Who we were
Curators

Rosalie Doubal

Rosalie Doubal (1984, UK) is a London-based writer and curator. Currently she works as Associate curator at ICA, the Institute of Contemporary Art in London. She holds an MA Art History & English Literature, The University of Edinburgh (2007), and an MFA Curating, Goldsmiths University of London (2012). As part of a curatorial collaboration, Rosalie Co-directed Edinburgh project space Sierra Metro from 2009 – 2012, curating over 20 exhibitions of new work by international early career artists, including three Edinburgh Art Festival presentations. Working independently, Rosalie recently curated the limited edition book 10,000 Hours, featuring five new commissions and presented at David Dale Gallery as part of Glasgow International Festival of Visual Art 2012. In London, working with long-term collaborator Matt Carter, the pair recently curated group show Not in The Corners at Maria Stenfors. Rosalie has contributed art criticism to numerous international publications including The Journal of Curatorial Studies and MAP magazine, and works as a visual art correspondent for The List (since 2007) and Time Out London (since 2011). Since 2007, Doubal has worked with various institutions, assisting Curators at Serpentine Gallery, London, Glasgow International Festival of Visual Art 2010, and Collective Gallery, Edinburgh.

Alec Steadman

Alec Steadman (1983, England) is a curator and artist based in London, where he completed his BA in Fine Art at Middlesex University. He was a participant of de Appel Curatorial Programme, Amsterdam (2011/12) co-curating Three Artists Walk into a Bar…, de Appel Arts Center and various locations (2012) and Why Stay If You Can Go?, Stedelijk Museum & de Appel Arts Center (2012). Prior to this he spent 5 years as Head of Exhibitions for Zoo Art Fair, later becoming Associate Curator for the same organisation. He has also worked as Interim Event Manager, The Serpentine Gallery; Fair Manager, SUNDAY Art Fair; Programmes Coordinator, Max Wigram Gallery and Studio Assistant for Smadar Dreyfus, as well as curating numerous projects Independently. He was a member of artist collective The Hut Project from 2005-2011. His solo exhibitions include: Giles Said…, Limoncello (London, 2010), Machine Gun Corridor, BolteLang, (Zurich, 2010), and Old Kunst, ICA (London, 2009).

Emeline Vincent

Emeline Vincent is a researcher and art critic based in London. Among a wider research, she specifically devotes her work to the study of crossed relations between visual and audio practices in contemporary art. In close relation to historical legacies in both fields, she has conducted a thesis through the intertwined developments of both mediums, attempting to define how the audio medium has today reached its own autonomy and legitimacy by the indissociable character certain artistic practices present. Recent publications include a monographic piece on the work of British artist Haroon Mirza in bilingual French magazine Volume (Oct 2012). As a visual arts coordinator at the French Institute in London for many years, she has collaborated with many artists and art institutions in the UK and internationally, specifically working on the promotion of the emergent French art scene in the UK, including artists such has Jean-Pascal Flavien, Matthieu Klebeye Abonnenc, Aurélien Froment, Lili Reynaud-Dewar, Clement Rodzielski, Karina Bisch, among others. She was also a key member and advisor for the Franco-British contemporary art fund Fluxus.

Coordinator

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.

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).

Joanna Mytkowska

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).

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).

Logbook

Young Curators Residency Programme 2013

Curated by Stefano Collicelli Cagol

The 338 Hour Cineclub

Curated by Rosalie Doubal, Alec Steadman, Emeline Vincent

Fondazione Sandretto Re Rebaudengo, Turin
8 May - 15 September 2013

The Sandretto Re Rebaudengo Foundation presents the exhibition The 338 Hour Cineclub. Film e video di artisti italiani, final exhibition of the seventh edition of the Young Curators Residency Programme. This exhibition focuses on Italian artists who work with film and video in a myriad of forms. Respecting the individual practices of each selected artist, this exhibition deliberately places emphasis on the shared medium of film and avoids any further thematic grouping. This approach responds to the remarkable quality of research and collective commitment to film practices that is evidenced in the work of the selected artists, whose works are addressing diverse issues ranging from the language of pure cinema to politics.

All works will be exhibited on a single screen housed in a cinema pavilion within the gallery. Aiming to make an object of the cinema within the space and to create optimum cinematic viewing conditions, the structure will be designed by The Institute of Friends, a group of artists and designers based in Bolzano, in collaboration with architect Quirin Prünter.
The 338 Hour Cineclub addresses the timeframe of the exhibition, the evolving programme not only developing daily, but throughout the 338 public hours of the project. Echoing the different rhythms of the traditional exhibition, this format encourages the audience to return throughout its full length, allowing for a comprehensive selection of each artist’s work to be viewed.

Six different film programmes are presented during the four-month run of the Cineclub. Firstly, responding to two-hour window of the event, the opening programme acts as a taster, setting a precedent for the unfolding exhibition by presenting a short film by each artist. The main body of the exhibition then comprises of four programmes focusing on the work of three of four artists, each corresponding to the daily opening hours of the gallery and repeated for three weeks. During the first two weeks oh the 55th Venice Biennial, the Cineclub again shows the works of every participating artist, focusing on short films. As such, each day opens with short films, building up to full lenght features. One of the Cineclub's aims is to recognise the differences present amongst this divergent selection of film and video. By the very nature of the unifying single screen format however, the exhibition simultaneously presents a timely opportunity for an examination of the use of cinematic techniques in contemporary practice. The dialogue between these film works invites consideration of the use of filmic conventions by artists whereby duration, narrative, script, image production and set design are repeatedly revisited.
Returning throughout the duration of the exhibition. The 338 Hour Cineclub members are offered the opportunity to view 75 film and video works by Italian artists, their collective running time totalling 25 hours, each screened in a specialised space conceived singularly for their viewing over the 338 hours of the exhibition.

Artists

Adelita Husni-Bey
I Want the Sun I Want, 2011
Super16mm to digital - 9’26'' - Courtesy of the artist

Alessandro Gagliardo
Estratti da Palinsesto, nota complessa, 2013
SVHS, 83'

Anna Franceschini
How To Pronounce Reality, 2011
16mm transferred to digital - 4'06''

Diego Tonus
Hour of the Wolf, 2010
Film, Mini Dv, Color/Sound - 77'15'' - Courtesy of the artist

Francesco Fonassi
Kollaps, Aufstieg, 2012
AV for solo voice, 2ch video, 6ch sound - 40'

Gianluca e Massimiliano De Serio
Bakroman, 2010
HDV Video - 74' - Courtesy of the artist

Giulio Squillacciotti
Casi la Mitad de la Historia (Quasi la metà della storia - Almost a half-way told story), 2011
HD Video - 7'37'' - Produced by Real Academia de España en Roma - Post-production by Digital Room; and voice by Pedro Villora - Courtesy of the artist

Maria Domenica Rapicavoli
Load Displacement, 2012
HD video on a LCD monitor and two synchronized slide projectors) - 14'35'' - The script is made of quotes taken from different authors. - Courtesy of the artist

Marinella Senatore
Nui Simu (That’s Us), 2010
HD Video - 18’39''

Patrizio Di Massimo
Una Turandiade Buzziana (in forma di note), 2011
HD Video - 44’ - Courtesy of the artist and T293, Naples/Rome

Riccardo Giacconi
L'altra Faccia della Spirale, 2010
Video - 18’ - Courtesy of the artist

Salvatore Arancio
Acis and Galatea, 2013
Video - 2'37'' - Courtesy of the artist and Federicha Schiavo Gallery, Rome

Valerio Rocco Orlando
Lover's Discourse, 2010
Video - 18’40’’