{"id":101668,"date":"2021-05-17T17:46:50","date_gmt":"2021-05-17T15:46:50","guid":{"rendered":"https:\/\/www.castellodirivoli.org\/comunicato\/digital-ptsd-part-ii-the-practice-of-art-and-its-impact-on-digital-trauma\/"},"modified":"2025-12-23T16:39:16","modified_gmt":"2025-12-23T15:39:16","slug":"digital-ptsd-part-ii-the-practice-of-art-and-its-impact-on-digital-trauma","status":"publish","type":"comunicato_stampa","link":"https:\/\/www.castellodirivoli.org\/en\/comunicato\/digital-ptsd-part-ii-the-practice-of-art-and-its-impact-on-digital-trauma\/","title":{"rendered":"Digital PTSD Part II. The Practice of Art and Its Impact on Digital Trauma"},"content":{"rendered":"

Castello di Rivoli Museo d\u2019Arte Contemporanea presents the second part of a program of talks, conversations and artworks entitled\u00a0Digital PTSD. The Practice of Art and Its Impact on Digital Trauma<\/em><\/strong>\u00a0developed in the framework of the exhibition\u00a0Espressioni. The Proposition.<\/em><\/p>\n

Digital PTSD. Part II<\/em>\u00a0is presented at\u00a0Castello di Rivoli Theatre<\/strong>\u00a0(free access with Museum ticket,\u00a0booking is essential<\/a>) and\u00a0live streamed on both\u00a0<\/strong>e-flux<\/strong><\/a>\u00a0and\u00a0<\/strong>Castello di Rivoli websites<\/strong><\/a>\u00a0(please register\u00a0here<\/a>).<\/p>\n

It is counterintuitive, but\u00a0Digital PTSD<\/em><\/strong>\u00a0presents through an online platform a critique of the potential misuse of technologies by proposing an interdisciplinary enquiry into the possibility that a\u00a0trauma from hyper-digitisation<\/strong>\u00a0may be emerging, at both individual and collective level. In the context of society\u2019s growing reliance on online technologies and Artificial Intelligence,\u00a0Digital PTSD<\/em>\u00a0questions whether these tools may be sources of psychological distress, undermining physical and mental well-being as well as facilitating the affirmation of a technocracy which ultimately poses a threat to our health and social justice. What are the traumatic consequences of the sudden increase in virtual activities during a period when spaces of aggregation, such as museums, have been in extended lockdown?\u00a0Digital PTSD<\/em>\u00a0invites to reflect on screen-based experience, the physical erosion of living matter, the transformation of life into big data and the new\u00a0digital epistemic regime<\/strong>.<\/p>\n

Participants in\u00a0Part II\u00a0<\/em>include:\u00a0Ed Atkins<\/strong>, artist;\u00a0Janet Cardiff and George Bures Miller<\/strong>, artists;\u00a0Carolyn Christov-Bakargiev<\/strong>, director of the museum;\u00a0Devra Davis<\/strong>, epidemiologist, activist;\u00a0Irene Dionisio<\/strong>, author, director, visual artist;\u00a0Aikaterini Fotopoulou<\/strong>,\u00a0psychodynamic neuroscientist;\u00a0Vittorio Gallese<\/strong>, cognitive neuroscientist;\u00a0Vincent Hendricks<\/strong>, philosopher, logician;\u00a0Catherine Malabou<\/strong>, philosopher;\u00a0Otobong Nkanga<\/strong>,\u00a0<\/strong>artist;\u00a0Tabita Rezaire<\/strong>, artist, devotee, yogi, doula, soon to be farmer;\u00a0Legacy Russell<\/strong>, curator, writer;\u00a0Miao Ying<\/strong>, artist.<\/p>\n

The event runs from 15:00 to 22:00 CEST (Central European Standard Time). Further information and program\u00a0here<\/a>.<\/p>\n

Digital PTSD \u2013 Part I<\/em>\u00a0took place on December 12, 2020, including:\u00a0Tabita Rezaire<\/strong>, artist;\u00a0Carolyn Christov-Bakargiev<\/strong>, museum director, exhibition maker, writer;\u00a0Beatriz Colomina & Mark Wigley<\/strong>, architectural historians, theorists, curators;\u00a0C\u00e9cile B. Evans,<\/strong>\u00a0artist;\u00a0Matteo Pasquinelli<\/strong>, cognitive sciences, digital economy, machine intelligence\u00a0theorist;\u00a0Hito Steyerl,\u00a0<\/strong>filmmaker, visual artist, writer, and innovator of the essay documentary;\u00a0Grada Kilomba<\/strong>, artist and writer;\u00a0Anne Imhof<\/strong>, artist musician;\u00a0Bracha L. Ettinger<\/strong>, painter, theorist, psychoanalyst;\u00a0\u00c9ric Sadin,<\/strong>\u00a0writer and philosopher;\u00a0Vittorio Gallese<\/strong>, cognitive neuroscientist;\u00a0Ophelia Deroy<\/strong>, philosopher and cognitive neuroscientist;\u00a0Griselda Pollock<\/strong>, feminist-postcolonial-queer-international art historian and cultural analyst;\u00a0Agnieszka Kurant,<\/strong>\u00a0artist;\u00a0Cally Spooner,<\/strong>\u00a0artist;\u00a0Chus Mart\u00ednez,<\/strong>\u00a0curator and writer;\u00a0Stuart Ringholt<\/strong>, artist;\u00a0Marcos Lutyens<\/strong>, artist and hypnotist.\u00a0<\/em>Documentation of the full event can be watched\u00a0here<\/a>.<\/p>\n

Digital PTSD.\u00a0The Practice of Art and Its Impact on Digital Trauma<\/em>\u00a0is a research program initiated and curated by\u00a0Carolyn Christov-Bakargiev\u00a0<\/strong>with\u00a0Stella Bottai\u00a0<\/strong>and\u00a0Giulia Colletti.<\/strong><\/p>\n

DIGITAL PTSD \u2013 PART II<\/strong><\/h2>\n

PARTICIPANTS BIOGRAPHIES<\/strong><\/h2>\n

\"\"<\/a><\/strong><\/p>\n

Ed Atkins<\/strong>\u00a0lives and works in Copenhagen. His upcoming solo exhibition\u00a0Get Life \/ Love\u2019s Work\u00a0<\/em>opens at the New Museum in New York in June 2021. Forthcoming exhibitions aslo include Tank, Shanghai, and Tate Britain. Recent solo exhibitions include Kunsthaus Bregenz and K21 D\u00fcsseldorf (both 2019); Martin-Gropius-Bau, Berlin; MMK Frankfurt; DHC\/ART, Montr\u00e9al (all 2017); Castello di Rivoli and Fondazione Sandretto Re Rebaudengo, Turin; The Kitchen, New York (all 2016). An anthology of his texts,\u00a0A Primer for Cadavers<\/em>, was published by Fitzcarraldo in 2016. An epic nothing,\u00a0Old Food<\/em>, was published by Fitzcarraldo in 2019.\u00a0A new book of his drawings for children is published by Koenig Books this Spring.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Janet Cardiff and George Bures Miller<\/strong>\u00a0live and work in British Columbia. The artists are internationally recognized for their immersive multimedia sound installations and their audio\/video walks. They have created recent video walks at the Walt Disney Concert Hall in Los Angeles (2019), and for the Fruitmarket Gallery in Edinburgh (2019). Cardiff and Miller have shown at the Museum of Modern Art in New York (2019) Museum of Contemporary Art in Monterrey, Mexico (2019); Oude Kerk, Amsterdam (2018);\u00a021st Century Museum, Kanazawa, Japan (2017) and Fondation Louis Vuitton, Paris (2017). In 2020 they were awarded the Wilhelm Lehmbruck prize for sculpture. In 2001, Cardiff and Miller represented Canada at the 49th Venice Biennale, for which they received the Premio Speciale and the Benesse Prize.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Carolyn Christov-Bakargiev<\/strong>\u00a0is a writer, art historian and curator. Currently, she is the Director of Castello di Rivoli Museo d\u2019Arte Contemporanea and Fondazione Francesco Federico Cerruti in Turin. She is the recipient of the 2019 Audrey Irmas Award for Curatorial Excellence. She was Edith Kreeger Wolf Distinguished Visiting Professor in Art Theory and Practice at Northwestern University (2013-2019). Christov-Bakargiev was Artistic Director of dOCUMENTA (13) in 2012 in Kassel, Banff, Alessandria-Cairo and Bamiyan-Kabul. In 2008, she directed the Sydney Biennale and the Istanbul Biennale in 2015.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Devra Davis,\u00a0<\/strong>Ph.D. MPH, is Founder and President of Environmental Health Trust (EHT), a US-based not-for-profit organization providing research and education on avoidable environmental health hazards, including radio-frequency radiation, pesticides and toxic chemicals. A former senior official in the Clinton administration and an executive director at the US national Academy of Sciences, Davis served as a Lead Author of the United Nations\u2019 Intergovernmental Panel on Climate Change (1998-2002), and was part of the team awarded the Nobel Peace Prize in 2007 along former US vice-president Al Gore. Author of over 200 scientific publications and three popular books, Davis holds visiting professor appointments at several universities.\u00a0<\/strong><\/p>\n

\"\"<\/a><\/strong><\/p>\n

Irene Dionisio<\/strong>\u00a0is a filmmaker and artist. Her productions span video-installations, documentaries, films including\u00a0Le ultime cose<\/em>\u00a0(2016),\u00a0Sponde<\/em>\u00a0(2015), and\u00a0La fabbrica \u00e8 piena<\/em>\u00a0(2011) which were featured at many international festivals (Festival di Venezia, Torino Film Festival, Visions du R\u00e9el, Taiwan Film Festival, among others) and were awarded Premio Filmmaker, Premio Solinas, Premio Scam and and Jury Prize at Cinema-Verit\u00e9 in Iran. Dionisio\u2019s work has been featured in solo and group exhibitions at Magazzino Italian Art, New York; PAC, Milan; OCAT, Shanghai; Palazzo Grassi, Venice; amongst others.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Aikaterini (Katerina) Fotopoulou<\/strong>, PhD, DPsych is Professor of Psychodynamic Neuroscience at University College London, leading research on the mental-physical health interface, including the European Research Council programme grants BODILY SELF and METABODY (www.fotopoulou.com). Fotopoulou has received several awards for her research, including the Distinguished Young Scientist Award (2014) by the World Economic Forum and the Early Career Award of the International Neuropsychology Society (2016). She is co-founder and Treasurer of the International Association for the Study of Affective Touch (IASAT), board member of the European Society for Cognitive and Affective Neuroscience, and co-editor of the volume\u00a0From the Couch to the Lab: Trends in Psychodynamic Neuroscience,<\/em>\u00a0Oxford University Press, 2012.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Vittorio Gallese,<\/strong>\u00a0MD and trained neurologist, is Professor of Psychobiology and Cognitive Neuroscience at the Dept. of Medicine & Surgery of the University of Parma, Italy. Cognitive neuroscientist, his research focuses on the relation between the sensory-motor system and cognition by investigating the neurobiological and bodily grounding of intersubjectivity, psychopathology, language and aesthetics. He is the author of more than 300 scientific publications and three books.<\/p>\n

\"\"<\/p>\n

Vincent F. Hendricks<\/strong>\u00a0is Professor of Formal Philosophy at The University of Copenhagen. He is Founder and Director of the Center for Information and Bubble Studies (CIBS) financed by the Carlsberg Foundation and was awarded the Elite Research Prize by the Danish Ministry of Science, Technology and Innovation and the Roskilde Festival Elite Research Prize both in 2008. He was Editor-in-Chief of\u00a0Synthese: An International Journal for Epistemology, Methodology and Philosophy of Science<\/em>\u00a0between 2005-2015.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Catherine Malabou<\/strong>\u00a0is a Professor of Philosophy at the Centre for Research in Modern European Philosophy, at Kingston University London, and in the departments of Comparative Literature and European Languages and Studies at University of California Irvine. Her last books include\u00a0Before Tomorrow: Epigenesis and Rationality<\/em>\u00a0(Cambridge: Polity Press, 2016, trans. Carolyn Shread);\u00a0Morphing Intelligence, From IQ to IA<\/em>\u00a0(New York: Columbia University Press, 2018, trans. Carolyn Shread); and\u00a0Le Plaisir effac\u00e9, Clitoris et pens\u00e9e\u00a0<\/em>(Rivages, 2020).<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Otobong Nkanga<\/strong>\u00a0lives and works in Antwerp. Her solo exhibitions include Castello di Rivoli Museo d\u2019Arte Contemporanea, Rivoli-Torino (upcoming); Middlesbrough Institute of Modern Art, Middlesbrough (2020-21); Martin Gropius Bau, Berlin and Henie Onstad Kunstsenter, H\u00f8vikodden (both 2020); Zeitz MOCAA, Cape Town; Tate St Ives (both 2019-20); Museum of Contemporary Art, Chicago (2018). Additionally, her work has been included in institutional group exhibitions such as\u00a058th Venice Biennale (2019);\u00a0Sharjah Biennial 14 (2019); documenta 14,\u00a0Athens\u2013Kassel (2017);\u00a0Moderna Museet, Stockholm; Centre Pompidou, Paris (both 2016);\u00a013th Biennale de Lyon (2015).\u00a0In 2019, Nkanga received a Special Mention Award at the 58th International Art Exhibition of La Biennale di Venezia and was also awarded the Sharjah Biennial Prize (with Emeka Ogboh); the Peter-Weiss-Preis; and the Flemish Cultural Award for Visual Arts \u2013 Ultima.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Tabita\u00a0Rezaire<\/strong>\u00a0currently lives and works in Cayenne, French Guiana, where she is birthing\u00a0AMAKABA<\/a>.\u00a0<\/em>She is an artist-healer-seeker working with screens and energy streams. Her cross-dimensional practice envisions network sciences \u2013 organic, electronic and spiritual \u2013 as healing technologies to serve the shift towards heart consciousness. Navigating digital, corporeal and ancestral memory as sites of struggles, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality that affect the songs of our body-mind-spirits. She has shown her work internationally at Centre Pompidou, Paris; MoMa, New York; MASP S\u00e3o Paulo; Gropius Bau, Berlin; ICA and Tate Modern, London.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Legacy Russell<\/strong>\u00a0is a curator and writer. Born and raised in New York City, she is the Associate Curator of Exhibitions at The Studio Museum in Harlem. Her academic, curatorial, and creative work focuses on gender, performance, digital selfdom, internet idolatry, and new media ritual. She is the recipient of the Thoma Foundation 2019 Arts Writing Award in Digital Art, a 2020 Rauschenberg Residency Fellow, and a recipient of the 2021 Creative Capital Award. Her first book\u00a0Glitch Feminism: A Manifesto<\/em>\u00a0(2020) is published by Verso Books. Her second book,\u00a0BLACK MEME<\/em>, is forthcoming via Verso Books.<\/p>\n

\"\"<\/a><\/strong><\/p>\n

Miao Ying<\/strong>\u00a0is an artist based in New York and Shanghai. She is among the first generation of Chinese contemporary artists who grew up with the internet, Chinese economic reform and one-child policy, and were educated in both China and the West. She is known for her projects and writings addressing Chinese internet culture and dealing with her Stockholm Syndrome in relation to censorship. Her solo exhibitions include M+ Museum, Hong Kong (2018); New Museum, New York (2016); Chinese Pavilion, Venice Biennale (2015). Her work has been featured in international groups shows at Castello di Rivoli, Turin (2020); 12th Gwangju Biennale, South Korea (2018); MoMA PS1, New York (2017); UCCA, Beijing (2017), amongst others. She is recipient of the Porsche Young Chinese Artist of the year (2018- 2019).<\/p>\n","protected":false},"excerpt":{"rendered":"

Castello di Rivoli Museo d\u2019Arte Contemporanea presents the second part of a program of talks, conversations and artworks entitled\u00a0Digital PTSD. The Practice of Art and Its Impact on Digital Trauma\u00a0developed […]<\/p>\n","protected":false},"author":2,"featured_media":33593,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"tags":[],"class_list":["post-101668","comunicato_stampa","type-comunicato_stampa","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nDigital PTSD Part II - Castello di Rivoli<\/title>\n<meta name=\"description\" content=\"Read the press release about Digital PTSD Part II. 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