Who we were

Andrey Parshikov

Andrey Parshikov (1985, Moscow region, USSR) is a Russian curator. Since 2004 he worked in Xl-gallery, as the coordinator and manager of the branch-XL-projects gallery in the cultural center ARTStrelka. In the summer of 2004 made a project for the festival PUSTO Comedia del Arte: sequel for submission Madrid video-festival «Vallecas Puerto del Cine» and Kansky video-festival. In 2005, as implemented curator with O. Lopuhova draft “Ars Longa” in the context of the Bulgakov festival Manuscripts don’t burn. Until recently Parshikov has worked as an associate curator for an emerging Moscow contemporary art gallery “GMG”, helping to develop the exhibition policy, concept and image of the gallery on the international art scene. He has curated three major museum exhibitions, one of which – Ultra-New Materiality – was included in the program of the III Moscow Biennial of Contemporary Art 2009. In 2011 he curated an innovative theatrical exhibition Human Oratorio. Afghan-Kuzminki, where theater, drama, music and the real works of contemporary art developed the dramaturgy of this curatorial approach, connected to Eisenstein Montage Theory. He curated self-authors program for two years Ultra-New Materiality in Contemporary City Foundation. In 2008 he presented the project The Great Repression with emerging Russian video-artists, at the White Box gallery, New-York. Since 2009 he has been a member of the editorial board of Moscow Art Magazine – the leading intellectual contemporary art publication in Moscow, and he is author of many critical articles in the journals Art-Chronicle, Zaart, Afisha, Vremya Novostey, Independent newspaper, internet-portals Gif.ru and Art-Times, articles for gallery catalogues, Russian and foreign publications.

Benoit Antille

Born in Switzerland (1975, Sierre) Benoit Antille graduated from the MA Program in Classical Archeology and Art History at the Fribourg University (Switzerland, 2001) and from the Curatorial Practice MA Program at the California College of the Arts in San Francisco (2011). Between 2001 and 2003, he worked on various projects, such as the inventory of the roman paintings of the Schola del Traiano in Ostia, or a research project on the industrial heritage of Nyon (Switzerland), for the Historical Museum of this town. At that time, he also started to work as director of communication of the Gallery FAC, in Sierre. In 2003, he has been appointed curator and coordinator of the residency program at the Cultural Center Ferme-Asile, a non-profit association in Sion. During the six years he worked there, he ran the Ferme-Asile following the Kunsthalle model. In 2007, he took part to the elaboration of the “Label Art Triennial,” the first large-scale event gathering together all the main spaces working in the field contemporary art in the Valais. For 2012, he has been contracted by the Culture Department of the Valais to write a report on the situation of contemporary art in this region in anticipation of their revision of the criteria for public funding.

Michele Fiedler

Michele Fiedler (1981, Santurce, Puerto Rico) is an independent curator living and working in New York. From 2006 to 2009 she ran Galería 356 in San Juan, a gallery space focused on showing emerging Puerto Rican artists with a parallel calendar of performance, video, and sound projects. In 2009 she worked with artists and curators Abdiel Segarra Rios and Vanessa Hernández Gracia in the collective La Nómada, which provided an independent platform for curatorial and artistic practices. She recently graduated from California College of the Arts's Curatorial Practice Master. In 2010 She worked with artist Julio César Morales and the Museo Tamayo in Mexico City to produce Morales'Interrupted Passage and the museum's A Place Outside of History. She How Far Can You Push a Sound Without an Image? (2010) an aural presentation of artist’s sound pieces and songs in the form of a radio broadcast. The show was presented at Queens' Nails projects in San Francisco, Galeria Tijuana in Sao Paulo, Hunter College in New York, and featured in Independent Curator's International. She co-curated the exhibition God Only Knows Who the Audience Is at the Wattis Institute, San Francisco (2011), a show that focused on North American West Coast performance practices in the 70s and 80s as well as their mediation through documentation. She worked with the curators Sharon Lerner and Xioayu Weng on the project Mission Afterviews, funded by Southern Exposures' Alternative Exposure Grant (2012).


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.


Beatrix Ruf

Beatrix Ruf (1960, Singen, Germany) is currently the Artistic Director of the Stedelijk Museum Amsterdam, and she was appointed Director/Curator of the Kunsthalle Zürich in 2001. Previously, she had been Director/Curator of the Kunsthaus Glarus, and curator at the Kunstmuseum of the Canton of Thurgau between 1994 and 1998. Since 1995 she has been Curator of the Ringier collection. She has organised exhibitions, written essays and published catalogues on artists such as Jenny Holzer, Marina Abramovic, Peter Land, Liam Gillick, Urs Fischer, Emmanuelle Antille, Angela Bulloch, Ugo Rondinone, Richard Prince, Keith Tyson, Elmgreen & Dragset, Monica Bonvicini, Eija-Liisa Ahtila, Pierre Huyghe/Philippe Parreno: ‘No Ghost just a Shell’, Rodney Graham, Isa Genzken, Doug Aitken, Wilhelm Sasnal, de Rijke / de Rooij, Rebecca Warren, Carol Bove, Oliver Payne & Nick Relph, Dominique Gonzalez-Foerster, Sean Landers and many others. Among her last exhibitions, she curated the solo show Avery Singer. Pictures Punish Words, at Fondazione Sandretto Re Rebaudengo (2015).

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).

Iwona Blazwick

Iwona Blazwick OBE (1955) is director of the Whitechapel Art Gallery in London, England. Until 2001, she was head of Exhibitions and Displays at Tate Modern, where she was responsible for co-curating the installation of the collection and formulating the exhibitions programme. From 1993 to 1997, Iwona Blazwick worked as an independent curator for museums and major public arts projects in Europe and Japan, devising surveys of contemporary artists and commissioning new works of art. During this period she was also Commissioning Editor for Contemporary Art at Phaidon Press where she created the ongoing book series, Contemporary Artists Monographs and Themes and Movements. From 1986 to 1993 she was Director of Exhibitions at London’s ICA where she curated exhibitions of modern and contemporary art; and from 1984 to 1986 she was Director of the AIR Gallery. She read English and Fine Art at Exeter university before becoming a junior curator at the Institute of Contemporary Arts, under the tutelage of Sandy Nairne, who is now director of the National Portrait Gallery. Her first show, Objects and Sculpture (1981), included work by Bill Woodrow, Richard Deacon, Anish Kapoor and Antony Gormley. Exhibitions she has curated include monographic shows of Katharina Fritsch, (Tate Modern) Art and Language, Willie Doherty, Peter Halley, Damien Hirst, Jenny Holzer, Ilya Kabakov, Barbara Kruger, Meret Oppenheim, Clifford Possum Tjapaltjarri, Gerhard Richter, Rosemarie Trockel and Lawrence Weiner, (ICA). Group exhibitions, often curatorial collaborations, include Objects and Sculpture, Possible Worlds, True Stories, (ICA); On Taking a Normal Situation … (MUHKA, Antwerp), Body of Evidence, (Toyama Museum of Modern Art, Japan) Ha-Ha, (Killerton Park, Devon), Now Here: Work in Progress (Louisiana Museum, Denmark) and Performing Bodies (Tate Modern). Iwona Blazwick was visiting tutor at the Royal College of Art and teaches occasionally at Goldsmith's School of Art, Central St. Martins, Middlesex University, the Slade School and Sothebys MA Course; in addition she has taught at academies in Hamburg, Malmö and Vienna. Her writings have also been published extensively; they include contributions to monographs on Hannah Collins, Ceal Floyer, Katharina Fritsch, Ilya Kabakov, Cornelia Parker, Lawrence Weiner and Rachel Whiteread, among others; and anthologies such as Fresh Cream in 2001. She was editor of the Tate Modern Handbook and Century City and writes art criticism for numerous periodicals. She is also a broadcaster contributing occasional reviews and commentaries for BBC and Channel Four television and BBC radio. Iwona Blazwick has been on numerous juries including the Turner Prize in 1993, the Jerwood Painting Prize in 1997 and as a member of Ohio’s Wexner Center’s International Arts Advisory Council, the Wexner Prize for 2002. She was appointed Officer of the Order of the British Empire (OBE) in the 2008 New Year Honours.


Young Curators Residency Programme 2012

Curated by Stefano Collicelli Cagol

Underneath the Street, the Beach

Curated by Benoit Antille, Michele Fiedler, Andrey Parshikov

Fondazione Sandretto Re Rebaudengo
29 May – 2 August 2012

Fondazione Sandretto Re Rebaudengo, Turin and V-A-C, VICTORIA – the Art of being Contemporary, Moscow present Underneath the Street, the Beach. Inspired by a protest slogan used during the French May 1968 protests “Sous les pavés, la plage,” the exhibition explores the importance of making active gestures and taking positions that redefine our relation to reality. Underneath the Street, the Beach presents works by artists who experiment with disruptive strategies and counter-narratives in order to create new dynamics and conditions for visibility within the socio-political, cultural and urban Italian context of today. By drawing on both the vitality and poetic content of the featured works, the exhibition suggests imagining new aspects of life beyond the obvious surface and, as suggested in the title, a possible way to find the beach beneath the street.


Alessandro Quaranta
Andrea Romano
Untitled (Spotter), 2009-2012
Text on adhesive and performance,Text done for Real Presence 09, curated by Dobrila Denegri and Biljana Tomic. House of Legacy, MKM Magacin, Belgrade, Serbia, Couresy of the artist

Angelo Castucci
Back to Rome, 2010
Installation, Mix media, Courtesy of the artist (detail)

Beatrice Marchi
Nº5, 2012
Installation, sculptures, plants, halogen lamps, Dimensions variable , Courtesy of the artist

Danilo Correale
Untitled (The Future in Their Hands / The Visible Hand), 2011
Digital print, 400 x 250 cm , Courtesy Raucci/Santamaria Gallery, Naples

Francesco Arena
Struttura Articolata, 2012
Paper, cigar, 120 x 175 x 120 cm, (Detail) , Courtesy of the artist and Monitor, Rome

And if a double-decker bus crashes into us, 2009
Luocks and chains, sculpture, Dimensions variable, Courtesy of the artist and Supportico Lopez, Berlin

Selfmade, 2012
site-specific installation, grass, soil, Dimensions variable, Courtesy of the artist

Liliana Moro
Home, 2011
Metal truck, sphere lamp, small yellow lamp, Variable dimensions, Courtesy of the artist

Luca De Leva
Catering Blotto, 2012
Sculpture, drinks, performance, Dimensions variable, Courtesy of the artist

Ludovica Carbotta
Il viaggio è andato a meraviglia, eserciziouno, 2010
video, colour, 120' , Courtesy of the artist , Produced of the support of E/static, Turin (video stills)

Maria Pecchioli
Versus Player, 2012
In collaboration with Alessandro Kraus (a.k.a Tasker) Installation , Modified Techinics 1200, ampllifier, loudspeakers, table, 33 rpm LP cover, Courtesy of the artist

I Vostri Grattacieli, 2010
Series of 30 digital images with text, printed on paper , 100 x 70 cm each , Courtesy of the artist (detail)

Nico Vascellari
Lago Morto, 2009
Video installation, poster, collage, photograph, sculpture, Dimensions and duration variable, Courtesy of the artist and Fondazione Remotti (detail)

Renato Leotta
100 Lire, 2012
2 100 lire coins , 2,78 cm diameter each , Courtesy of the artist

Tomaso De Luca
The Sleepers, 2010
Photographic series, Lampda print, 6 pieces, 70 x 100 cm each , Courtesy of the artist and Monitor, Rome

Tony Fiorentino
Cleaning a Lamp for Street Lighting (infinite action), 2012
DVD-PAL, loop, colour, sound , Video: Esteban Humet Fuentes, Reader: Maeva Deleernsnyder , Courtesy of the artist

Valentina Vetturi
Yuri Ancarani
Il Capo, 2010
35 mm,15' Courtesy of the artist ans Zero Gallery, Milan , (video still)