Workshop for the Editing of Catalogues Raisonnés and Publications of Art

Catalogues raisonnés / Reasoning on catalogs.

Workshop for the Editing of Catalogues Raisonnés and Publications of Art

 In memory of Germano Celant (1940-2020)

CRRI – Castello di Rivoli Research Institute/Library of Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino

July 27 — 31, 2020

September 28 — October 2, 2020

Following the Contemporary Art Archivists workshop in 2017, the Registrar workshop in 2018, the Provenance Research Workshop and the Literary Social Media Content Creator Workshop in 2019, Castello di Rivoli Museo d’Arte Contemporanea holds the Workshop for the Editing of Catalogues Raisonnés and Publications of Art.

The workshop is dedicated to the memory of Germano Celant (1940-2020).

Jointly run by CRRI – Castello di Rivoli Research Institute and the Museum Education Department, the workshop is led by Andrea Viliani, Head and Curator at CRRI and author of numerous catalogs and scientific publications on Contemporary Art, with the assistance of Giulia Colletti (Public Programs and Digital Contents, Castello di Rivoli Museo d’Arte Contemporanea) and Giulia De Giorgi (CRRI Archives and Curatorial Assistance). The workshop is open to individuals aged between 22 and 40, with a degree in the Humanities and the Arts.

The two-week program will take place July 27 31, 2020 and September 28 October 2, 2020, both at the Castello di Rivoli Library, and by e-learning, subject to current regulations. The program pivots around a series of thematic seminars delivered by internationally renowned experts and scholars in the research field of archiving, conceiving and updating of general catalogs and scientific publications of Contemporary Art. The seminars held by the invited experts and scholars focus on the methodologies and practices adopted in the preparation of reference general catalogs and catalogs of personal exhibitions. Guests include Marcella Beccaria, Gabriella Belli, Agata Boetti, Fabio Cafagna, Carolyn Christov-Bakargiev and Sara Codutti, Bruno Corà and Chiara Sarteanesi, Chiara Costa, Maddalena Disch, Glenn Phillips, Neil Printz, Michele Robecchi, Jörg Schellmann, Antonella Soldaini, Nancy Spector, Marianna Vecellio.

The selected participants are
Acocella Alessandra
Dolfi Agostini Sara
Lanzafame Andrea
Locatelli Veronica
Lupi Chiara
Nuzzi Chiara
Portesine Chiara
Tomassoni Piero

They have been selected by a commission including Carolyn Christov-Bakargiev, Marcella Beccaria and Andrea Viliani.

Castello di Rivoli provides free tuition for selected participants. The workshop is in Italian and in English.

The workshop is organized thanks to the support of Regione Piemonte and Compagnia di San Paolo, and in collaboration with the Multi Family office Tosetti Value, a benchmark in the enhancement of family assets and private collections.

The Education Department of Castello di Rivoli is accredited by MIUR (Ministero dell’Istruzione, dell’Università e della Ricerca) as a training body. At the end of the workshop, Castello di Rivoli will issue a certificate to the participants.

The workshop is part of the activities of CRRI – Castello di Rivoli Research Institute, supported by Regione Piemonte and Compagnia di San Paolo.

The Workshop for the Editing of Catalogues Raisonnés  and Publications of Art is organized under the official patronage of ICOM Italia



and Soprintendenza Archeologia, Belle Arti e Paesaggio per la Città Metropolitana di Torino



Andrea Viliani is Head and Curator at the Research Institute of Castello di Rivoli Museo d’Arte Contemporanea, where he had held the position of Assistant Curator from 2000 to 2005. Viliani previously held the position of General and Artistic Director of the Donnaregina Foundation for Contemporary Arts/MADRE in Naples (2013-2019), where he also coordinated the exhibitions and the related catalogs Pompei@Madre. Materia Archeologica and Carta Bianca. Capodimonte imaginaire. From 2009 to 2012, he was Director of the Fondazione Galleria Civica-Centro di ricerca sulla contemporaneità in Trento and from 2005 to 2009 he was Curator at MAMBo-Museo d’Arte Moderna di Bologna. In 2006, Viliani was among the 60 players of the Biennale de Lyon and, in 2010-2012, he was part of the Agent-Core Group of dOCUMENTA(13), co-curating the exhibitions in Kabul and Bamiyan (Afghanistan). Viliani curated and commissioned scientific publications dedicated to artists such as Pawel Althamer, Francis Alÿs, Giovanni Anselmo, John Armleder, Rosa Barba, Gianfranco Baruchello, Thomas Bayrle, Kerstin Brätsch, Pier Paolo Calzolari, Adam Chodzko, Roberto Cuoghi, Haris Epaminonda, Cécile B. Evans, Lara Favaretto, Ryan Gander, Alberto Garutti, Liam Gillick, Gusmao&Paiva, GuytonWalker, Mimmo Jodice, Robert Kusmirowski, Mark Leckey, David Malikovic, Melvin Moti, Deimantas Narkevicius, Roman Ondak, Diego Perrone, Vettor Pisani, Seth Price, Stephen Prina, Walid Raad, Natascha Sadr Haghighian, Bojan Sarcevic, Paul Sietsema, Nedko Solakov, Ettore Spalletti, Cally Spooner, Sturtevant, The Otolith Group, Padraig Timoney, Francesco Vezzoli, Clemens von Wedemeyer, Akram Zaatari.


Marcella Beccaria is Chief Curator and Curator of Collections at Castello di Rivoli Museo d’Arte Contemporanea. Beccaria completed an MA in Art History and Museum Studies at the Graduate School of Arts and Science, Boston University, Boston. She started her museum curatorial work at Museum of Fine Arts Boston and at The Institute of Contemporary Art, Boston. At Castello di Rivoli she oversaw the development of the permanent collection, taking care of the research and editing of the catalogs dedicated to it; she curated and co-curated numerous exhibitions and catalogs, both personal and collective, including: Roni Horn (2000), Teresita Fernández (2001), Thomas Demand (2003), Vanessa Beecroft (2004), Candice Breitz (2005), Claes Oldenburg, Coosje van Bruggen (2006), Una stanza tutta per sé (2008), Vito Acconci (2010), La storia che non ho vissuto (testimone indiretto) (2012), Marinella Senatore (2013-14), Jan Dibbets (2014), Wael Shawky (2016), Gilberto Zorio (2017), Nalini Malani (2018), Anri Sala (2019); on the occasion of exhibitions at Castello di Rivoli, she authored the first scientific monographs dedicated to Roberto Cuoghi, Yang Fudong and Francesco Vezzoli. Beccaria collaborated with specialized magazines such as “Parkett”, “Flash Art”, “Domus” and she contributed with essays to several catalogs edited by museum institutions including La Biennale di Venezia, Venice, Guggenheim Museum, New York, Serralves Foundation, Porto, Stedelijk Museum, Ghent, Istanbul Biennial, Kunstmuseum Winterthur, FRAC Champagne-Ardenne, Reims, SAM-Singapore Art Museum. Beccaria is Author of the monograph Olafur Eliasson, published by Tate, London. She is a member of the Directing Committee of AMACI and Professor at NABA, Milan.

Gabriella Belli started her research activity in 1978, at the Soprintendenza per i Beni storico-artistici of Trentino. In 1982, she designed the first nucleus of the new museum of modern and contemporary art of the Autonomous Province of Trento (Mart) in Trento, becoming the Director in 1989. From 1989 to 2011, she carried out and guided the museum’s scientific project, taking care of and supervising numerous exhibitions and catalogs, as well as the development of the museum’s archives. In December 2002, under her direction, the new Mart headquarters was inaugurated in Rovereto, and in 2009, the restored headquarters of the Casa d’Arte Futurista Depero reopened with her museographical project. Since 2011, she holds the position of Director of the Fondazione Musei Civici di Venezia, where in 2013 she signs the new project for the permanent collection of the Galleria Internazionale d’Arte Moderna, Ca’ Pesaro. She held positions at the Università di Lettere e Filosofia di Trento (2002-2004) and at the Accademia di Architettura di Mendrisio (2011-12). From 2002 to 2011 she was President of the dell’Associazione Nazionale dei Musei d’Arte Contemporanea Italiani (AMACI). In 2011 she was honored Knight of the Order of Arts and Letters from the French Minister of Culture and was awarded the best museographer of the year award by ICOM-Italia.

Agata Boetti studied Psychology in Paris, where she currently lives. Since 1995, after the death of his father, Alighiero Boetti, she establishes the Archivio Alighiero Boetti-Associazione Culturale and then, since 2014, she directs the same institution, which is dedicated to the conservation, acquisition and scientific cataloging of the documentation relating to the works and biography of the artist. The study and archiving activity is aimed at editing the General Catalog, published by the Electa publishing house: the first Tome of the General Catalog (1961-1971) was published in December 2009, the second Tome (1972-1979) in October 2012 and the first part of the third Tome (1980-1987) in June 2015. The second part of the third Tome (1980-1987) is currently in preparation, with the scientific direction of Mark Godfrey (who follows that entrusted to Jean Christophe Ammann in previous years). In 2016 Electa publishes Il gioco dell’arte con mio padre, Alighiero, a collection of short stories by Agata Boetti that composes a more intimate and personal book, dedicated by her to her father Alighiero.

Fabio Cafagna received his PhD in History of Art at La Sapienza – Università di Roma. His interests mainly address to the art of 19th and 20th century and, in particular, to the relationships between figurative arts and scientific disciplines. Between 2017 and 2020 he taught History of Contemporary Art at the Università degli Studi dell’Insubria, Como. For the Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin, he is currently in charge of the editorial coordination of the general catalogue of the Francesco Federico Cerruti Collection, on long-term loan to the Museum, which opened to the public in May 2019. He curated, with Virginia Bertone and Filippo Bosco, the 19th-century section of the permanent collections of GAM – Galleria Civica d’Arte Moderna e Contemporanea in Turin, within the general reorganization of 2017 coordinated by Carolyn Christov-Bakargiev. In 2017, he was a fellow at CIMA – Center for Italian Modern Art, New York; the fellowship was promoted by CIMA, SNS – Scuola Normale Superiore of Pisa and MIBACT, Ministero dei Beni e delle Attività Culturali e del Turismo, Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. He is the author of Il disegno del corpo. Anatomia Artistica all’Accademia Albertina di Torino (1829-1899) (Rome 2017) and Indizi, sintomi, impronte. Esperienze artistiche e scientifiche nell’Ottocento (Rome 2010).

Carolyn Christov-Bakargiev, curator, researcher and scholar, is Director of Castello di Rivoli Museo d’Arte Contemporanea and of Fondazione Francesco Federico Cerruti. She is the recipient of the 2019 Audrey Irmas Award for Curatorial Excellence. She holds a visiting professorship at Northwestern University, and has taught at the University of Leeds, at the Goethe Universität Frankfurt Am Main and at Harvard University. Christov-Bakargiev was born in the United States from a Bulgarian father and an Italian mother and she returned to Italy to conduct her studies at the universities of Genoa and Pisa. In her curatorial path, exhibitions and catalogs of international artists and of Italian Arte Povera artists cross together, including William Kentridge, Alighiero Boetti, Pierre Huyghe, Francis Alÿs, Mario and Marisa Merz, and Jannis Kounellis. Following a period at Villa Medici where she curated summer exhibitions (1998-2000), she served as Chief Curator at P.S. 1 Contemporary Art Center affiliated to MoMA in New York, where she organized, amongst many other projects, the groundbreaking survey of Janet Cardiff’s work. In 2002 she returned to Turin to work at Castello di Rivoli upon invitation of its former director Ida Gianelli. In 2008 she curated the Sydney Biennial, followed by dOCUMENTA(13) in 2012, and the 14th Istanbul Biennial in 2015. The following year she returned to Turin where, until 2017, she directed both GAM Galleria Civica d’Arte Moderna e Contemporanea and Castello di Rivoli Museo d’Arte Contemporanea. Amongst her major publications is the monograph Arte Povera (Phaidon Press, London, 1999).

Sara Codutti graduated from the IUAV – Istituto Universitario di Architettura di Venezia and worked on various exhibition projects in Italy and, in Germany, at the State Art Collections – SKD in Dresden. She currently collaborates with Studio Fabio Mauri in Rome, which deals with the study, archiving and cataloging of the works and exhibitions of the artist, who died in 2009, and for which she is editing the general catalog with the scientific direction by Carolyn Christov-Bakargiev. She also writes for some periodicals and publishing houses, including Nero Editions.

Bruno Corà is Chairman of the Fondazione Palazzo Albizzini Collezione Burri. He began his research in the mid-sixties between Milan and Rome. Since 1970, he coordinated the initiatives of the Incontri Internazionali d’Arte, helping to conceive and prepare meetings and exhibitions such as, among others, Contemporanea (1973-74). From 1979 to 1999 he was Professor and Academic of Honor of the Academy of Fine Arts “Pietro Vannucci” in Perugia. He also taught at the Università degli Studi di Cassino e del Lazio Meridionale from 1999 to 2006 and at the Università degli Studi di Firenze, Florence from 2007 to 2009. Since 2013, he is Emeritus Professor of History of Contemporary Art at the Athens School of Fine Arts. He was Director of Palazzo Fabroni Arti Visive Contemporanee in Pistoia, the Centro per l’Arte Contemporanea Luigi Pecci in Prato, the Centro d’Arte Moderna e Contemporanea at La Spezia, the Museo d’Arte Moderna e Contemporanea in Lugano. Main exhibitions and catalogs curated: Gerhard Richter, (Museo Pecci/Gli Ori, Prato, 2000), Jannis Kounellis (Fondazione Arnaldo Pomodoro/Skira, Milan, 2006), Alberto Burri (general catalog, six volumes, Fondazione Palazzo Albizzini Collezione Burri, Città di Castello, 2015).

Chiara Costa, art historian and researcher, has been Head of Programs of the Fondazione Prada since 2019, where since 2012 she held the role of Manager and Editor of Publications. Recently she edited the monograph of Lizzie Fitch and Ryan Trecartin (2019), and the catalogs of the exhibitions Post Zang Tumb Tuuum… (2018) and TV 70 (2017). She is co-curator of the first edition of the Books & Others festival, organized by ICA Milano in 2019, and curator of Johannes, the podcast of Ordet, a production space in Milan. She has written for numerous magazines such as “Mousse”, “Nero”, “Arte”, “Exibart”, “” and has collaborated with the Treccani encyclopedia. She is the author of the catalog dedicated to the history of the Dwan Gallery, Los Angeles and New York (Skira, Milan 2016, edited by Germano Celant). She was in charge of the “Kaleidoscope” publishing house and Project manager of the homonymous exhibition space. She has also collaborated with the Venice Biennale, Manifesta 7, the Swiss Institute in Rome, the CCCS Strozzina in Florence and the research agency Connecting Cultures in Milan.

Maddalena Disch is Head of Giulio Paolini’s Archives and Catalogue Raisonné for the Fondazione Giulio e Anna Paolini, created by the artist in 2004 in Turin. She is the author of a collection of writings and interviews by Paolini (1995), as well as the first two volumes of his Catalogue raisonné (Skira, Milan 2008). For the Fondazione Giulio e Anna Paolini she created two editorial series, one of which dedicated to works belonging to the Foundation’s collection. For the same institution she oversaw the digital archiving of the artist’s works and recently started the reasoned cataloging of personal exhibitions. Author of essays dedicated to the artists of Arte Povera, she collaborated in particular with Giovanni Anselmo, for whom she edited, among others, a collection of critical writings and texts (1998) and in 2016 she participated in the monograph on the artist published by Skira on the occasion of the exhibition at the Castello di Rivoli Museo d’Arte Contemporanea. For the Fondazione Merz, Turin, she developed a reasoned cataloging project for Mario Merz’s igloos (2009-17). In 2019 she co-curated the exhibition Entrare nell’opera. Processes and Performative Attitudes in Arte Povera with Nike Bätzner, Christiane Meyer-Stoll and Valentina Pero, Kunstmuseum Liechtenstein, Vaduz and Musée d’art moderne et contemporain, Saint-Étienne Métropole.

Glenn Phillips is Curator and Head of Modern and Contemporary Collections, the Getty Research Institute, Los Angeles. He specializes in postwar and contemporary art, in particular video and performance. He organized the exhibitions California Video – winner of the International Association of Art Critics award for best exhibition of digital media, video, or film, in 2008 – and Evidence of Movement, as well as Pioneers of Brazilian Video Art, 1973-1983, Surveying the Border: Three Decades of Video Art of the United States and Mexico, Radical Communication: Japanese Video Art, 1968-1988. He was Assistant Curator for Special Projects at the Whitney Museum of American Art and he was a member of the core organizational team for Pacific Standard Time: Art in L.A. 1945-1980, a series of over sixty concurrent exhibitions that were held across Southern California between 2011 and 2012. In 2018 he curated, together with Philipp Kaiser, Harald Szeemann: Museum of Obsessions (travelling exhibition: The Getty Research Institute, Los Angeles, Kunsthalle Bern, Kunsthalle Düsseldorf, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin) and the related catalog. He is currently working on a retrospective of the dancer Blondell Cummings.

Neil Printz is the Editor of the Andy Warhol Catalogue Raisonné: Paintings, Sculptures and Drawings, sponsored by the Andy Warhol Foundation for the Visual Arts in New York. Dr. Printz began working on the Catalogue Raisonné in 1993, and is now preparing the manuscript for Volume 6: Paintings 1978-1980. He is also working on a companion volume that will be dedicated to Warhol’s drawings of 1970s. The Catalogue Raisonné was initiated by the late Swiss art dealer Thomas Ammann in 1977 when Warhol was in mid-career. Volumes 1 and 2: Paintings and Sculpture 1961-1963 and Paintings and Sculptures 1964-1969 were published by Phaidon Press in 2002 and 2004 in cooperation with Thomas Amman Fine Art, Zurich and Georg Frei as Co-Editor. Volumes 3-5: Paintings and Sculptures 1970-1974, Paintings and Sculpture late 1974-1976, and Paintings 1976-1978 were published by Phaidon in 2010, 2014 and 2018. Each volume comprehensively documents Warhol’s work during a particular period, discusses his sources, working materials and techniques, and reconstructs his various studios and important exhibitions of his work. Catalogue entries for each work include detailed histories of ownership, exhibitions and literature. As a research curator at The Menil Collection, he co-organized two exhibitions of Warhol’s work with the curator Walter Hopps: Warhol Shadows in 1987 and Andy Warhol: Death and Disaster in 1988. He completed his dissertation on Warhol’s early work, “Other Voices, Other Rooms”: Between Andy Warhol and Truman Capote 1948-1961 at the Graduate Center, City University of New York in 2000.  Between 1999 and 2004, he initiated work on a catalogue raisonné of the sculpture, design, and drawings of the Japanese-American artist Isamu Noguchi, sponsored by the Isamu Noguchi Foundation, New York.

Michele Robecchi lives and works in London, where he sees to the Contemporary Art publications for Phaidon Press. He edited monographs dedicated to Francis Alÿs, Mark Bradford, Lili Reynaud-Dewar, Elmgreen & Dragset, Sharon Hayes, Jannis Kounellis, Yayoi Kusama, Kerry James Marshall, Trevor Paglen, Frank Stella, Sarah Sze, Adrián Villar Rojas and others. He was one of the curators of the first and second editions of the Tirana Biennale (2001-2003) and he served on the selection committee for the Swiss Pavilion at the Venice Bennale (2017-2019). He regularly collaborates with numerous magazines, such as “Art in America”, “Art Pulse”, “The Brooklyn Railway”, “Camera Austria”, “Flash Art”, “Interview” and “Mousse”. He is author, together with Francesca Bonazzoli, of Io sono un Mito: I capolavori dell’arte che sono diventate icone del nostro tempo (2013) and Smascherati: Storie e segreti dietro i ritratti più famosi (2018). From 2008 to 2018 he was Visiting Professor at Christie’s Education, London.

Chiara Sarteanesi is Curator and Conservator of the Artistic Heritage at Fondazione Palazzo Albizzini Collezione Burri. She published, amongst others, the volume Fondazione Burri (Skira, 1999) and, recently, Burri. The Permanent Collection of Graphic Work (Fondazione Palazzo Albizzini Collezione Burri, 2017). She co-curated several exhibitions with Maurizio Calvesi: in 2002, Alberto Burri, Sala Espositiva Chiostri San Domenico, Reggio Emilia; in 2006, Alberto Burri, Museo Nacional Centro arte Reina Sofia, Madrid; in 2008, Alberto Burri, Triennale, Milan. In 1998 she published Alberto Burri 1948-1993 (Skira). Sarteanesi has co-curated, together with Bruno Corà, the six volumes of the general catalog of Alberto Burri, an editorial project promoted and edited by Fondazione Palazzo Albizzini Collezione Burri, an institution established in 1978 in Città di Castello by the will of the artist and where the Burri Archive is active. The General Catalog documents the artist’s research through the color plates of the individual works accompanied by specially commissioned historical-critical essays, and a selected critical anthology that accompanies each volume: Pittura (dal 1945 al 1994) (volumes I, II and III); Tempere e disegni, sculture e scenografie; Opera grafica; Inventario cronologico.


Jörg Schellmann has been publishing contemporary art editions since 1969 through Edition Schellmann (Munich-New York). The first and one of his most significant collaboration was with Joseph Beuys, resulting in the publication of some of his best-known prints and objects, and the catalogue raisonné of his complete editions, currently released in its eighth edition. Later, Edition Schellmann published prints and objects by Andy Warhol, Christo, Jannis Kounellis, and Donald Judd, and published the catalogues raisonnés for these artists as well. In 1989 the publishing activities of Edition Schellmann were honoured by an exhibition at the MoMA-Museum of Modern Art, New York (For 20 Years: Editions Schellmann). In 1997 Edition Schellmann was commissioned to publish and distribute the official documenta X and documenta 11 editions consisting of fifteen artworks each. In 2003 and 2005, Schellmann published prints and objects for the 50th and 51st Venice Biennale.    

Antonella Soldaini was Curator at the Centro Pecci in Prato, under the direction of Ida Panicelli (1993-1994), and between 1994 and 1995 she was temporary regent of the same institution. In those years she collaborated on exhibitions such as Inside out (1993), curated by Panicelli, Robert Mapplethorpe (1993-1994) curated by Germano Celant, and produced the first exhibition in an Italian public museum by Jan Fabre (Jan Fabre: questa pazzia è fantastica, 1994), as well as other solo exhibitions, including the one dedicated to Marco Bagnoli (1995-1996), and group exhibitions. She has collaborated with several institutions including Whitechapel Gallery, London, Museum of Contemporary Art, Sydney, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin, MADRE, Naples, Triennale di Milano, Milan and the Venice Biennale. With Celant she was also Curator and Associate Editor at the Fondazione Prada in Milan, taking care of numerous scientific publications and catalogues raisonnés which became reference monographs for the method adopted. Soldaini is currently Director of the Mimmo Rotella Institute, Milan, for which she curated exhibitions at the Palazzo Reale in Milan (2014) and at the Museo Casa Rusca, Locarno (2016), followed by the most comprehensive retrospective ever dedicated to the artist, curated by her with Celant at the Galleria Nazionale di Roma in 2018.

Nancy Spector is Artistic Director and Jennifer and David Stockman Chief Curator at the Solomon R. Guggenheim Museum, New York. She organized exhibitions dedicated to artists such as Felix Gonzalez-Torres, Richard Prince, Louise Bourgeois, Marina Abramović, Tino Sehgal and Maurizio Cattelan (All), to Matthew Barney’s Cremaster cycle and to the engagement by Barney with Joseph Beuys’ work (All in the Present Must Be Transformed: Matthew Barney and Joseph Beuys). Spector also conceived important group shows including Moving Pictures, Singular Forms (Sometimes Repeated) Theanyspacewhatever, and Artistic License: Six Takes on the Guggenheim Collection, together with the related catalogs. She was adjunct curator of the 1997 Venice Biennale and co-organizer of the first Berlin Biennial in 1998. She contributed to numerous books on contemporary visual culture with essays on artists such as Luc Tuymans, Douglas Gordon and Anna Gaskell. In 2007 she was the U.S. Commissioner for the Venice Biennale, where she presented an exhibition of work by Felix Gonzalez-Torres. Spector is a recipient of the Peter Norton Family Foundation Curators Award, five International Art Critics Association Awards, and a Tribeca Disruptive Innovation Award for her work on YouTube Play, a Biennial of Creative Video.

Marianna Vecellio is curator, researcher and writer. She is art historian with a master’s degree in Modern and Contemporary Art at La Sapienza – Università di Roma. Since 2012 she is Curator at Castello di Rivoli Museo d’Arte Contemporanea, Rivoli–Torino, where she started working in 2007. She has conceived and realized exhibitions and publications with a particular focus on the subjectivity in digital society. Amongst these: Massimo Grimaldi. Before The Images (2009), Intenzione Manifesta (2013-14), Paloma Varga Weisz (2015-16), Rachel Rose (2016-17), Ed Atkins (2016-17), Cécile B. Evans (2017-18), Anna Boghiguian (2017-18), Cally Spooner (2018-19), Hito Steyerl. The City of Broken Windows (2018-19), Michael Rakowitz. Imperfect Binding (2019-20), Claudia Comte, (2019-20), Pedro Neves Marques (2019-20), Renato Leotta (2020). At Castello di Rivoli she has also conceived and curated the transdisciplinary projects Abitare il minerale (2018) and Comp(h)ost (2019-20), exploring the new forms of coexistence and transformation of the living between ecology and post-human. She edited the monographs John McCracken and Luigi Ontani, as well as the scientific apparatus of the first reference monographs of Gianni Piacentino, Robert Overby, Giorgio Griffa; she issued essays in catalogs of international institutions such as Le Consortium, Dijon, Bergen Kunsthall, Bergen, Centre d’Art Contemporain, Geneva, Serralves Foundation, Porto, Whitechapel Gallery, London, The Sharjah Art Foundation, Sharjah. She collaborates with Italian and international magazines, including “Flash Art andL’Officiel. From 2009 to 2016 she was member of the Commission for Public Art of the City of Turin. Since 2016 Vecellio is Chief Curator of Curva Blu, a residency program for international artists in Favignana (Trapani).