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/carolyn-christov-bakargiev-metamorphoses-by-ovidio/
CATEGORIES:conferenza,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/03/Carolyn-Christov-Bakargiev_-Photo-Giorgio-Perottino-copia.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180501T100000
DTEND;TZID=Europe/Rome:20180501T190000
DTSTAMP:20260610T174005
CREATED:20180423T161220Z
LAST-MODIFIED:20180423T161220Z
UID:104892-1525168800-1525201200@www.castellodirivoli.org
SUMMARY:Special Opening Times
DESCRIPTION:  \nThe museum is open on May 1st from 10 am to 7 pm\, \nVisit our current exhibitions in the Castello Building and Manica Lunga\, together with the permanent collection on view on the first floor. \nAdmission: \nFull rate: € 8.50 \nReduced rate: € 6.50 \n  \n 
URL:https://www.castellodirivoli.org/en/evento/special-opening-times/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/02/11_GIORGIO-DE-CHIRICO-Photo-by-Renato-Ghiazza.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180505T160000
DTEND;TZID=Europe/Rome:20180505T173000
DTSTAMP:20260610T174005
CREATED:20180502T074040Z
LAST-MODIFIED:20180502T074040Z
UID:104894-1525536000-1525541400@www.castellodirivoli.org
SUMMARY:Marianna Vecellio - Making Kin. Reading of Donna Haraway Writings
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/marianna-vecellio-making-kin-reading-of-donna-haraway-writings/
CATEGORIES:conferenza
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/05/22_METAMORPHOSES-Photo-by-Renato-Ghiazza.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180510T190000
DTEND;TZID=Europe/Rome:20180510T220000
DTSTAMP:20260610T174005
CREATED:20180509T092814Z
LAST-MODIFIED:20180509T092814Z
UID:104899-1525978800-1525989600@www.castellodirivoli.org
SUMMARY:Special Opening Night
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/special-opening-night/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/05/Copia-di-rivoli_KC-202.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180619T180000
DTEND;TZID=Europe/Rome:20180619T193000
DTSTAMP:20260610T174005
CREATED:20180611T075204Z
LAST-MODIFIED:20251128T114932Z
UID:104906-1529431200-1529436600@www.castellodirivoli.org
SUMMARY:Reinhard Mucha „Die Verwandlung“ „The Metamorphosis“\, 2016
DESCRIPTION:Reinhard Mucha \n„Die Verwandlung\,“ 2016 “The Metamorphosis” \nEncounter with the artist in conversation with Carolyn Christov-Bakargiev \nand presentation of the work \nTuesday\, June 19\, 6 pm \nCastello di Rivoli\, Room 19 \n  \nOn Tuesday\, June 19 at 6 pm the Castello di Rivoli Museo d’Arte Contemporanea will hold an encounter with Reinhard Mucha (Düsseldorf\, 1950)\, in conversation with Carolyn Christov-Bakargiev\, Director of the Museum\, for the installation of „Die Verwandlung\,“ 2016 “The Metamorphosis.” The work integrates the imposing installation Mutterseelenallein (Solitudine)\, 1989–2009\, one of the German artist’s masterpieces\, on view on the second floor of the Museum; the work became part of the Permanent Collection in 2009 thanks to the Fondazione CRT per l’Arte Moderna e Contemporanea. \nThe German artist Reinhard Mucha (Düsseldorf\, 1950) is one of Europe’s most influential artists from the second half of the twentieth century. Active in Düsseldorf\, where he studied at the Academy\, Mucha began his career in the mid-1980s with a kind of sculpture alluding to architecture and focusing on the empty and obsolete spaces of the industrial world—indirectly referencing a modernity characterized in the twentieth century by social and political catastrophes. Mucha sheds light\, on the one hand\, on a sense of loss and mourning with respect to the optimism of the grand modern project and\, on the other hand\, the need to rediscover\, through art\, forms of respect for the work of that same modern industrial society\, perceived by the artist in all its contradictions. \n  \n„Die Verwandlung\,“ 2016 “The Metamorphosis” is a model-sculpture that references the installation Mutterseelenallein. As is the practice of the artist\, who is interested in the idea of “showing the show\,” the model represents a further analysis of the mechanisms related to presenting and displaying an artwork in a museum. \n  \n„Die Verwandlung\,“ 2016 “The Metamorphosis” integrates and completes Mutterseelenallein. By joining the words “mother\,” “soul\,” and “solo\,” the German title of the installation Mutterseelenallein is an expression that indicates a specific state of mind relating to extreme\, desolate solitude. Installed for the first time in Naples in 1989\, the work is composed of sixteen large cases in felt\, metal\, and glass that bear photographs of empty chairs. The cases alternate with neon ceiling lights. At the center of the room we find piles of old parquet flooring with more ceiling lights and electric cables. These elements\, which are normally used in mounting art exhibitions\, are\, for the artist\, an integral part of the work’s materials. \n  \nInspired by old railway signs\, the cases evoke a past of great industrial fervor and\, at the same time\, a feeling of immobility\, typical of museum display cases. Mucha uses them while stressing the weight and drama of modern history—its projects but also its demise. In Mutterseelenallein\, at the center of all the display cases\, except one\, we find a black-and-white photo of an empty chair. All different\, the seats are the ones used by custodians or tired visitors to a small art exhibition in Düsseldorf\, visited and photographed by the artist the day before it closed. The chairs suggest a big and profound emptiness\, the solitude of each individual\, while celebrating the poetry of expectation. \n  \nLike living organisms\, Mucha’s works grow and change\, marking the time of their own display experience: after the show in Naples\, at the Galleria Lia Rumma\, Mutterseelenallein was installed for many years at the Museum für Moderne Kunst in Frankfurt. If in Frankfurt the work already bore ceiling lights that were part of the gallery furnishings in Naples\, for the event in Rivoli in 2009\, Mucha also added the parquet piles\, taking from the German museum parts of the installation walls\, which evoked the floor of that museum. For the work at Rivoli\, also in 2009\, Mucha placed resin walls behind the cases\, asking for them to be made by the same artisans who had crafted the museum floors. \n  \n“Presenting „Die Verwandlung\,“ 2016 “The Metamorphosis” today\, in 2018\, in the context of Mutterseelenallein\, Mucha has realized a long-imagined project\,” states Carolyn Christov-Bakargiev. “The artist reminds us that works of art don’t exist out of time but rather mark time through their transformations\, marking as a consequence our time. The work is a constant ‘unfinished’ and each element may be followed by others.” \nReinhard Mucha’s work\, „Die Verwandlung\,“ 2016 “The Metamorphosis” was donated to the Castello di Rivoli Museo d’Arte Contemporanea by Marco Rossi. \n  \nREINHARD MUCHA\n(Düsseldorf\, 1950) \n„Die Verwandlung“\, 2016 \n“The Metamorphosis” \n4 LCD monitors\, 4 monitor supports\, single-channel animated video loop with recordings of the sounds at Macy’s New York\, 4 multimedia player\, 4 SD cards\, CF reader (sound)\, Netgear switch\, electrical and electronic equipment\, cable reel\, different kinds of wood (found objects)\, block board\, plywood\, hard panels\, aluminum edging\, fluorescent light lamps\, fluorescent tubes\, Perspex\, foot rest (found object)\, 16 empty chocolate boxes\, felt \nvariable dimensions \nCastello di Rivoli Museo d’Arte Contemporanea\, Rivoli-Torino \nGift of Marco Rossi\, Turin \n  \nMutterseelenallein (Solitudine / All Alone)\, 1979 [1989] [1991] [2009] \nunassembled wall panels\, wood\, cork\, felt\, fluorescent light lamps\, electric cable\, ground wire\, electrical clamps\, retractable extension cord\, aluminum\, glass\, enamel painting on back of glass\, silver gelatin-bromide prints\, print on cut cardboard\, Sintocret flooring with epoxy resin and ceramic quartz. \noverall dimensions 583 x 982 x 741 cm \nFondazione per l’Arte Moderna e Contemporanea CRT\, 2007 \nOn gratuitous loan to the Castello di Rivoli Museo d’Arte Contemporanea\, Rivoli-Torino \n  \n  \nBiography\n  \nReinhard Mucha (Düsseldorf\, 1950) is seen as one of the greatest artists from the second-half of the twentieth century and represented Germany at the 1990 Venice Biennale. \nMucha began his career as an artist at the Academy in Düsseldorf in the late 1970s. He has displayed his work on a regular basis in major group shows like The European Iceberg\, Art Gallery of Ontario\, Toronto\, Paris Biennale (1985)\, Zeitlos\, Hamburger Bahnhof (1988)\, Venice Biennale (1990)\, Carnegie International\, The Carnegie Museum of Art\, Pittsburgh (1991)\, Documenta IX\, Museum Fridericianum\, Kassel (1992)\, Documenta X\, Museum Fridericianum\, Kassel (1997)\, Wounds. Between Democracy and Redemption in Contemporary Art\, Moderna Museet\, Stockholm (1998)\, Liverpool Biennale (1999)\, Seeing Time\, Zentrum für Kunst und Medientechnologie\, Karlsruhe (2000)\, Around 1984. A Look at Art in the Eighties\, P.S.1 Contemporary Art Center/A MoMA Affiliate\, Long Island-New York (2000). Solo exhibitions have been held at museums like Württembergischer Kunstverein\, Stuttgart (1985)\, Centre Georges Pompidou\, Paris (1986)\, Basel Kunsthalle and Bern Kunsthalle (1987)\, Museum Haus Esters\, Krefeld (1990)\, Museum für Moderne Kunst\, Frankfurt (1991). \nMucha’s works can be found in the most prestigious private and public collections around the world. \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 
URL:https://www.castellodirivoli.org/en/evento/reinhard-mucha-die-verwandlung-the-metamorphosis-2016/
CATEGORIES:conferenza
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/06/Reihnard.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180623T160000
DTEND;TZID=Europe/Rome:20180623T173000
DTSTAMP:20260610T174005
CREATED:20180605T112100Z
LAST-MODIFIED:20251127T122744Z
UID:104904-1529769600-1529775000@www.castellodirivoli.org
SUMMARY:Gregor Samsa\, Ziggy Stardust and the second law of thermodynamics
DESCRIPTION:In collaboration with Il Salone Internazionale del Libro di Torino and Il Circolo dei lettori\, the Museum proposes Metamorphoses\, everything change a public program with significant personalities in the field of artistic and literary research\, invited to discuss their idea of metamorphosis. \nAll events are held in the exhibition space and are preceded at 3.30 pm by a guided tour organized by our Education Department. \nNicola Lagioia  \nGregor Samsa\, Ziggy Stardust and the second law of thermodynamics \n4 pm
URL:https://www.castellodirivoli.org/en/evento/gregor-samsa-ziggy-stardust-and-the-second-law-of-thermodynamics/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/06/Nicola_Lagioia.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180708T113000
DTEND;TZID=Europe/Rome:20180708T190000
DTSTAMP:20260610T174005
CREATED:20180628T161007Z
LAST-MODIFIED:20251127T122258Z
UID:104913-1531049400-1531076400@www.castellodirivoli.org
SUMMARY:Supercondominio. A gathering of new contemporary art spaces in Italy
DESCRIPTION:Free entry\nRegister here \n  \n\n“Is a group of houses a collective movement of detached pieces or a totality in itself? Are houses a sum of spaces or a living organism? “ \nMario Merz\, 1983 \n\nWho are the actors and which are the energies that are redesigning Italy’s new contemporary art system? \nWith the participation of: \n63rd – 77th STEPS (Bari) |80121 Residency (Naples) | ADA (Rome) |Almanac Inn (Turin / London) |Armada (Milan) | Associazione Random (Gagliano del Capo\, Lecce) | Cabinet (Milan) |Cherimus (Perdaxius\, CI) |Clima (Milan) |CRIPTA747 (Turin) |Current (Milan) |Dimora Artica (Milan)| Edicola Radetzky (Milan) |Ermes Ermes (Rome / Vienna) |Fanta Spazio (Milan) |flip project space (Naples) | Faust | Gelateria Sogni di Ghiaccio (Bologna) |Giorgio Galotti (Turin) |Il Colorificio (Milan) |Incurva (Favignana) |Like a little disaster (Polignano a mare) |Localedue (Bologna) | Marsèlleria (Milan) |Mega (Milan) |Montecristo Project (Cagliari)| Museo Apparente / Acappella (Naples) | Operativa Arte Contemporanea (Rome)|Pelagica (Milan) | Siliqoon (Milan) |Spaziobuonasera (Turin) |Standards (Milan) | Tile Project Space (Milan) | Treti Galaxie (Turin)|TRIPLA (Bologna) |Ultrastudio (Pescara/Los Angeles) |Una Vetrina (Rome) |Veda (Florence) \nThe Castello di Rivoli Museo d’Arte Contemporanea and its research department CRRI in partnership with the innovative hospitality project Combo\, invites 40 new hubs of artistic production to Supercondominio\, the first annual assembly of the most important new art spaces in Italy. The protagonists will discuss the dynamics and transformations that impact independent art spaces in our country. Representatives from each space are invited to attend and to spend the night under the stars in tents mounted in the garden of the Manica Lunga\, generously offered by Combo. The event will begin on Saturday 7 July at 3 PM and continue until 7 PM in the Castello’s theatre (upon invitation only). On Sunday 8 July between 11.30AM and 7 PM it will continue and be open to the public in the Castello’s Theatre and Conference Room. Artist run spaces\, project spaces\, residencies\, cultural agencies\, young galleries have marked their presence on the macro-system of art by asserting their role as promoters and researchers of the most cutting-edge Italian and international art. They have also negotiated new ways of relating to audiences and public institutions. In recognition of the importance of these spaces and of their continual efforts across Italy\, the Castello di Rivoli has dedicated a weekend to reflect on these spaces’ objectives and on the best strategies to grow and become consolidated. \nSupercondominio takes its name from a kind of gathering that regulates the management of two or more buildings within the same premises. Supercondominio invites us to rethink models of coexistence in order to envision new spaces that may share devices and objectives. \nThe gathering will be structured according to three moments: \n–      A private assembly punctuated by moments of reflection on themes that affect non-profit spaces such as management\, curating\, sustainability and economics. \n–       An evening dedicated to representatives from each invited space that will be hosted by the museum. \n–       A marathon of presentations free to the public during which each invitee can present their projects and activities \nCombo\, the strategic partner of Supercondominio\, is a hosting project for travelers that offers private and shared rooms\, communal spaces and a radio station\, in distinctive historic buildings in the liveliest neighborhoods of major Italian cities. On the ground floor they house a bar\, a restaurant and multifunctional spaces dedicated to art\, music and culture. The floors above feature specially designed functional and fairly priced rooms. The identity of the entire project is a web radio that transmits the voice of Combo’s universe\, which is physically present in Milan\, Turin\, Rome and online. Combo is an incubator\, site of cultural production\, it’s a strongly musical and artistic lab open to experimentation where travelers from the whole world meet with locals in an informal and international setting. In 2019 they will inaugurate buildings in Turin\, Milan\, Rome\, Venice and Bologna to then continue with a capillary expansion with the opening of 13 Combos in 3 years across Italy. \n  \nStrategic partner: \n \n  \n 
URL:https://www.castellodirivoli.org/en/evento/supercondominio-a-gathering-of-new-contemporary-art-spaces-in-italy/
CATEGORIES:conferenza,CRRI
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/06/Gheddafi-2_jpeg-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180712T190000
DTEND;TZID=Europe/Rome:20180712T233000
DTSTAMP:20260610T174005
CREATED:20180702T140855Z
LAST-MODIFIED:20251127T121858Z
UID:104915-1531422000-1531438200@www.castellodirivoli.org
SUMMARY:Museum Night 2018
DESCRIPTION:August 1 from 7:30PM to 11:30PM \nThe Castello di Rivoli hosts evening drinks and a dj-set organized by Club Silencio
URL:https://www.castellodirivoli.org/en/evento/museum-night/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/05/Copia-di-rivoli_KC-202.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180815T100000
DTEND;TZID=Europe/Rome:20180815T190000
DTSTAMP:20260610T174005
CREATED:20180723T112436Z
LAST-MODIFIED:20180723T112436Z
UID:104919-1534327200-1534359600@www.castellodirivoli.org
SUMMARY:Ferragosto al Castello di Rivoli
DESCRIPTION:August 15th at the Castello di Rivoli \nThe Castello di Rivoli Museum of Contemporary Art\, on the occasion of August 15th  is be open from 10 am to 7 pm . It is possible  to visit the exhibitions Metamorphosis – Let it all happen and Giorgio de Chirico. Masterpieces from the Collection of Francesco Federico Cerruti. \nThe Rivoli Express shuttle service is also be available\, connecting Piazza Castello\, Porta Susa Station (Piazza XVIII Dicembre) and Castello di Rivoli. Ticket: € 3 \nThe obliterated ticket entitles the reduced entrance to the Museum.
URL:https://www.castellodirivoli.org/en/evento/ferragosto-al-castello-di-rivoli/
CATEGORIES:visita guidata
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/07/ferragosto.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180917T170000
DTEND;TZID=Europe/Rome:20180917T183000
DTSTAMP:20260610T174005
CREATED:20180903T144905Z
LAST-MODIFIED:20251127T121524Z
UID:104926-1537203600-1537209000@www.castellodirivoli.org
SUMMARY:Mieke Bal: How to Change the World with Pigment
DESCRIPTION:The event is free for museum ticket holders.\nTo register click HERE  \nMieke Bal\nHow to Change the World with Pigment\nSeptember 17\, 5 pm\nTheatre of Castello \n“Considering some of the artistic and technical modes of painting Nalini Malani deploys\, I will make a case for a concept of political art that surpasses the thematic in instead shows how art works to trigger affective response.” \nMieke Bal \nA founder of ASCA\, the Amsterdam School of Cultural Analysis\, Mieke Bal’s primary commitment is to develop meaningful interdisciplinary approaches to cultural artifacts. She is a cultural theorist\, critic\, video artist and occasional curator. She works in cultural analysis\, literature and art\, focusing on gender\, migratory culture\, psychoanalysis\, and the critique of capitalism. Her 38 books include a trilogy on political art: Endless Andness(on abstraction)\, Thinking in Film (on video installation)\, both 2013\,Of What One Cannot Speak(on sculpture\, 2010). Her work comes together in A Mieke Bal Reader(2006).In 2016 appeared In Medias Res: Inside Nalini Malani’s Shadow Plays(Hatje Cantz)\, and in Spanish\, Tiempos trastornados on the politics of visuality (AKAL). Her video projects of documentaries on migratory culture have been exhibited internationally\, including in the Museum of the History of Saint Petersburg in 2011. After this she embarked on making “theoretical fictions”. A Long History of Madness argues for a more humane treatment of psychosis\, and was exhibited internationally\, including in a site-specific version\,Saying It\, in the Freud Museum in London. In Fall 2017 it was combined with Reasonable Doubt in Warsaw. Madame B\, with Michelle Williams Gamaker\, is widely exhibited\, in 2017 in Museum Aboa Vetus & Ars Nova in Turku\, in the Centro Galego de Arte Contemporáneo\, Santiago de Compostela(2017-18)\, and combined with paintings by Edvard Munch in the Munch Museum in Oslo in a museum-wide exhibition she curated\, accompanied by a book. It has also been exhibited in shorter versions\, Cause & Effect (13 screens) and Precarity(5 screens). Her most recent film and installation\, Reasonable Doubt\, on René Descartes and Queen Kristina\, explores the social and audio-visual aspects of the process of thinking (2016). The installation of that project has premiered in Kraków\, and was shown in Amsterdam\, Brisbane\, Warsaw and Berlin\, and in 2018 in two exhibition-specific installations in the Frans Hals Museum in Haarlem. \n  \nClick to return to the Public Program’s page \n  \nCurated by Nalini Malani and Carolyn Christov-Bakargiev \nThanks to Nicoletta Fiorucci for making this program possible
URL:https://www.castellodirivoli.org/en/evento/mieke-bal-how-to-change-the-world-with-pigment/
CATEGORIES:conferenza,Dipartimento Curatoriale,workshop
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2018/09/Bal.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20180923T140000
DTEND;TZID=Europe/Rome:20180923T193000
DTSTAMP:20260610T174005
CREATED:20180903T151543Z
LAST-MODIFIED:20251127T121057Z
UID:104928-1537711200-1537731000@www.castellodirivoli.org
SUMMARY:Research Event: Living Oceans
DESCRIPTION:Event is free for Museum ticket holders \nOn the occasion of Terra Madre\, a Slow Food project dedicated to the culture of food as a responsible act\, the Castello di Rivoli Museum of Contemporary Art presents\, in collaboration with TBA21 Academy\, Living Oceans\, a day of interdisciplinary study and performative lectures dedicated to the discovery of the marine ecosystem\, its biodiversity and its delicate balance with the participation of the American artist Joan Jonas\, the duo artists Cooking Sections\, the Italian artist Elena Mazzi\, the Professor Jeffrey Peakall\, the marine biologist Dr. Dayne Buddo and the farm-to-table Stush in the Bush.\nTerra Madre Salone del Gusto will take place from 20 to 24 September 2018 in Turin. It is organized by Slow Food\, City of Turin and Piedmont Region\, in collaboration with the Ministry of Politics Agricultural and Forestry Activities and with the involvement of the Ministry of Cultural Heritage and Activities and of Tourism\, as part of the activities planned for the “year of Italian food”. \nFood for Change is the theme of the 2018 edition\, starting from the project itself\, widespread and open\, up to the contents of the forums and conferences. One of the five thematic areas of this year is Slow Fish. According to Terra Madre\, in 2014 European countries spent 34.57 billion to buy fish products. In total\, 7.5 million tons of fish are consumed each year in European countries (33.4 kilos per capita compared to the average of 19.2 kilos consumed globally). Of these\, 2.75 million tons are locally fished\, the remaining 5 million are imported products. \n Living Oceans\, hosted in the museum’s theater\, will be an opportunity to preview Moving off the Land. Oceans – Sketches and Notes\, the new work by the American artist Joan Jonas that is supported by TBA21 and will be presented in its final version in 2019.\nRecently exhibited by a major exhibition at the Tate Modern in London\, Jonas is one of the most important contemporary artists and a pioneer of video and performance art\, which emerged in the late 60s and early 70s. Castello di Rivoli hosted a solo exhibition of Jonas’ work in 2006.\nProduced by TBA21-Academy born from the desire to promote cross-cultural projects\, this new work by Jonas is a hypnotic combination of images of underwater life\, sounds and drawings\, which will merge in the exhibition promoted by the Austrian foundation for the summer of 2019 in Church of San Lorenzo in Venice\, at the same time as the 58th International Art Exhibition La Biennale di Venezia.\nTo foster a transdisciplinary debate around the subject\, Living Oceans also invite personalities from the artworld and the science and sustainable agriculture communities to intervene. These are Jeffrey Peakall\, Professor of Sedimentology Processes at the University of Leeds\, Dr. Dayne Buddo\, marine ecologist and biologist with expertise in invasive alien species and marine biodiversity\, the duo artists Cooking Sections (Daniel Fernández Pascual & Alon Schwabe)\, the Italian artist Elena Mazzi and Lisa and Christopher Binns who founded the organic farm Stush in the Bush in Jamaica. \n  \nNB: Exceptionally\, the bus Rivoli Express will depart from Castello towards Turin at 7.10pm. \n  \nProgram schedule\n14.00\nIntroduction by Carolyn Christov-Bakargiev\, Castello di Rivoli Museo d’Arte Contemporanea \n14.20\nMarkus Reymann\, Thyssen-Bornemisza Art Contemporary (TBA21)| TBA21-Academy | Presenting Oceans. Imagining a Tidalectic Worldview \n14.45 – 15.15  \nCooking Sections\, CLIMAVORE: On Tidal Zones \nFor the Terra Madre event at Castello di Rivoli Cooking Sections (Daniel Fernández Pascual and Alon Schwabe) will present a new version of their lecture-performance\, CLIMAVORE: On Tidal Zones which focuses on sea pollution by fish farms and the cultural construction of “Scottish Salmon”\, looking specifically into the case of the Isle of Skye. Commissioned by Atlas Arts\, the project investigated the detrimental effects of salmon farming and explored alternative ecological imaginaries. The resulting installation consisted of an “oyster table”—home for 1\,000 common oysters on the tidal zone filtering thousands of liters of water daily at high tide. As the structure emerged out of the water at low tide\, it served as a dining table for humans\, where performative lectures\, public workshops and tastings allowed participants to discuss alternative aqua-cultures. The project is evolving into a permanent installation there titled The Climavore Centre(scheduled to open 2019-2020). \n15.15 – 15.30\nElena Mazzi\, Reflecting Venice (2012-2014) and Becoming with and Unbecoming with (upcoming) \nThe artist presents a first project about the history of Venice and its lagoon\, which is threatened by mass tourism and industrial exploitation\, to look for a possible sustainable future. Starting from a biographical episode\, the second project presented\, still in progress\, examines the life of cetaceans in conjunction and conflict with the forces of nature to investigate how different species can relate to each other. \n15.30 – 16.00\nJeffrey Peakall\, Underwater Rivers: An Underexplored Habitat \n The world’s oceans are traversed by a range of seafloor channels that can extend for hundreds\, or in some cases thousands\, of kilometers. These underwater rivers are typically found on ocean floors at several kilometers water depth\, where they can be kilometers wide\, and sit up to a hundred meters above the surrounding seafloor. These channels can exhibit rare but extremely powerful flows that are poorly understood\, due to their great depth\, and the difficulty of measuring such flows. Flows in these underwater rivers are known to be important for the transport of organic carbon\, nutrients\, and pollutants. They can also have major effects on marine organisms\, although much of our knowledge comes not from the modern but from ancient rocks\, where we see the traces of a range of organisms. Recent experiments have shown that many of these organisms survive transport in these extreme flows and then live on the seafloor for some time\, utilizing the nutrients that the flow has brought in. \n16.00 – 16.30\nDayne Buddo\, Marine Protected Areas: An Opportunity to Press the Reset Button \n Marine Protected Areas (MPAs) are critical to improving the resilience of marine ecosystems. They are also a mechanism to reverse some of the negative anthropogenic impacts on the marine ecosystem. We have now finally paid attention\, simply for the primary reason that the poor state of the marine environment is significantly affecting the ecosystems services it provides to humans. We have lost sight of the value of using a resource without losing that resource. Fish stocks are a renewable resource\, but we must realize that it is only renewable once we give it the opportunity to do so. The Conservationists and the Fishing Industry both want the same thing\, healthy and sustainable fish stocks\, therefore we must work together to achieve this common goal. The number of marine scientists has increased significantly over the past 30 years\, while ironically\, the state of the marine environment has declined to alarming levels. Governments have committed to protecting 30% of the marine environment by 2030\, but the real work will be done by the local communities. Many MPAs are managed not by Governments\, but by local environmental NGOs and local communities\, which despite glaring gaps in institutional capacity\, have improved the MPAs and are showing success towards sustainable fisheries. We have an opportunity to change the current trajectory of the world’s marine ecosystems; imagine what we can achieve when we take this seriously. \n16.30 – 17.00\nJoan Jonas documentary Moving off the Land: Oceans – Sketches and Notes\, 2018 Tate Modern\, Londra\, 2018. A multi-layered performance exploring the poetics and ecology of ocean life. \n17.00 – 18.00 \nConversation between Joan Jonas and Jeffrey Peakall\, moderated by Carolyn Christov-Bakargiev \n18.00 – 19.00\nStush in the Bush\, Sexy Vegetarian  \nLisa and Christopher Binns take us on a culinary journey that enhances the knowledge of vegetables\, their hidden powers and their varying textures and flavors to trigger a sensory and sensual appeal in the public. The Binns promote sustainable agriculture based on respect and love for soil and its products. \nClosed-doors symposium with wine (*) \n20.30\nDinner \n(*)   All proceedings\, including the closed-doors symposium will be recorded \n  \nBiographies\nDayne Buddo is Marine ecologist and Biologist. He currently holds a Bachelor of Science (Hons.) degree in Zoology and Botany and a Doctor of Philosophy degree in Zoology – Marine Sciences from The University of the West Indies (UWI Mona – Jamaica). Dr. Buddo served the UWI as Lecturer and Academic Coordinator 2009-2017\, and was stationed at the UWI Discovery Bay Marine Laboratory and Field Station with responsibility for Marine Research and Teaching. He has published several pieces of work on marine invasive species and fisheries management in the region\, including the co-authored book on Lionfish Management in the Caribbean.\nIn addition to marine invasive species\, Dr. Buddo also has significant research interests in marine protected areas management\, seagrass ecology\, fisheries management and sustainable development. He has been a consultant for marine projects for CARICOM\, Government of Japan\, the World Bank\, International Maritime Organization\, the Nature Conservancy\, among others\, and has conducted work in over 30 countries. He has worked closely with the United Nations Convention on Biological Diversity (UNCBD)\, International Union for the Conservation of Nature (IUCN)\, United Nations Environment Programme (UNEP)\, and the Global Environment Facility (GEF)\, The National Oceanic and Atmospheric Administration (NOAA) among other multilateral agencies. \nJoan Jonas graduated from Mount Holyoke College in 1958 and then graduated from Columbia University in 1965. Jonas has exhibited in solo exhibitions at prestigious institutions including the Stedelijk Museum\, Amsterdam (1994)\, the Staatsgalerie\, Stuttgart (2000)\, Queens Museum of Art\, New York (2003) e the Bicocca Hangar\, Milan (2014). In 2015\, the artist represented the United States at the 56th International Art Exhibition The Venice Biennale and in 2018 the Tate Modern in London dedicated a large exhibition to her with an extensive program of performances and film screenings\, organized later also at the Haus der Kunst in Munich. Jonas has participated in numerous group exhibitions such as Documenta V\, VI\, VII in Kassel\, Germany and was commissioned to develop an installation and then a performance entitled Lines in the Sand for Documenta XI\, then revived at the Tate Modern in London and Kitchen of New York in 2004. In 2009\, the artist was awarded the first annual Lifetime Achievement Award of the Guggenheim Museum. Jonas has exhibited in numerous other institutions such as: Haus der Kulturen der Welt\, Berlin; Sigmund Freud Museum\, Vienna; Dia: Beacon\, Beacon\, New York; Fundacion Botin\, Santander; Museo Nacional Centro de Arte Reina Sofia\, Madrid; Museu d’Art Contemporani de Barcelona\, Barcelona; Le Plateau and Jeu de Paume / Hôtel de Sully\, Paris; Renaissance Society\, University of Chicago\, Chicago\, Illinois; CCA Kitakyushu\, Kitakyushu\, Japan. \nElena Mazzi is an artist\, whose research explores the relationship between man and the environment through an anthropological analysis that investigates the concept of identity of places and people. With the Atlante Energetico project\, presented at the Spinola Banna Foundation in 2017\, he tackled the topic of energy declined in the Piedmont area\, placing rice at the center of his research. He studied History of Art at the University of Siena\, then obtaining a degree in Visual Arts at the IUAV of Venice. He spent a period of study abroad at the Royal Academy of Art (Konsthogskolan) in Stockholm. \nJeff Peakall teaches Sedimentology Processes at the University of Leeds. His research fields range from natural processes to industrial systems. He is director of the Environmental Fluid Dynamics Laboratory of Sorby\, a national research facility recognized by NERC (Natural Environment Research Council) that studies environmental fluids in the United Kingdom. Peakall has specialized in the study of giant channels that cross the sea floor of the world\, focusing on the evolution of the submarine channel\, on the sedimentation and on the dynamics of the flow of currents that pass through these systems. Peakall measured flows through active submarine channels in the Black Sea and in a reservoir on the Yellow River in China. \nMarkus Reymann is Director and Co-Founder of TBA21-Academy. Trained as an actor\, Markus successfully performed on screen and stage for many years\, in major productions. In 2011\, Markus joined TBA21 and\, together with the founder and Chairperson Francesca von Habsburg\, co-founded TBA21-Academy where he subsequently took on the role of a director. As a central programming unit of TBA21\, TBA21-Academy’s mission is to foster interdisciplinary dialogue and exchange surrounding the most urgent ecological\, social\, and economic issues facing our oceans today. As Director\, Markus has overseen the non-profit’s engagement with artists\, activists\, scientists\, and policy-makers\, resulting in the creation of new commissions\, new bodies of knowledge\, and new policies advancing the conservation and protection of the oceans. From July 2011 to present he has initiated and conducted numerous expeditions. Each trip is designed as a collaboration with invited artists\, scientists and thinkers eager to embark on oceanic explorations. Inspired by this unusual encounter with both human and natural elements\, the Academy commissions ambitious projects informed by the itinerary of the research vessel Dardanella. In June of 2016 TBA21-Academy was granted Observer Status at the International Seabed Authority\, becoming the first art organization ever to be given this status. This allows TBA21–Academy to contribute to the international climate change agenda on a policy making level.  Markus has presented and participated in conferences around the world\, including the Conference of Parties 23 (COP23) part of the United Nations Framework Convention on Climate Change (UNFCCC)\, the International Seabed Authority 24th Session and The United Nations Ocean Summit in 2017. \nCooking Sections (Daniel Fernández Pascual and Alon Schwabe) is a duo of professionals based in London\, interested in exploring the systems that organize the world through food. Using the installation\, mapping and video\, their research-based practice explores the boundaries between visual arts\, architecture and geopolitics. Cooking Sections exhibited in the United States Pavilion\, 2014\, for the 14th International Architecture Exhibition La Biennale di Venezia. Their work has also been exposed to: XIII Sharjah Biennial; Neue Nationalgalerie in Berlin; Storefront for Art & Architecture New York; dOCUMENTA (13); Peggy Guggenheim Collection; CA2M\, Madrid; The New Institute\, Rotterdam; UTS\, Sydney; ETSAM; TEDx Talks Madrid; Fiorucci Art Trust\, London; ACC Weimar; SOS 4.8; HKW Berlin; Akademie der Künste\, Berlin; Biennale 2014 INTERIEUR Courtrai; and have resided in The Politics of Food at the Delfina Foundation\, in London. Their work has been presented in several international publications (including Lars Müller\, Sternberg Press\, Volume\, Frieze Magazine). \nStush in the Bush (Lisa and Christopher Binns) is a farm-to-table located on a 15-acre organic farm called Zionites on the Free Hill\, in St. Ann Jamaica. Combining Rastafari Ital farming\, exotic vegetables and a love of fine dining\, Stush in the Bush is a sustainable business based on the production and selling of organic and local food. \n  \nOrganized in collaboration with TBA21-Academy for Terra Madre\, a Slow Food project. \n   \n  \n  \nPhoto credit: Joan Jonas\, Moving off the Land: Oceans – Sketches and Notes\, 2018\nTate Modern\, Londra\, 2018\, photo by Brotherton-Lock \n  \n 
URL:https://www.castellodirivoli.org/en/evento/research-event-living-oceans/
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2018/09/Senza-titolo.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20181027T160000
DTEND;TZID=Europe/Rome:20181027T173000
DTSTAMP:20260610T174005
CREATED:20180906T155423Z
LAST-MODIFIED:20251127T120815Z
UID:104931-1540656000-1540661400@www.castellodirivoli.org
SUMMARY:Coco Fusco: The Face of Violence and its Fictional Renderings
DESCRIPTION:Entry is free for museum ticketholders (full price 8.50 €- concessions 6.50 €).\nMembers of Torino Musei\, Torino Piemonte Card and journalists are offered the reduced rate of 6.50 €\n\nRegistration essential HERE \nCoco Fusco\nThe Fact of Violence and its Fictional Renderings\nOctober 27\, 4 pm\nTheatre of Castello \n“While the reality of the persistence of violence against women is widely acknowledged\, the question of whether or not these conditions should be manifest in art remains unresolved for many in our field. In my lecture\, I will consider the history of positions on this matter within feminist theory and art of the past forty years. I will take into account the differences between works that depict discreet acts of violence and those that address institutional and representational forms of oppression. I will also talk about the strategies and rationals for arguing both for and against the visualization of gendered violence in art. In the context of this discussion\, it is pertinent to ask what the recent public debates sparked by the #MeToo movement have done to sensitize us to certain aspects of gendered violence while overlooking others.” \nCoco Fusco is an interdisciplinary artist and writer and the Andrew Banks Endowed Professor of Art at the University of Florida. She is a recipient of a 2018 Rabkin Prize for Visual Arts Journalism\, a 2016 Greenfield Prize\, a 2014 Cintas Fellowship\, a 2013 Guggenheim Fellowship\, a 2013 Absolut Art Writing Award\, a 2013 Fulbright Fellowship\, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in the 56th Venice Biennale\, Frieze Special Projects\, two Whitney Biennials (2008 and 1993)\, BAM’s Next Wave Festival\, The Liverpool Biennial\, the Sydney Biennale\, The Johannesburg Biennial\, The Kwangju Biennale\, The Shanghai Biennale\, Mercosul\, and VideoBrasil. A solo exhibition of her work recently opened at The Ringling Museum in Sarasota\, Florida. She is represented by Alexander Gray Associates in New York.\nFusco is the author of English is Broken Here: Notes on Cultural Fusion in the Americas (1995) and The Bodies that Were Not Ours and Other Writings (2001)\, and A Field Guide for Female Interrogators (2008). She is also the editor of Corpus Delecti: Performance Art of the Americas (1999) and Only Skin Deep: Changing Visions of the American Self (2003). Her latest book Dangerous Moves: Performance and Politics in Cuba was issued by Tate Publications in 2015 and a Spanish translation was published by Turner Libros in 2017. Fusco received her B.A. in Semiotics from Brown University (1982)\, her M.A. in Modern Thought and Literature from Stanford University (1985) and her Ph.D. in Art and Visual Culture from Middlesex University (2008). \n  \nClick to return to the Public Program’s page \nCurated by Nalini Malani and Carolyn Christov-Bakargiev \nThanks to Nicoletta Fiorucci for making this program possible \n  \n 
URL:https://www.castellodirivoli.org/en/evento/coco-fusco-the-face-of-violence-and-its-fictional-renderings/
CATEGORIES:conferenza,Dipartimento Curatoriale,performance
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/09/Coco-Fusco-Headshot-2018-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20181103T130000
DTEND;TZID=Europe/Rome:20181103T140000
DTSTAMP:20260610T174005
CREATED:20181010T162144Z
LAST-MODIFIED:20251127T120414Z
UID:104941-1541250000-1541253600@www.castellodirivoli.org
SUMMARY:Eric Sadin
DESCRIPTION:Entry is free for museum ticketholders (full price 8.50 €- concessions 6.50 €).\n Members of Torino Musei\, Torino Piemonte Card and journalists are offered the reduced rate of 6.50 € \nRegistration essential HERE \nCastello di Rivoli hosts for the first time in Italy a lecture by the writer and philosopher Eric Sadin\, known for his research in digital technologies and on their the impact on economics\, politics and the emotions of individuals. \nThe conversation will be an opportunity to present his first published book in Italian World Siliconization. The irresistible expansion of digital liberalism (Einaudi\, 2018)\, and will offer a preview of his latest publication L’Intelligence artificielle ou l’enjeu du siècle. Anatomie d’un antihumanisme radical\, available in Italy from 2019. \nTheater \n  \nIn collaboration with:
URL:https://www.castellodirivoli.org/en/evento/eric-sadin/
CATEGORIES:conferenza,CRRI,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/10/Eric-Sadin-par-stephan-larroque-HD-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20181117T160000
DTEND;TZID=Europe/Rome:20181117T173000
DTSTAMP:20260610T174005
CREATED:20180906T160458Z
LAST-MODIFIED:20251127T120256Z
UID:104933-1542470400-1542475800@www.castellodirivoli.org
SUMMARY:Cauleen Smith: a screening of Smith's works in the context of the discussion on violence against women
DESCRIPTION:Registration essential HERE \nFor the first time in Italy\, renowned American artist and filmmaker Cauleen Smith will present a selection of her video works. \n“The violences perpetrated against cis-gendered women throughout the world emerge from conditions and circumstances directly related not only to gender but to race and class as well. I can discuss these conditions as they relate to the history of sexual violence in North America. However\, in the United States\, violence against African American women cannot be uncoupled from violence against African American men. Black feminism does not separate the violences enacted through the deployment of capital growth. A crucial source for my lecture is The Combahee River Collective Statemen penned in 1977 by a group of African American women scholars.”  \nCauleen Smith (born Riverside\, California\, 1967) is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas\, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism\, third world cinema\, and science fiction\, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Her films\, objects\, and installations have been featured in group exhibitions. Studio Museum of Harlem\, Houston Contemporary Art Museum; Yerba Buena Center for Art\, and the New Museum\, New York\, D21 Leipzig and Decad\, Berlin. She has had solo shows for her films and installations at The Kitchen\, MCA Chicago\, Threewalls\, Chicago. She shows her drawings and 2D work with Corbett vs. Dempsey.  Smith is the recipient of several grants and awards including the Rockefeller Media Arts Award\, Creative Capital Film /Video\, Chicago 3Arts Grant\, and the Foundation for Contemporary Arts\, Chicago Expo Artadia Award\, and Rauschenberg Residency. Smith was born in Riverside\, California and grew up in Sacramento. She earned a BA in Creative Arts from San Francisco State University and an MFA from the University of California\, Los Angeles School of Theater Film and Television. Smith lives in Los Angeles and faculty in the Art Program at California Institute of the Arts. \n  \nEntry is free for museum ticketholders (full price 8.50 €- concessions 6.50 €).\nMembers of Torino Musei\, Torino Piemonte Card and journalists are offered the reduced rate of 6.50 € \nCurated by Nalini Malani and Carolyn Christov-Bakargiev\nThanks to Nicoletta Fiorucci for making this program possible \n  \nClick to return to the Public Program’s page \n  \n 
URL:https://www.castellodirivoli.org/en/evento/cauleen-smith-a-screening-of-smiths-works-in-the-context-of-the-discussion-on-violence-against-women/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/09/Dustin_Aksland_Cauleen_Smith_0319_Final-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20181128T183000
DTEND;TZID=Europe/Rome:20181128T200000
DTSTAMP:20260610T174005
CREATED:20181128T103021Z
LAST-MODIFIED:20251125T155025Z
UID:104949-1543429800-1543435200@www.castellodirivoli.org
SUMMARY:A Life for Art: Conversation in Memory of Eliana Guglielmi between Marcella Beccaria and Marinella Guglielmi
DESCRIPTION:Part of the Cycle: Conversations about collecting\nNovember 28\, 6.30 pm\nPinacoteca Giovanni e Marella Agnelli\, Sala di Consultazione \nPhoto: Eliana Guglielmi\, by Paolo Pellion \n \n  \n  \n  \n  \n  \n  \n 
URL:https://www.castellodirivoli.org/en/evento/a-life-for-art-conversation-in-memory-of-eliana-guglielmi-between-marcella-beccaria-and-marinella-guglielmi/
LOCATION:Pinacoteca Giovanni e Marella Agnelli\, Via Nizza\, 230/103\, Torino\, 10126\, Italia
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/11/Collezionismo-Guglielmi067-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20181202T160000
DTEND;TZID=Europe/Rome:20181202T170000
DTSTAMP:20260610T174005
CREATED:20181128T135227Z
LAST-MODIFIED:20251125T135438Z
UID:104951-1543766400-1543770000@www.castellodirivoli.org
SUMMARY:EstOvest Festival 2018: Tail of Silence
DESCRIPTION:Co-organization EstOvest-Le Strade del Suono \nTheater \nLast event of the seventeenth edition of EstOvest\, the festival promoted by the Ensemble Xenia. The Tail of Silence decodes the theme of the story in its most impervious dimension\, that of emptiness and absence. It does so with three First performances and a first Italian performance. The protagonists are the musicians of Eutopia Ensemble and NEXT – New Ensemble Xenia Turin and the extraordinary visual performances of Marc Molinos\, an artist of the famous theater company La Fura dels Baus.
URL:https://www.castellodirivoli.org/en/evento/estovest-festival-2018-tail-of-silence/
CATEGORIES:concerto
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/11/est-ovest.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20181208T160000
DTEND;TZID=Europe/Rome:20181208T173000
DTSTAMP:20260610T174005
CREATED:20180906T161912Z
LAST-MODIFIED:20251125T135335Z
UID:104935-1544284800-1544290200@www.castellodirivoli.org
SUMMARY:Milovan Farronato: Between Truth and Pretense: the 'Disturbing' Muses of Chiara Fumai / Carolyn Christov-Bakargiev: On Medea\, Mothers and Cruelty
DESCRIPTION:Entry is free for museum ticketholders (full price 8.50 €- concessions 6.50 €).\nMembers of Torino Musei\, Torino Piemonte Card  are offered the reduced rate of 6.50 € \nRegistration essential HERE \nMilovan Farronato  \nBetween Truth and Pretense: the ‘Disturbing’ Muses of Chiara Fumai\nand\nCarolyn Christov-Bakargiev\nOn Medea\, Mothers and Cruelty\nDecember 8\, 4 pm\nTheater \n“Zalumma Agra\, Dope Head\, Carla Lonzi\, Rosa Luxemburg\, Ulrike Meinhof\, Eusapia Palladino\, the dogaressa Elisabetta Querini Valier\, Valerie Solanas: these are the faces\, personalities\, comrades that accompanied Chiara Fumai\, alongside the occasional man such as Harry Houdini or Baron Julius Evola.\nIn a long gallery that would have incorporated Christine de Pizan\, French-Venetian XV century writer\, with whom she shared a vision of an allegorical city\, measured for her noble women: disfortunate\, honest about their non-virtuosity. All strong figures\, illustrious lives\, united in some way by a need\, impelling\, atavistic\, redemptive. “I really like the militant\, combative aspect of most of the figures I try to embody”.\nCreative\, in equal measure\, of artistic scams and deep magic; the verisimilitude\, above all\, to support a peculiar speculative system. \nMilovan Farronato (lives and works in Milan and London) is the director and curator of Fiorucci Art Trust\, for which he has developed the Volcano Extravaganza festival in Stromboli since 2011. In 2019 he will curate the Italian Pavilion of the 58ª Esposizione Internazionale d’Arte di Venezia. \nCarolyn Christov-Bakargiev\, director of Castello di Rivoli Museo d’Arte Contemporanea will reflect on the mythological figure of Medea\, in relation to cruelty and motherhood. \n  \nClick to return to the Public Program’s page \n  \nCurated by Nalini Malani and Carolyn Christov-Bakargiev \nWith thanks to Nicoletta Fiorucci for making this program possible
URL:https://www.castellodirivoli.org/en/evento/milovan-farronato-between-truth-and-pretense-the-disturbing-muses-of-chiara-fumai-carolyn-christov-bakargiev-on-medea-mothers-and-cruelty/
CATEGORIES:conferenza,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/09/Linda-Fregni-Nagler.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20181212T110000
DTEND;TZID=Europe/Rome:20181212T170000
DTSTAMP:20260610T174005
CREATED:20181114T160817Z
LAST-MODIFIED:20251125T135045Z
UID:104947-1544612400-1544634000@www.castellodirivoli.org
SUMMARY:AI Symposium
DESCRIPTION:Wednesday\, December 12\, 2018  \nfrom 11 am until 5 pm \nConference Hall \n  \nCastello di Rivoli launches a symposium on Artificial Intelligence with the participation of theorists\, privacy and data management experts\, consultants in the field of architecture and security development systems\, chosen with artist Hito Steyerl. TitledThe City of Broken Windows\,Hito Steyerl’snew sound and video-based multimedia installation presented in the Manica Lunga at Castello di Rivoli\, drafted by Carolyn Christov-Bakargiev and Marianna Vecellio\, stems from her research into Artificial Intelligence industry practices and surveillance technologies.Through this work\, Steyerl explores how AI affects our urban environment and how alternative practices may emerge through pictorial acts in the public space. The City of Broken Windows revolves around altered sounds resembling atonal and discordant symphonies. These recordings document how robots (artificial intelligence) are taught to recognize the sound of breaking windows\, a reference to both the industry and technology of surveillance. In this context\, the symposium aims to critically explore the philosophical\, economic and political consequences of the development of the digital system globally and it looks at the technologies which collect\, manage and interpret data\, allowing for the development of the artificial intelligence industry. Privacy\, new forms of surveillance\, the ontological question of who and what are human beings in the age of artificial intelligence\, and the recognition of an ‘age of liquid crystals’\, are some of the issues that will be addressed. \n  \nProgram\n  \nCarolyn Christov-Bakargiev\, Welcome \n11 am – 11.15 am \n  \nHito Steyerl and Jules Laplace\, How to Teach Machines To Break Glass \n11.15 am – 12 pm \n  \nThe application of machine learning to art is still new and slowly becoming understood.  In this lecture\, we will describe our experience using neural networks to generate sound for this exhibition and the particular challenges in teaching a computer to break glass\, and even to do so musically.  Additionally\, we will show how this research led us to study sonic complexity\, and demonstrate strange new sounds generated by the AI.  \nHito Steyerl (Munich\, 1967) is a filmmaker\, visual artist and theorist. In 1987 she moved to Japan\, where she studied at the Japan Institute of the Moving Image in Tokyo. Between1992and 1998\, she returned to Germany to attend documentary filmmaking course at the HFF in Munich. In 2003\, she achieved a PhD in Philosophy at the Akademie der bildenden Künste in Vienna. Her work and her writings focus on the media’s pervasive presence in the age of globalization\, violence in the digital era\, the use of technology within the military milieu\, and the production and mass-dissemination of digital images. She has expressed her critical thinking in immersive video installations\, such as Liquidity Inc.\, 2014\, and Hell Yeah We Fuck Die\, 2016\, which focus on the pervasive nature of the digital language and on the features and consequences of artificial intelligence in the contemporary world. Today\, Steyerl is professor in experimental film and video at the Universität der Künste in Berlin. \nJules Laplace is an artist and programmer who uses technology to create new art-making practices online and off.  He is based in Berlin\, where he works with the artists Hito Steyerl\, Holly Herndon and Adam Harvey and has shown his art at Panke Gallery.  His sound work “The Neural Auctioneer” was recently selected for the NeurIPS 2018 Workshop on Machine Learning for Creativity.  Until 2017 he was CTO of OKFocus\, a boutique digital agency based in NYC with clients including Google\, Red Bull and the Met Museum.  Previously he was sous chef with a west coast food hacking collective and toured the US and Europe hosting renegade supper clubs. \n  \nEsther Leslie\, Turbid media and the intelligence of liquid crystals \n12 pm – 12.45 pm \n \nTechno-science is now unthinkable without the intelligence of the liquid crystal. It makes possible the very application of intelligence in its data-crunching algorithmic somersaults\, in the form of government and commercial intelligences. Liquid crystal enables the virtual border guard\, iBorderCTRL\, who determines if the stranger is telling lies or truth\, which are the conditions of the stranger’s entry into states. This paper posits a deep history of intelligence wrapped up in the liquid and the crystal and asks how the extending vocabularies of qualified intelligence – military\, emotional\, artificial – are augmented in the age of the device\, and with the emergence of device intelligence\, whose capacities include pre-cognition\, and in whose future lies the promise of radical atomic intelligence. \nEsther Leslie is Professor of Political Aesthetics at Birkbeck\, University of London. Her books include various studies and translations of Walter Benjamin\, as well as Hollywood Flatlands: Animation\, Critical Theory and the Avant-Garde (Verso\, 2002); Synthetic Worlds: Nature\, Art and the Chemical Industry (Reaktion\, 2005); Derelicts: Thought Worms from the Wreckage (Unkant\, 2014)\, Liquid Crystals: The Science and Art of a Fluid Form (Reaktion\, 2016) and Deeper in the Pyramid (with Melanie Jackson: Banner Repeater\, 2018). \n12.45 pm – Q&A and Discussion \n1 pm – Lunch \n  \nAnne Roth\, Mass Surveillance and Pattern Recognition in Big Data \n2 – 2.45 pm \n \nFor five years now we know about mass surveillance targeting everyone using modern communication – in 2013 Edward Snowden revealed to the world what until then was only known to a few experts. The talk will explore the use of mass data and pattern recognition by police and secret services. \nA political scientist by education\, Anne Roth is senior advisor for digital policy for the ‘Left Party’ in the German federal parliament. She co-founded the first interactive media activist website\, Indymedia\, in Germany in 2001 and has been involved with media and digital rights activism ever since. She was senior advisor for the Parliamentary Inquiry on Mass Surveillance of the German Bundestag 2014 – 2017. Until August 2014 she was a member of the Tactical Technology Collective with a focus on digital security and tracking\, primarily directed at activists and communities at risk. \n  \nEleanor Saitta\, Statistical Automation and the Death of Enlightenment \n2.45 – 3.30 pm \n \nThe concept of artificial intelligence is mostly a false flag for very old processes that are simply being run faster and at a larger scale\, but it’s a useful shibboleth for entities attempting social control in what is largely a post-rational world. The Age of Systems is our next epochal war\, and from it\, the survivors will emerge into a fundamentally different way of understanding themselves\, their states and societies\, and this thing we currently call the “tech industry”.  \nEleanor Saitta is a hacker\, designer\, artist\, writer\, and barbarian. She makes a living and a vocation of understanding how complex transdisciplinary systems and stories fail and redesigning them to fail better. Saitta runs Systems Structure Ltd.\, a boutique security architecture and strategy consultancy that works with firms seeking to build or grow security practices or specific high-exposure products\, advises news organizations and NGOs targeted by nation states\, and builds immersive transmedia participation events.  She is also a member of the advisory boards of the Freedom of the Press Foundation\, the IFTF Governance Futures Lab\, and the Calyx Institute\, and works on the Trike security ecosystem modeling project and the Briar/Bramble distributed messaging system. Saitta is a regular speaker at conferences\, universities\, and other institutions including the O’Reilly Velocity\, KiwiCon\, CCC Congress\, Hack in The Box\, Transmediale\, ToorCon\, Knutepunk\, HOPE\, Arse Electronika\, Harvard\, Yale\, and the London ICA. \n3.30 – Q&A and Discussion \n4 – 5 pm – Conversation between participants and possible conclusion \n  \nThe Symposium was made possible thanks to Goethe-Institut Turin\n \n  \nWith thanks to \n \n  \n  \n  \nMedia Partner \n \n  \n  \n  \n  \nFree admission at the Symposium. \nBooking requested: c.molteni@castellodirivoli.org \n  \n 
URL:https://www.castellodirivoli.org/en/evento/ai-symposium/
CATEGORIES:CRRI,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2018/09/Schermata-2018-09-17-alle-12.12.22-e1537974718477.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190117T160000
DTEND;TZID=Europe/Rome:20190117T170000
DTSTAMP:20260610T174005
CREATED:20181228T100953Z
LAST-MODIFIED:20251125T134928Z
UID:104956-1547740800-1547744400@www.castellodirivoli.org
SUMMARY:City of Desires – Global Parasites. Erasure performance
DESCRIPTION:Castello di Rivoli\, Room 34 \n  \nCity of Desires – Global Parasites is the ephemeral charcoal drawing created by Nalini Malani for her solo exhibition at Castello di Rivoli. On the occasion of the closing of the exhibition\, the drawing will be the object of an “erasure performance”\, during which some young visitors – as many as the characters represented – will be invited to cancel it with peacock feathers. \nFree admission from 4 until 5 pm \nThe Cafeteria closes at 6 pm \n  \nVisit the exhibition Nalini Malani: The Rebellion of the Dead. Retrospective 1969-2018. Part II \n  \n 
URL:https://www.castellodirivoli.org/en/evento/city-of-desires-global-parasites-erasure-performance/
CATEGORIES:Dipartimento Curatoriale,Dipartimento Educazione
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/12/Copia-di-Nalini-Malani-City-of-Desires-Global-Parasites-b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190127T170000
DTEND;TZID=Europe/Rome:20190127T190000
DTSTAMP:20260610T174005
CREATED:20181212T133947Z
LAST-MODIFIED:20181212T133947Z
UID:104953-1548608400-1548615600@www.castellodirivoli.org
SUMMARY:Cinema al Castello\, Manifesto
DESCRIPTION:Domenica 27 gennaio\, ore 17\, Manifesto\, di Julian Rosefeldt\, 2017 \nCate Blanchett interpreta\, in 94 minuti\, tredici personaggi differenti per aspetto\, atteggiamento\, estrazione sociale e accento. Ognuna di queste donne non recita\, ma sente e vive un diverso manifesto del ‘900. Oltre al Dada\, quindi\, il Surrealismo\, l’Arte Concettuale\, Fluxus\, l’Arte Pop\, e perfino il Manifesto Comunista e il Dogma 95 di Lars Von Trier. \nBiglietti in vendita presso la Biglietteria del museo (ingresso Manica Lunga)  \nBiglietto 6\,50 euro; ingresso omaggio per i possessori di Torino Piemonte Card\, Abbonamento Torino Musei\, giornalisti\, ragazzi sotto gli 11 anni. \n  \n 
URL:https://www.castellodirivoli.org/en/evento/cinema-al-castello-manifesto/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/12/Manifesto.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190131T160000
DTEND;TZID=Europe/Rome:20190131T193000
DTSTAMP:20260610T174005
CREATED:20190123T133732Z
LAST-MODIFIED:20251125T134548Z
UID:104962-1548950400-1548963000@www.castellodirivoli.org
SUMMARY:Liu Ding - Lecture at Accademia Albertina\, Turin
DESCRIPTION:Salone d’Onore\, Accademia Albertina delle Belle Arti\, Torino \n4 pm \n  \nThe Castello di Rivoli Museo d’Arte Contemporanea organizes a lecture by the artist and curator Liu Ding (Changzhou\, China\, 1976)\, at the Albertina Academy of Fine Arts\, on Thursday\, January 31 at 4 pm. The event is organized in the context of the Convention stipulated between the Museum and the Academy to foster the encounter between internationally renowned contemporary artists and students. \nLiu Ding’s artistic creation and curatorial practice bring attention to multiple viewpoints and modes of description in Chinese art history\, exploring a trajectory of discursive thoughts that connect the contemporary and the historical. Continuously tracing the intellectual roots of contemporary Chinese art\, Liu Ding weaves multiple threads in expanding the narrative of Chinese art subjectivity. His art benefits from his extensive researches in history and his interest in literature. Liu Ding has recognized the predicament that China’s art history is often legitimated only through its comparison with Western art history\, and realized that the undiscerned discursive vocabulary formed within such a process of comparison restricts visions of researchers and creators. In his practice\, he looks at the intellectual roots of contemporary Chinese art and studies the lasting legacy of Socialist Realism in China’s contemporary society. His artistic and curatorial work revisits the process of intellectual liberation since the end of the Cultural Revolution\, rehearses a Chinese expression within a globalized context since the 1990s\, and describes the ideological roots and logic of Chinese contemporary art and culture. \n  \nFree admission \nThis lecture is translated into Italian \n  \nBiography \nHe has participated in international biennials such as: Busan Biennale (2018)\, Yinchuan Biennale (2018)\, Istanbul Biennial (2015); Asia Pacific Triennial\, Brisbane (2015); Shanghai Biennale (2014); Prospect 3 New Orleans (2014); Taipei Biennial\, (2012); Chinese Pavilion\, 53rd Venice Biennial (2009); Media City Seoul (2008); and Guangzhou Triennial (2005). His work has been shown at numerous major art institutions including Tate Modern\, London (2012/2013); Turner Contemporary\, Kent\, Arnolfini\, Bristol (2008); Kunsthalle Wien\, Vienna (2007); Astrup Fearnley Museum of Modern Art\, Oslo (2007); São Paulo Muse­um of Art\, São Paulo (2008); ZKM\, Karlsruhe (2011); Kunstmuseum Bern\, Bern (2016); PasquArt\,Biel (2008); Fondazione Sandretto Re Rebaudengo\, Turin (2006); Seoul Museum of Art\, Seoul (2006); Luggage Store Gallery\, San Francisco (2006); Frye Art Museum\, Seattle (2012/2016); 4A\, Sydney (2017); Iberia Center for Contemporary Art\, Beijing (2008); Museum of Contemporary Art Shanghai\, Shanghai (2006); Times Museum\, Guangzhou (2011/2012); Taipei Fine Arts Museum\, Taipei (2012); Para Site\, Hong Kong (2016); Red Brick Museum\, Beijing (2016); Hiroshima City Museum of Contemporary Art\, Hiroshima (2015); Guandu Museum of Art\, Taipei (2016); and MOMA PS1\, New York (2015). He co-curated Little Movements: Self-Practice in Contemporary Art at OCAT\, Shenzhen (2011)\, which traveled to Museion in Bolzano\, Italy (2013) and Asia Cultural Complex\, Gwangju\, (2015). Other curatorial projects include: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective\, Inside-Out Art Museum\, Beijing (2017); New Measurement Group and Qian Weikang\, OCAT Shenzhen\, Shenzhen (2015); From the Issue of Art to the Issue of Position: Echoes of Socialist Realism\, OCAT Shenzhen\, Shenzhen (2014); and the 7th Shenzhen Sculpture Biennale (Accidental Message: Art is Not a System\, Not a World)\, Shenzhen (2012). His writing and editorial works include: Little Movements: Self-Practice in Contemporary Art(Guilin: Guangxi Normal University Press\, 2011); Little Movements II: Self-Practice in Contemporary Art (Cologne: Walther König\, 2013); Accidental Message: Art Is Not A System\, Not A World(Guangzhou: Lingnan Art Publishing House\, 2012); Individual Experience: Conversations and Narratives of Contemporary Art Practice in China from 1989 to 2000(Guangzhou: Lingnan Art Publishing House\, 2013); and Reef: A Prequel(Bonnerfantenmuseum\, Maastrict\, Holland\, 2016).
URL:https://www.castellodirivoli.org/en/evento/liu-ding-lecture-at-accademia-albertina-turin/
CATEGORIES:conferenza
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2019/01/Liu-Ding-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190202T160000
DTEND;TZID=Europe/Rome:20190202T173000
DTSTAMP:20260610T174005
CREATED:20190122T155051Z
LAST-MODIFIED:20251125T134503Z
UID:104960-1549123200-1549128600@www.castellodirivoli.org
SUMMARY:Donna De Salvo on Andy Warhol
DESCRIPTION:Theater\, 4 pm \n  \nThe Castello di Rivoli Museo d’Arte Contemporanea organizes\, in the context of the exhibition Andy Warhol. Two masterpieces from the collection of Francesco Federico Cerruti curated by Fabio Belloni\, a lecture by Donna De Salvo\, Deputy Director for International Initiatives and Senior curator at the Whitney Museum of American Art in New York\, one of the greatest scholars and experts in the work of Andy Warhol. Donna De Salvo\, senior curator of the Whitney Museum of American Art’s current retrospective Andy Warhol — From A to B and Back Again\, will discuss Warhol’s career and legacy\, and his enduring relevance in the 21st century. Taking the exhibition as an entry point\, this lecture will delve into lesser-known aspects of the artist’s career\, including his groundbreaking experiments in film\, his engagement with the history of art as well as with new technologies\, and his sustained interest in abstraction. Andy Warhol — From A to B and Back Again is the largest monographic exhibition to date at the Whitney’s new location\, with more than 350 works of art\, many assembled together for the first time. It is currently on view at the Whitney until March 31\, 2019\, before traveling to the San Francisco Museum of Modern Art and the Art Institute of Chicago. Donna De Salvo will be in conversation with Carolyn Christov-Bakargiev to discuss the particular bond that brings together Andy Warhol and the poetics and the history of the protagonist of metaphysical painting\, Giorgio de Chirico. \n  \nBiographies\nDonna De Salvo is the Deputy Director for International Initiatives and Senior Curator at the Whitney Museum of American Art\, New York. She joined the museum in 2004 and was appointed the museum’s first Chief Curator in 2006\, a post she held until 2015. In her previous role\, De Salvo oversaw the museum’s artistic program\, was instrumental in the design of the Whitney’s new building\, and led the curatorial team for the museum’s inaugural presentation\, America Is Hard to See (2015). Currently\, she is leading the museum’s efforts to define and communicate an expanded notion of art in the United States\, both domestically and internationally. In addition\, she organizes exhibitions and collection displays\, co-directs the Painting and Sculpture Acquisition Committee\, and oversees the Andy Warhol films catalog raisonné project. Exhibitions she has curated or co-curated at the Whitney include: Andy Warhol—From A to B and Back Again (2018—ongoing)\, Hélio Oiticica: To Organize Delirium(2017)\, Open Plan: Michael Heizer (2016)\, Open Plan: Steve McQueen (2016)\, Sinister Pop (2012—2013)\, Roni Horn aka Roni Horn (2009-2010)\, and Lawrence Weiner: AS FAR AS THE EYE CAN SEE (2007-2008). A noted expert on art of the 1960s\, and Andy Warhol in particular\, De Salvo was Adjunct Curator for the Andy Warhol Museum and was curator of Andy Warhol: Disaster Paintings\, 1963 (Dia Art Foundation\, 1986); Andy Warhol: Hand-Painted Images\, 1960-62 (Dia Art Foundation\, 1987); Hand Painted Pop: American Art in Transition 1955-1962 (LAMoCA\, 1992)\, “Success is a Job in New York”: The early art and business of Andy Warhol\, (Grey Art Gallery\, 1989); and a retrospective of the artist’s work held at Tate Modern (2002). From 1981 to 1986\, De Salvo was a curator at the Dia Art Foundation\, where she worked closely with several artists\, including John Chamberlain\, Walter De Maria\, Donald Judd\, Cy Twombly\, and Andy Warhol. She has served as senior curator at Tate Modern; Curator-at-Large\, Wexner Center for the Arts; and Robert Lehman Curator\, The Parrish Art Museum. She is a recipient of the Alfred H. Barr Jr. Award from the College Art Association. \nAndy Warhol was born in Pittsburg in 1928 to Czechoslovakian immigrant parents. At seventeen he enrolled in the drawing and decorative arts courses at the Carnegie Institute of Technology. In 1949 he moved to New York\, where he began to work as an illustrator for fashion magazines and advertising agencies. He switched to painting in 1960. A couple of years later he began to work with silkscreen\, a technique that made execution impersonal and also gave him the possibility of reproducing a potentially infinite number of prints while maintaining the original quality. “The reason I’m painting this way\,” he said in 1967\, “is that I want to be a machine\, and I feel that whatever I do and do machine-like\, is what I want to do. I think everybody should be a machine.” In 1963 Warhol moved his studio to a large loft on 47th Street\, where\, with the help of a team of assistants\, he expanded his creative activity. The Factory – which was the name given to his workshop – produced silkscreen prints\, but also photographic and cinematic works. The iconography was certainly wide-ranging: themes of violent death (victims of an airplane crash\, the electric chair); Hollywood celebrities (Marilyn Monroe\, Elvis Presley\, Liz Taylor) and typical American food and beverage products (Coca-Cola bottles\, Campell’s soup cans). In his last years\, the artist also devoted himself to television and publishing projects. At the same time\, he began to revisit the great masterpieces of the past (from Leonardo to de Chirico) and also collaborated with new-generation artists. He died in 1987\, from complications following surgery.
URL:https://www.castellodirivoli.org/en/evento/donna-de-salvo-on-andy-warhol/
CATEGORIES:conferenza,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2019/01/110718_WhitneyWarholAtoBOpening_076-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190209T160000
DTEND;TZID=Europe/Rome:20190209T170000
DTSTAMP:20260610T174005
CREATED:20190206T151343Z
LAST-MODIFIED:20190206T151343Z
UID:104968-1549728000-1549731600@www.castellodirivoli.org
SUMMARY:Guided Tour to "Andy Warhol from the Cerruti Collection" with Carolyn Christov-Bakargiev
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/guided-tour-to-andy-warhol-from-the-cerruti-collection-with-carolyn-christov-bakargiev/
CATEGORIES:conferenza,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2018/03/Carolyn-Christov-Bakargiev_-Photo-Giorgio-Perottino-copia.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190216T160000
DTEND;TZID=Europe/Rome:20190216T170000
DTSTAMP:20260610T174005
CREATED:20190206T123440Z
LAST-MODIFIED:20190206T123440Z
UID:104966-1550332800-1550336400@www.castellodirivoli.org
SUMMARY:Guided Tour to "Andy Warhol from the Cerruti Collection" with Fabio Belloni
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/guided-tour-to-andy-warhol-from-the-cerruti-collection-with-fabio-belloni/
CATEGORIES:conferenza,Dipartimento Curatoriale,visita guidata
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2019/02/A180_Warhol_The-poet-B.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190511T160000
DTEND;TZID=Europe/Rome:20190511T170000
DTSTAMP:20260610T174005
CREATED:20190405T094739Z
LAST-MODIFIED:20190405T094739Z
UID:104972-1557590400-1557594000@www.castellodirivoli.org
SUMMARY:Rosi Braidotti: Lecture
DESCRIPTION:
URL:https://www.castellodirivoli.org/en/evento/rosi-braidotti-lecture/
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2019/04/STe160418_0080.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190512T110000
DTEND;TZID=Europe/Rome:20190512T120000
DTSTAMP:20260610T174005
CREATED:20190405T101149Z
LAST-MODIFIED:20251125T134235Z
UID:104976-1557658800-1557662400@www.castellodirivoli.org
SUMMARY:Anri Sala in conversation with Marcella Beccaria and Carolyn Christov-Bakargiev
DESCRIPTION:11 am \nTheater \nA Public Talk with Anri Sala\, Carolyn Christov-Bakargieve Marcella Beccaria. The exhibition AS YOU GO\, specifically designed for the spaces on the third floor of the Castello di Rivoli Museo d’Arte Contemporanea\, will be the starting point for the conversation. \n \nBiography \nAnri Sala (Tirana\, 1974) is a contemporary artist who lives and works in Berlin. After having lived for many years in Paris\, he represented France at the 55th Venice Biennale in 2013. He studied at the National Academy of Arts from 1992 to 1996 and in 1996-98 he studied video at the École Nationale Supérieure des Arts Décoratifs in Paris. In 1998-2000 he attended the Postgraduate Studies in film directing\, Le Fresnoy\, Studio National des Arts Contemporains\, Tourcoing. Some most recent solo exhibitions include: The Last Resort\, Garage\, Moscow (2018); Anri Sala\, Museo Tamayo\, Mexico City (2017); Anri Sala: Answer Me\, New Museum\, New York (2916); NO NAMES NO TITLE\, The Helena Rubinstein Pavilion for Contemporary Art\, Tel Aviv Museum of Art\, Tel Aviv\, Black Box: Anri Sala\, The Baltimore Museum of Art\, Baltimore\, The Present Moment\, Middle Hall\, Haus der Kunst\, Munich (2014); Ravel Ravel Unravel\, French Pavilion\, 55th Venice Biennale\, Venice (2013); Anri Sala: Louisiana\, Louisiana Museum of Art\, Humlebaek; Anri Sala\, Centre Pompidou\, Paris (2012); Anri Sala\, Serpentine Gallery\, London (2011). Sala has received the Vincent Award (2014)\, the 10th Benesse Prize (2013)\, the Absolut Art Award (2011)\, and the Young Artist Prize at the Venice Biennale (2001). He has taken part in many group exhibitions and biennials\, including the 57th and most recent Venice Biennale (2017)\, the 12th Havana Biennial (2015)\, the Sharjah Biennial 11 (2013)\, the 9th Gwangju Biennale (2012)\, dOCUMENTA(13) (2012)\, the 29th São Paulo Biennial (2010)\, the 2nd Moscow International Biennale of Contemporary Art (2007)\, and the 4th Berlin Biennial (2006).
URL:https://www.castellodirivoli.org/en/evento/anri-sala-in-conversation-with-marcella-beccaria-and-carolyn-christov-bakargiev/
CATEGORIES:conferenza
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2019/04/Anri-Sala-019s-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190512T120000
DTEND;TZID=Europe/Rome:20190512T123000
DTSTAMP:20260610T174005
CREATED:20190504T104901Z
LAST-MODIFIED:20251125T134122Z
UID:104981-1557662400-1557664200@www.castellodirivoli.org
SUMMARY:Camille Henrot on "Maison absolue" (Absolute House)
DESCRIPTION:May 12\, noon \nRoom 12 \n  \nCamille Henrot introduces the public to Maison absolue (Absolute House\, 2019)\,  a work conceived on the occasion of By Artists: From the Home to the Museum\, from the Museum to the Home. Homages to the Works of the Cerruti Collection. Chapter 1. Both a house and a ‘piggy bank’\, this sculpture is inspired by Picasso’s Oiseau sur une branche (1913) from the Cerruti Collection\, as well as is referred to instruments used every day to measure and monitor\, as if held by a child in his piggy bank. The sculpture’s shape resembles the Cubist Picasso\, and the Egyptian pyramids. On the one hand\, Maison absolue is a reflection on the ‘things of the Self’ – the objects making up our personal ‘sacred space’ – and on the concept of the ‘talisman’ or ‘contractual gift’\, miraculous and restorative. The house – Villa Cerruti – conceived of as a museum\, hence becomes an extension of the depth of the spirit towards the totality of the universe: an ‘absolute house’ and a gift-talisman. \nCamille Henrot explores the objects and systems of consciousness that humanity surrounds itself with by combining film\, drawing and sculpture with her thorough research of different areas and disciplines\, from anthropology to cinema\, mythology to ordinary daily life.
URL:https://www.castellodirivoli.org/en/evento/camille-henrot-on-maison-absolue-absolute-house/
CATEGORIES:conferenza,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2019/05/CH-2001.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190512T160000
DTEND;TZID=Europe/Rome:20190512T170000
DTSTAMP:20260610T174005
CREATED:20190405T095614Z
LAST-MODIFIED:20251125T133328Z
UID:104974-1557676800-1557680400@www.castellodirivoli.org
SUMMARY:Giuseppe Penone\, "The Inner Life of Forms": Book Launch
DESCRIPTION:4 pm \nTheater \n  \nBook launch of The Inner Life of Forms\, a monograph which examines the more-than-forty-year career of Giuseppe Penone\, one of the protagonists of the Arte povera art movement. \nThis book\, edited by Carlos Basualdo and published by Gagosian Gallery and Rizzoli\, will be the starting point for a conversation between the artist and the director Carolyn Christov-Bakargiev. \n \n 
URL:https://www.castellodirivoli.org/en/evento/giuseppe-penone-the-inner-life-of-forms-book-launch/
CATEGORIES:conferenza,CRRI,Dipartimento Curatoriale
ATTACH;FMTTYPE=image/jpeg:https://www.castellodirivoli.org/wp-content/uploads/2017/01/Giuseppe-Penone-Photo-by-Renato-Ghiazza.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Rome:20190518T160000
DTEND;TZID=Europe/Rome:20190518T170000
DTSTAMP:20260610T174005
CREATED:20190501T171824Z
LAST-MODIFIED:20251125T133129Z
UID:104979-1558195200-1558198800@www.castellodirivoli.org
SUMMARY:Harald Szeemann: Museum of Obsessions | guided tour with Luca Cerizza
DESCRIPTION:May 18 \n4 pm \nGuided tour to Harald Szeemann: Museum of Obsessions  \nLuca Cerizza (Milan\, 1969) is a critic and curator. From 2000 to 2016 he lived in Berlin\, now he is based in Turin\, Milan and Mumbai. After graduating in History of Art Criticism at the State University of Milan\, in 1997-98 he attended the De Appel Curatorial Training Program in Amsterdam. Between 2006 and 2010 he was a guest professor of Curatorial Studies at NABA (New Academy of Fine Arts\, Milan). Since 2011 he holds the chair of Museology at the MA course. He also teaches Phenomenology of Contemporary Arts at IED in Turin. Cerizza has carried out a long critical activity with a particular focus on Italian and international art from the early 1990s to today\, and on post-minimalist practices. Cerizza was among the editors of the Kaleidoscope magazine (2009-2013) and collaborator of Frieze (2006-13). He currently works with Art Agenda and Flash Art. He is author of Alighiero Boetti. Map (Afterall\, London 2008 / Electa\, Milan 2009) and L’uccello e la piuma. La questione della leggerezza nell’arte italiana (Et al. Edizioni\, Milan 2010)\, Cerizza recently edited the anthology of critical texts by Tommaso Trini (Johan & Levi\, Milan\, 2016) and is completing the catalog on Gianni Pettena’s work (Mousse\, Milan 2019). Among the latest curatorial projects: the main exhibition of the Pune Biennale (Pune\, India\, 2016. With Zasha Colah) and solo exhibitions of Gianfranco Baruchello (Raven Row\, London\, 2017) and Tino Sehgal (OGR\, Turin\, 2018).
URL:https://www.castellodirivoli.org/en/evento/harald-szeemann-museum-of-obsessions-guided-tour-with-luca-cerizza/
CATEGORIES:conferenza,CRRI
ATTACH;FMTTYPE=image/png:https://www.castellodirivoli.org/wp-content/uploads/2017/07/Luca-Cerizza.png
END:VEVENT
END:VCALENDAR