Who we were

Ginny Kollak

Ginny Kollak (1981, Albany, New York) is a curator, writer, and editor specializing in contemporary art. She is the curator of exhibitions at the Philip and Muriel Berman Museum of Art in Collegeville, Pennsylvania. She studied art history and English at Williams College and received a master’s degree from the Center for Curatorial Studies at Bard College in 2010. From 2003–2008, Kollak worked at the Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY, where the exhibitions she curated dipped into topics as diverse as sleepwalking, furniture, and the iconography of stripes including im Rollins and K.O.S.: A History (2009), Dario Robleto: Alloy of Love (2008–9), and America Starts Here: Kate Ericson and Mel Ziegler (2005). She received an MA from the Center for Curatorial Studies at Bard College. Most recently Kollak worked with the Stockholm-based artist duo Goldin+Senneby to produce a new episode of Headless, their ongoing project using strategies of fiction to investigate the shadowy realm of offshore finance, which included a research headquarters at CCS Bard and a mini-symposium co-organized with Rhizome and presented at the New Museum. She has published essays in the journal Alphabet Prime and the Tang exhibition catalogues Lives of the Hudson and Twice Drawn.

Padraic E.Moore

Pádraic E. Moore (1982, Dublin) is a writer, art historian and curator. Moore graduated from University College Dublin with a B.A. in History of Art and English literature in 2004 and produced several exhibitions and projects before and while completing his M.A. in Visual Art Practices (curating) at IADT from which he graduated in 2007. The various facets of Moore's practice are unified by his subjective but rigorous approach to Excavating art historical narratives. Moore worked as Exhibitions Curator at Dublin City Gallery The Hugh Lane from 2009 to 2010 and he participated at the postragraduate programme Curatorlab at Konstfack, Stockholm. Selected recent endeavours include: A Modern Panarion, Group Exhibition featuring Dorje de Burgh, Derek Jarman, Gunilla Klingberg, Bea McMahon, Richard Proffitt, Garrett Phelan, Dublin City Gallery The Hugh Lane (2014); Temple of Psychic Youth, Group exhibition at Kevin Kavanagh Gallery (2012); After The Future, Solo exhibition by Marcus Coates, E.V.A. Biennial (2012); Conclave, Solo exhibition by Agne Raceviciute at Galleria Collicagreggi, Catania. Sicily (2012); Nevertheless, Faith is in the Air Publication/Performance at Moderna Museet, Stockholm (2010), Maradona 2 for 4, an Exhibition by Cullinan and Richards at the The Lab Gallery, Dublin (2010); Aion Experiments, a Group Exhibition at Project Arts Centre Dublin (2010); Sunday Night a solo Exhibition by Aleana Egan at Temple Bar Gallery, Dublin (2009); Whispering Pines, an exhibition by Shana Moulton at the Broadcast Gallery, Dublin (2009).

Pavel S. Pyś

Pavel S. Pyś (1986, Rome) is an Australian-Polish curator and writer, based in London. Since 2011 he has been working as curator at the Henry Moore Institute in Leeds, UK. He completed an MSc in Culture & Society at the London School of Economics & Political Science, with a thesis focusing on site-specific art and participation in relation to the Brodno Sculpture Park initiated by Pawel Althamer. Recently he has been assisting Matthew Darbyshire and completed the MFA Curating course at Goldsmiths College. He has curated exhibitions in London and Copenhagen and has recently contributed to Frieze.com, Art Monthly Australia, Australian Art Collector and This is Tomorrow. IN 2011 he won the first annual Curatorial Open at the Zabludowicz Collection.


Stefano Collicelli Cagol

Stefano Collicelli Cagol (b. Padua 1978) is a PhD Researcher on the Curating Contemporary Art Programme of the Royal College of Art in London. From 2010 to 2013 he coordinated the Young Curators Residency programme organised by the Fondazione Sandretto Re Rebaudengo in Turin, where in 2012 he was one of the tutors and coordinators of the first edition of CAMPO – Corso per Curatori, in which he taught History of Exhibitions and Curatorial Practice. He curated the second edition of Vitrine at the GAM in Turin in 2012-13 and he was one of the selectors of the ninth edition of the Furla Prize 2013. In 2011 he was Assistant Curator for the exhibition Un’Espressione Geografica curated by Francesco Bonami at the Fondazione Sandretto Re Rebaudengo. In 2010 he curated the exhibition Seven Little Mistakes at the Museo Marino Marini, Florence. He was Research Curator at the Villa Manin – Centre of Contemporary Art, Passariano (UD) in 2006; from 2004 to 2006 the University Ca’ Foscari di Venezia – Department of History of Arts and Preservation of Artistic Heritage granted him a postgraduate fellowship to research into the Visual Arts sector of the Venice Biennial. He has contributed to several publications relating to the history of Italian exhibitions and he has collaborated with the periodical Domus.


Chus Martinez

Born in Spain (1972, Ponteceso, La Coruña) Chus Martínez has a background in philosophy and art history. Currently she is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland. Before she was the Chief Curator at El Museo del Barrio, New York, and dOCUMENTA (13) Head of Department and Member of Core Agent Group. Previously she was Chief Curator at MACBA, Barcelona (2008–11), Director of the Frankfurter Kunstverein (2005–08), and Artistic Director of Sala Rekalde, Bilbao (2002–05). For the 51st Venice Biennial (2005), Martínez curated the National Pavilion of Cyprus, and in 2008 she served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29th Bienal de São Paulo. During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal among others; and a series of group exhibitions including Pensée Sauvage and The Great Game To Come. She was also the founder of the Deutsche Börse Residency Program for international artists, art writers, and curators. While at MACBA Martínez curated the Thomas Bayrle retrospective, an Otolith Group monographic show, and an exhibition devoted to television, Are you ready for TV? In 2008, Martínez was the curator of the Deimantas Narkevicius retrospective exhibition, The Unanimous Life, at the Museo de Arte Reina Sofia, Madrid, which travelled to major European museums. Martínez lectures and writes regularly including numerous catalogue texts and critical essays, and is a regular contributor to Artforum among other international art journals.

Marc-Olivier Wahler

Marc-Olivier Wahler (1964, Neuchâtel, Switzerland) is an international curator, contemporary art critic and art historian. He has been selected as inaugural guest curator for the 2015 Audemars Piguet Art Commission. He is the founder and current director of Chalet Society, Paris, the former director of Palais de Tokyo, Paris (2006-2012), the former director of SWISS INSTITUTE, New York (2000-2006), the founding director of CAN, Neuchâtel (1995-2000), and the founding editor of PALAIS / Magazine. As an art critic, Marc-Olivier Wahler regularly writes on contemporary art and its theoretical problematic in international magazines, academic books and exhibition catalogues. His most renowned publication is the art encyclopedia From Yodeling to Quantum Physics in 5 volumes. His conferences in Europe, Asia, North Africa, and North and South America primarily focus on the forms of the exhibitions, the ontology of the works and the effect of the language used in the art world. During the last twenty years, Marc-Olivier Wahler has organized over 400 exhibitions – principally as museum director / chief curator, but also as a free-lance curator – in Sao Paulo, Buenos Aires, Zurich, Lausanne, Biel, Geneva, Paris, Dijon, Marrakech, Madrid, Turin, Lisbon, Coimbra, and Los Angeles. In 2011, he was decorated as a Chevalier in the French Republic's Order of Arts and Letters. In 2013, Wahler was awarded the Meret Oppenheim Prize, Switzerland’s highest cultural award in the contemporary arts.

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’ in March 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.


Young Curators Residency Programme 2011

Curated by Stefano Collicelli Cagol

To see an object, to see the light (Vedere un oggetto, vedere la luce)

Curated by Ginny Kollak, Padraic E. Moore, Pavel S. Pyś

Palazzo Re Rebaudengo, Guarene d’Alba, Cuneo, Italy
May 29 – June 26, 2011

To see an object, to see the light (Vedere un oggetto, vedere la luce) is an exhibition featuring work by a cross-generational group of Italian artists and thinkers, including fourteen current practitioners and several from the past—among them figures like Galileo Galilei, Alessandro Volta, Carol Rama, and Alighiero e Boetti—whose legacies both inform and enrich the contemporary works on display. Taking into account its site at a stately palazzo among rolling hills and vineyards, the exhibition will suggest the mind of a fictionalized and somewhat eccentric collector at work. This invisible figure—composed, inevitably, from the amalgamated tastes and concerns of the exhibition’s three curators—has amassed and arranged a selection of contemporary and historical artworks alongside objects from the scientific and natural world in a space that is at once a palace, a museum, and a laboratory. An important touchstone informing both the curatorial methodology and conceptual content of this exhibition is Joris-Karl Huysmans’s seminal 1884 novel À rebours. This literary work introduces the character of Jean Des Esseintes, an aristocratic aesthete who withdraws to a rural palace, intent on creating his own insular sanctuary of beauty and reflection. In Esseintes’s hermetically sealed interior, the symbolic power of objects and their perception become a foundation for new forms of belief. Yet while Huysmans’s novel elevates artifice to a kind of apotheosis, the objects and artworks on view at Palazzo Re Rebaudengo are more firmly rooted in reality. In this way, To see an object, to see the light seeks to demonstrate that empiricism and wonder are not in opposition, but intimately intertwined. At the exhibition’s core is an exploration of the interdependent notions of light and substance. Light, though immaterial, allows for the perception of the material world; the interplay of light against solid objects—the moon, for instance, or a mirror—is essential to vision. Works that take light as their source material or subject matter will therefore be displayed alongside others that emphatically assert their objecthood. In this way, both the totemic quality of materials and the physics of pure perception are evoked in an immersive installation that revels in sensuousness while still questioning the scientific causes at its root. This approach suggests a doubled understanding of vision as the source of both comprehension and imagination.


Agne Raceviciute
Posa 01/02, 2011
Photographic print mounted on panel , 130 x 90 cm , Courtesy of the artist (left)

Alek O
Corkscrew, 2010
brass, 8,5 x 6,1 x 0,5 cm, Il conico, 2010

Alessandro Sciaraffa
Natività, 2010
Liquid crystal, mother of pearl shell, steel, lamp , 60 x 90 cm , Courtesy of Cardi Black Box Gallery, Milan

Alighiero Boetti
Contatore, 1967
Collage on silkscreen, 44 x 62 cm, Private collection

Carol Rama
Pissoirs, 2005
Mixed media and bycicle inner tubes on framed map, 106,5 x 117 x 4 cm , Private collection, Turin

Chiara Camoni
Senza Titolo #13, 2010
Oil on canvas, wood, lamp , 45 x 45 x 55 cm , Courtesy of the artist and SpazioA, Pistoia , (Installation view at Marino Marini Museum, Florence)

Diego Marcon
Storie di fantasmi per adulti, 2010
Video, MiniDV, colour/sound, single channel video projection , 16'22'', Courtesy of the artist

Francesco Barocco
Untitled, 2010
Clay sculptures, spray paint on photographs, 165 x 40 x 35 cm , Courtesy of the artist and Norma Mangione Gallery, Turin

Francesco Gennari
Autoritratto come eclissi di sole, 2010
Epson print on 100% cotton paper, 26 x 39 cm , Courtesy of the artist and Galleria ZERO, Milan

Giovanni Giaretta
Moon, 2009
Shaving mirror, clamp, battery-powered LED torch, sodium chloride , Dimensions variable, Courtesy of the artist

Isola and Norzi
Platonic Acquarium, 2010
Plexiglas and marine sponge, 120 x 120 x 120 cm , Courtesy of the artists

Linda Fregni Nagler
A life on the Ocean's Wave, 2010
Photographic installation, Dimensions variable, Courtesy of the artist and Monica de Cardenas Gallery, Milan

Luca Francesconi
Untitled, 2006
mix media on paper, 105 x 75 cm, Courtesy of Umberto di Marino Galley, Naples

Marco Basta
Giardino, 2010-2011
Felt-tip pen on felt, 320 x 346 cm, Courtesy of the artist

Mario Ciaramitaro
Peter and Peter talking with Norman, 2010
Copper basin, water, two fans, light bulbs, wiring, 160 x 160 cm, Courtesy of the artist, (Installation at Night Target Practices, Corte San Marco, Venice)

Natural specimens
Natural specimens
Regional Museum of Natural Sciences, Turin and the Collection of the Museum of Comparative Anatomy, University of Turin

Piero Fogliati
Proiettore per cromocinetismo, 1972
Projector, rotating disk, Courtesy of Martano Gallery, Turin

Salvatore Arancio
Shasta, 2011
Projector, rotating disk, Courtesy of Martano Gallery, Turin

Scientific instruments
Collection Museum of Phisics, University of Turin