Who we were
Curators

Anna Colin

Anna Colin (1981) is a freelance curator and art critic based in London. She has been announced as the curators for quinquennial British Art Show, the eighth edition of which opens in October 2015 in Leeds, and tours to Edinburgh, Norwich and Southampton. She was previously associate director at Bétonsalon – centre for art and research in Paris (2011-12) and exhibitions curator at Gasworks, London (2007-10) where she curated group and solo exhibitions with artists including Matthew Darbyshire, Olivia Plender, The Otolith Group, Gail Pickering and Martin Beck. Colin curated exhibitions and projects in spaces including the Whitechapel Gallery, London; Victoria Gallery & Museum, Liverpool; Le Quartier, contemporary art centre of Quimper; La Synagogue de Delme, Delme; la Maison populaire, Montreuil; Galleria d’Arte Moderna, Turin; CIC Cairo; and The Women’s Library, London. Between 2002 and 2007 she produced and led a radio programme about visual art and audio for Resonance (London). In 2005 curated with Tobi Maier 2Six Sites for Sound" (London), an artistic project about the sound. In 2006 she curated Radio Gallery – radiogallery.org – (London).

Elena Sorokina

Elena Sorokina is a Russian-born, Paris based curator and art historian, alumna of the Whitney Museum of American Art ISP in New York. She was Chief-curator of the Celeste Prize in 2014. She recently co-organized Spaces of Exception, a special project for the Moscow Biennial, symposium What is a postcolonial exhibition?, a collaborative project of SMBA/Stedelijk Museum Amsterdam and is currently working on a special project for the upcoming Moscow Biennial. Her recent exhibitions include (selection): Temps Trituré. Agnes Varda at LVMH in Brussels, Petroliana at Moscow Museum of Modern Art; Laws of Relativity at the Fondazione Sandretto Re Rebaudengo, Turin; On Traders' Dilemmas (Tracing Roads Through Central Asia) at Yerba Buena Center for the Arts, San Francisco; Scènes Centrales at Tri Postal, Lille; Etats de l'Artifice at the Musee d'Art Moderne de la Ville de Paris, and others. She published in numerous catalogs, and has been writing for Artforum, Flash Art, Cabinett Magazine, Manifesta Journal, Moscow Art Magazine, and other publications. Sorokina is a frequent speaker in international conferences and has been invited as guest lecturer to ISCP, New York; Garage CCC, Moscow; HISK, Gent; and other institutions.

Jimena Acosta

Elena Sorokina is a Russian-born, Paris based curator and art historian, alumna of the Whitney Museum of American Art ISP in New York. She was Chief-curator of the Celeste Prize in 2014. She recently co-organized Spaces of Exception, a special project for the Moscow Biennial, symposium What is a postcolonial exhibition?, a collaborative project of SMBA/Stedelijk Museum Amsterdam and is currently working on a special project for the upcoming Moscow Biennial. Her recent exhibitions include (selection): Temps Trituré. Agnes Varda at LVMH in Brussels, Petroliana at Moscow Museum of Modern Art; Laws of Relativity at the Fondazione Sandretto Re Rebaudengo, Turin; On Traders' Dilemmas (Tracing Roads Through Central Asia) at Yerba Buena Center for the Arts, San Francisco; Scènes Centrales at Tri Postal, Lille; Etats de l'Artifice at the Musee d'Art Moderne de la Ville de Paris, and others. She published in numerous catalogs, and has been writing for Artforum, Flash Art, Cabinett Magazine, Manifesta Journal, Moscow Art Magazine, and other publications. Sorokina is a frequent speaker in international conferences and has been invited as guest lecturer to ISCP, New York; Garage CCC, Moscow; HISK, Gent; and other institutions.

Coordinator

Francesco Manacorda

Francesco Manacorda (1974,Turin) is an independent curator based in London. He graduated from the University of Turin and received an M.A. in curating contemporary art from the Royal College of Art, London, in 2003. He was appointed artistic director of Artissima in 2010, the international art fair of contemporary art in Turin, and since 2012 artistic director of the Tate Liverpool. He worked as a curator at the Barbican Art Gallery, London, (2007–09), and his freelance practice has included curating Subcontinent: The Indian Subcontinent in Contemporary Art, Fondazione Sandretto Re Rebaudengo, Turin (2006) and national pavilions at the 52nd Venice Biennial (Tobias Putrih, Slovenian Pavilion, 2007 and Francis Upritchard, New Zealand Pavilion, 2009). He has written extensively for Domus, Flash Art Italia, Flash Art International, Frieze, Metropolis M, Piktogram, Untitled, and Art Review.

JURY

Francesco Bonami

Francesco Bonami (1955, Florence) has been senior curator at the Museum of Contemporary Art in Chicago from 1999 to 2008. He also was artistic director of the Fondazione Sandretto Re Rebaudengo in Turin since its foundation (now honorary director), Fondazione Pitti Discovery in Florence and the contemporary art center Villa Manin, Udine, Italy. He was the director of the 50th Venice Biennial of Visual Arts in 2003, and he was the first Italian curator at the Whitney Museum of American Art Biennial. He curated several international exhibitions like The Universal Experience at the Hayward Gallery in London, the Whitney Museum of America Art Biennial in 2010, and of the first edition of the Turin Triennial in Italy. He is a regular contributor to the Italian daily Il Riformista, Zero and Vanity Fair Italy. Until 2013 he was director of Tar, a magazine of art and culture. In 2010 he received the Légion d'honneur of the Franch Republic. He published several books among which Lo potevo fare anch'io. Perché l'arte contemporanea è davvero arte (2009), Dopotutto non è brutto (2010), Si crede Picasso (2010) and Maurizio Cattelan. Autobiografia non autorizzata (2011). Among his last exhibitions, the Takashi Murakami's solo exhibition, Il Ciclo di Arhat, (Milan, 2014) and The see is my land – Artisti dal Mediterraneo, at the Milan Triennial with Emanuela Mazzonis (Milan, 2014, and MAXXI, Rome, 2013).

Ralph Rugoff

Ralph Rugoff (1957, New York) has been chosen to curate the 2015 Lyon Biennial. He is director of the Hayward Gallery in London, and since his appointment in 2006, he has curated numerous exhibitions including, Psycho Buildings: Artists Take On Architecture, The Painting of Modern Life and most recently, Jeremy Deller: Joy in People. He was previously director of the California College of the Arts (CCA) Wattis Institute for Contemporary Arts, and was the founding chair of CCA’s Graduate Program in Curatorial Practice. In 2002 Ralph served as a curatorial advisor to the Sydney Biennial, and in 2005 he was a curatorial correspondent for the Turin Triennial. In December 2005, he was awarded the Katherine Ordway Prize given in recognition of important contributions to the field of contemporary arts and letters. His publications include monographs on George Condo, Mark Wallinger and Anya Gallacio, as well as Circus American, Scene of the Crime, and at the Threshold of the Visible.

Teresa Gleadowe

Teresa Gleadowe (London) is a curator, writer, and editor with extensive experience in contemporary visual arts, both nationally and internationally, and Chair of Nottingham Contemporary. She was a member of the Furla Prize 2015. She worked for the Visual Arts Department of the British Council, London, and the Tate Gallery, London, as head of information. In 1992 she joined the academic staff of the Royal College of Art, London, to develop and lead the curating course. She was head of the Curating Contemporary Art department until the summer of 2006, when she left the college to work freelance. From 2006 to 2012 she was Research Consultant and Series Editor for the Exhibition Histories series published by Afterall. She has also taught on curatorial programmes at California College of the Arts, San Francisco; de Appel, Amsterdam; the London Consortium MA Film Curating; the MA Curating at Chelsea College of Art and Design; and on the Curatorial Intensive run by Independent Curators International in New York in July 2011. She has co-convened two conferences with Kitty Scott for the Banff International Curatorial Institute and a symposium, On Remoteness (2013). She is a member of the Advisory Board of PEER, a member of the ICA’s Artists Advisory Committee, a specialist adviser to The John Lyon’s Charity and a member of AICA and ICOM. She is also Chair of CAST (the Cornubian Arts & Science Trust), a new charity based in Helston, Cornwall, created in 2012.

Logbook

Young Curators Residency Programme 2007

Curated by Francesco Manacorda

Inscriptions

Curated by Jimena Acosta Romero

Palazzo Re Rebaudengo, Guarene d’Alba, Cuneo, Italy
May 26 – September 30, 2007

Through different strategies, the artists in Inscriptions reveal the cultural and productive specificities inscribed on an object or a place. Carola Bonfili, Enrica Cavarzan, Lara Favaretto and Paolo W, Tamburella employ an archaeological strategy by reclaiming life's disposed, abandoned and lost commodities; while Alessandro Piangiamore and Wolfgang Berkowski, dislocate the iconography of cities and landmarks through subtle but powerful gestures, which they document in photography and video. The works in this exhibition put forward historical connections of different social realities and locations, allowing traces of the urban experience to surface.

Young Curators Residency Programme 2007


Curated by Francesco Manacorda



Laws Of Relativity


Curated by Anna Colin and Elena Sorokina

Palazzo Re Rebaudengo, Guarene d’Alba, Cuneo, Italy
May 26 – September 30, 2007

Laws of Relativity brings together works that reflect on the tension between the legal and the illegal in Italy and abroad. The project sheds light on practices that query how laws – both constitutional laws and unwritten – function, as well as how they are established and justified in both the short and long-term. In works that refer to particular cultural, historical, economical, political and geographical contexts, the contributing artists put forward the relativity of the notion of legality and legitimacy. Whether they have been specifically produced for this exhibition, or have previously existed, the works and projects presented – from film, video and audio recording to photography, drawing and archival solution – provide different takes and strategies to address this issue and to navigate the spaces in between the legal and the illegal.

Some of the artist in the show opt for a Journalistic or sociological approach, such as Elena Nemkova, who records a Russian art dealer as he recounts his involvement in crooked businesses before he became a full-time gallerist. With a similar reportage posture, Mario Spada has located and photographed the ruins of the delirious villas of imprisoned gangsters, burnt according to their owners instructions in order to prevent access, and Eugenio Tibaldi has spent seven years carefully mapping the illegal architecture of Naples suburbs through primary research, mainly by talking to the inhabitants of the status- less building units and complexes. Conversely, Paolo Pennuti approaches his subject – Biloxi, Missisippi, only four months after being hit by hurricane Katrina – through documentary and act of mapping, which he then takes the freedom to reinterpret.

Detachment from the subject under scrutiny is not the exhibition general rule, some artists contribute anecdotes from their own experience or from collective experiences they have chosen to make theirs. Goldiechiari have made visible certain documents relating to the public prosecutors seizures to which they have been subjected for making a sound piece that mixed Italian national anthem whit the sounds of a toilet flushing. Through their work legal support, Alterazioni Video have brought to our attention another legal case: one resulting from the materials damaged caused by demonstrators during the G8 protests in Genova in 2004. Also contesting a seemingly arbitrary governmental decision – namely the eviction of sans-papiers from a building in Rome in 2004 – FORMAZERO have been providing support of a structural and diplomatic kind to evicted squatters. In all three cases, what is known as legal action is presented as contestable by the artists who dispute its applications. While operating according to similar incentives – i.e. weighing the juridical against the human – collective initiatives Isola Art Center and Orfeo Tv-Telestreet go one step further in their attempt to bring citizens more rights then they are actually granted, or then they think they have. Instituted in Milan in 2002 by critics, curators and artists, Isola Art Center is a project that has gathered neighbours' associations to joint forces against developers' speculation, by demanding the group's rights to be involved in any decision regarding the demolition of an area of the town they have occupied for cultural activities. Following on from the 1970s tradition of free radio in Italy, Bologna-based Orfeo Tv-Telestreet exercises the brechtian claim over media as a two-way means of communication – also a constitutional right stated in article 21 of the Italian constitution. For Laws of relativity, Isola Art Center and Orfeo Tv-Telestreet present works that epitomise their approach to artistic action: one based on ethical know-how.

Favouring critique over action, Claire Fontaine brings lights, literally, to an excess of power. On 22 March 2006, the mayor of Milan orders the substitution of the plaque commemorating Giuseppe Pinelli's death and reading “Killed innocent”, for a new one saying “Died accidentally”. As a direct response to it, Claire Fontaine has restored the original terminology which she has rendered in white neon. In Flessibilità negativa (2006), Annapaola Passarini also approaches questionable decision and rules, more specifically in the field of employment law. The artist examines the precariousness of the current working condition as observed in European industries increasingly threatened by outsourcing.

And alongside the above mentioned strategies, other artists privilege less tangibles modes of address. Ana Maria Bresciani's transparent drawing alluding to surveillance use a metaphorical approach, while Andrea Salvino presents a collection of icons of protest and power from political and cinematographic sources, as for Armando Lulaj, his choice of imagery is an oblique way of representing the porous notion of illegal and legal in a post-communist like Albania.

Irony is another strategy found in Laws of relativity, as in Paolo Chiasera's myth, Young Dictators' village, where aspirant but idle “famous dictators” from Idi Amin to Mao, cohabit. Sarcasms too is used by Lorenzo Scotto di Luzio in Dreams and conflicts (2003), a fake pass to the Venice Biennial, and by Italo Zuffi in his film documenting a performance in which the singer of a band shouts the ranking of an Italian artists taken from a poll organised by Flash Art in 2006.

Unsurprisingly, the art world, like any other reality, is present as a topic in this exhibition. If Lorenzo Scotto di Luzio and Italo Zuffi contests the art world's legitimacies, Claire Fontaine – with Passe-partout - a burglar kit to facilitate breaking into all types of buildings and vehicles - quote the “exceptional” legislation of which the art gallery has often been the recipient. From a more askew viewpoint goldiechiari's documentation piece equally illustrates the limits of the art world's status. Laws of relativity is designed by Lupo&Burtscher, also responsible for the design of the archive complied by the curators together with Jimena Acosta Romero during their research throughout Italy this spring. Composed by audiovisual and printed material included exhibition catalogues and artists' book, the archive's content reflects upon the issue dealt with in both exhibitions, while opening them up to wider possibilities.

Artists

Alterazioni Video
Legal support fund raising, 2004
8 video on monitors, print on paper, Variable dimensions, Courtesy of the artists (installation view)

Alessandro Piangiamore
L'osso è sacro, 2005
Lamba print, 100 x 100 cm, Courtesy of the artist

Ana Maria Bresciani
Kneb 30, 2007
Marker on glass / photography on paper b/w , Courtesy of the artist (installation view)

Andrea Salvino
History du cinéma / Actualité de l'histoire / Historie des actualités, 2007
4 posters and 1 drawing , 88 x 68 cm each , Courtesy of the artist , (installation view)

Annapaola Passarini
Negative Flexibility, 2005
Color slides and audio - 6'40'' - Courtesy of the artist

Armando Lulaj
Shadow Starved, 2004
b/w prints on photographic paper , 40 x 27.2 cm each , Courtesy of the artist , (installation view)

Carola Bonfili
(Jenny and Freddy in the bath-tub), 2006
school-desk with digital print, 77 x 130 x 51 cm, (detail)

Claire Fontaine
Killed innocent, 2006
White plaque, white neon, cables and transformers , 140 x 115 cm , Courtesy of the artist and T293 Gallery, Naples , (installation view)

Goldiechiari
Submerged struggle, 2002
lambda print , 160 x 110 cm , Courtesy of Spencer Brownstone Gallery, New York

Elena Nemkova
Gallerist's tales, 2006 – 2007
Gallerist's tales, 2006 – 2007 , Sound piece, audio CD, MP3, portable CD player and headphones 12' , Courtesy of the artist (video frames)

Eugenio Tibaldi
Geografica Economica 02, 2006
Floor piece, white acrylic on satellite photo on wood, plexiglas , 400 x 400 x 2,6 cm , Courtesy of Umberto Di Marino Art Gallery, Naples , Photo by Pasquale Di Stasio

Formazero
Euphonia_01, 2004
Equipment, video on monitor and booklet designed by Lupo&Burtscher 22' , Courtesy of FORMAZERO (installation view)

Isola Art Center
Organised by Bert Theis and Katia Anguelova, 2007
Installation , Courtesy of the artist , (installation view)

Italo Zuffi
List (Flash Art 2006), 2006
Video documentation , Courtesy of the artist , (still from the video)

Lara Favaretto
Lost and Found, 2007
Black leather suitcase, 55 x 80 x 20 cm, Courtesy of Franco Noero, Turin

Lorenzo Scotto di Luzio
Lupo & Burtscher
Unclassified, 2007
Seven wooden elements with metal framework , Courtesy of the artist , (installation view)

Dario Spada
Scarface, 2005
Series of b/w photograph pigment prints on fine art pearl canvas , four 80 x 80 cm / one 80 x 120 cm , Courtesy of the artist ,(installation view)

Orfeo Tv-Telestreet
Antennas, 2006
Video, 3'49'' - Shot in Rotterdam and broadcast on VPRO Dutch National Television, January 2006, prime time - Collection of Telestreet Network

Paolo Chiasera
Young Dictators' Village trailer, 2004
Video, 1' , Courtesy of Massimo Manini Gallery, Brescia, Italy, and Francesca Minini Milan

Paolo Pennuti
Paolo W. Tamburella
Kalpantukali, 2006
400 punctured, deflated Indian footballs opened and stitched together, 410 x 532 cm, Courtesy of the artist, (installation view)

Wolfgang Berkowski
Veduta / 0:0, 2007
Video projection, 4'46'' , Courtesy of the artist (video still)