Past Editions / 2016
Who we were

Tenzing Barshee

Tenzing Barshee (Basel, 1983) is a writer and curator. Until recently he organised exhibitions at wellwellwell, a non-profit gallery funded by the Applied Art University in Vienna. Before that he worked as an associate curator at Kunsthalle Bern. He co-founded the temporary exhibition and event space Elaine at the Museum für Gegenwartskunst in Basel. His last monographic exhibitions he organised with Rochelle Feinstein (Centre d'Art Genève, with Fabrice Stroun), Margaret Honda (Triangle France Marseille) and Shirana Shahbazi (Kunsthalle Bern, with Fabrice Stroun). He's a regular contributor to Starship magazine and one of the editors of Wandering magazine.

Molly Everett

Molly Everett is a curator and writer based in New York. Her curatorial and research interests frequently follow artistic practices as they evolve in response to specific sociopolitical factors, both regionally and as part of an international art discourse. From 2013-2014 she participated in the Whitney Museum Independent Study Program as a curatorial fellow, co-organizing "Common Spaces" at The Kitchen in New York. She currently works for the LUMA Foundation, assisting with exhibitions and projects in New York, Arles, and Zurich. Independently, she is co-curating "Learning Public(s)" at Bennington College's Usdan Gallery in Vermont opening 2016. She is involved with several book projects in a research and editorial capacity, helping to realize a range of publications, including artists' books as well as exhibition catalogues. In 2012, Everett earned her B.A. in the History of Art from UC Berkeley.

Dorota Michalska

Dorota Michalska (Warsaw, 1988) is a curator and art historian based in Warsaw and Stockholm whose practice focuses on the political dimension of contemporary art. She worked at the Museum of Modern Art in Warsaw from 2012 to 2015 as an assistant curator focusing on polish films from the 60’ and 70’. In 2015 Michalska completed CuratorLab, a nine months curatorial research fellowship at Konstfack University of Arts, Crafts and Design in Stockholm, Sweden led by Joanna Warsza. Her last project include a film screening Extremely Loud, Incredibly Close (SALT Beyoglu, Istanbul, 2014) and a group exhibition Through a Glass, Lightly (Tensta konsthall, Stockholm, 2015). She is a contributor to several polish art magazine such as Obieg, Szum and Dialog. Michalska was resident of the Curatorial Program for Research: Eastern and Northern Europe in October 2015. Currently she is working on an exhibition project on queer archives in the former Eastern bloc before 1989.


Lorenzo Balbi

Lorenzo Balbi (1982, Turin) is Assistant Curator at the Fondazione Sandretto Re Rebaudengo in Turin. After his graduation in Cultural Heritage at Ca' Foscari in Venice, he specializes in Contemporary Art at the University of Turin. He collaborates with Il Giornale dell'Arte and Il Giornale dell'Architettura, where he wrote several articles and reviews, and he was the Artistic Director of Verso Artecontemporanea Gallery, Turin, a space focused on the research of emerging Asian artists. Since 2007 at Fondazione Sandretto Re Rebaudengo, he has been dealing with the organisation and development of exhibition projects in the two spaces of the Foundation (Turin and Guarene d'Alba, Cuneo, Italy), and of the exhibitions of the Foundation Collection abroad. Among his curated shows: Neve chimica. Opere dalla Fondazione Sandretto Re Rebaudengo (Sestriere, Venice, 2012), Riikka Kuoppala. La casa di biscotti (Turin, 2013), Thomas Teurlai. Europium (Turin, 2014). He is the coordinator of CAMPO, the young Italian curators program, with Irene Calderoni, Giorgina Bertolino e Vittoria Martini, where he deals with the Curatorial Methodology course with Irene Calderoni. He collaborated as consultant for the Young Curators Residency Programme in 2009 (Ilaria Bonacossa coordinator), in 2011 e 2012 (coordinator Stefano Collicelli Cagol), and he currently is the coordinator of the 9th edition in 2015.


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).

Pierre Bal Blanc

Pierre Bal-Blanc is an independent curator and director of CAC Brétigny (Contemporary Art Centre of Brétigny, greater Paris). Since 2003, echoing the societal thought of Charles Fourier, he has run the “Phalanstère Project,” a series of site-specific proposals aiming at critical rethinking of the logic behind accumulation of art works. His exhibition sequences La monnaie vivante/Living Currency (CAC Brétigny/Micadanses, 2005–06; Stuk Leuven, 2007; Tate Modern London, 2008; MoMA Warsaw and Berlin Biennale, 2010) and Draft Score for an Exhibition (Le Plateau Paris, Artissima Torino, Secession Vienna, 2011; Index Stockholm, 2012; catalog Draft Score for an Exhibition, NERO Publisher Rome, 2014) negotiate the current and historical analysis of the body and the strategies related to performance in visual arts. The three chapters of Reversibility (Frieze Art Fair, 2008; CAC Brétigny, 2010; Peep Hole Milan, 2012; catalogReversibility, Mousse Publishing, 2012) reflect on the consequences of the art object’s materiality upon the configuration of the cultural domain’s protagonists, as well as on the role and shape of the cultural institution today. The Death of the Audience (Secession, Vienna, 2010; catalog Ver Sacrum/The Death of the Audience, Verlag Niggli AG Sulgen/Zurich, 2011) reveals the processes of emancipation and alienation taking place in the interstice between the figures of the artist and the spectator. He is currently preparing Soleil politique, an exhibition for Museion in Bolzano, Italy that will continue his exploration of the forms and responsibilities of museums, their daily activities, and their relationship with the city. In January 2014, he contributed the foreword to the Center’s “Questions of Practice” investigation into restaging and reconstruction.


Young Curators Residency Programme 2016

Curated by Lorenzo Balbi

Passo Dopo Passo

Curated by Tenzing Barshee, Molly Everett, Dorota Michalskao

Fondazione Sandretto Re Rebaudengo, Turin
14 may – 16 october 2016

Passo Dopo Passo seeks to examine diverse – both historical and contemporary – artworks and artistic practices that reflect on the status of movement, openness and enclosure, fear and expectations. The exhibition is linked to an Italian perspective – that of a country with an intrinsic relationship to questions of migration. From a historical point of view, the Mediterranean peninsula has been shaped by violent invasions, followed by waves of emigration and immigration, leading to a complex dynamics of different identities and diverging ideologies.
Shifting ahead to the sixties, seventies, and eighties, works by Carla Accardi, Luigi Ontani, and Salvo represent a later generation of Italian artists. Their practices each reveal diverging conceptions of and reactions to reality, but share a common aesthetic vibrancy, and even playfulness. In their work, we see the conceptualization of alternate realities and social spaces. For instance, Salvo’s collection of drawings on stationary paper from different hotels resonates with his research on the Mediterranean landscape as both a place of idealization and refuge, while simultaneously recording the artist’s own movement.

Stepping forward into contemporary practices, the work of Vanessa Alessi, Elisa Caldana, Collettivo Fernweh, Nicolò Degiorgis, Cady Noland, and Turi Rapisarda illustrates a continuation of these themes and furthers the engagement with social space, movement and locality. In relation to issues of migration, the vision of horizon plays a central role. The view of the ocean or the mountains in paintings, photographs, and videos, is a visual symbol rich with cultural connotations, revealing the hopes, projected by the individual and society, as well as the limits. Our perspective is denied by what we cannot see – expectations are subverted or never realized. Such a sense of beyond, often representing a desired future, is fraught with illusion and uncertainty. Although not immediately visible in the works, the depiction of the landscape shifts from idealized to clinical and generic portrayals.

Other works, such as Cady Noland’s Corral Gates (1989) or Vanessa Alessi’s W-HOLE (2014–ongoing), point to the constructed limitations and borders of space. The site of the exhibition is demarcated by Alessi’s transparent flag. Fixed atop the roof of the institution, W-HOLE (2014–ongoing) presents the attempt to delineate space while evoking personal and spatial identities.

Drawn from the collection at FSRR, Cady Noland’s installation entitled Corral Gates underscores the architectural mediation of space and of the body. The viewer encounters the scene and must pass through metal gates, those typically used to confine livestock. Bullets and a bridle are slung over the partially opened gate, suggesting violence that has occurred or is about to. Has the victim been subjected to this particular violence or have they just escaped perhaps? Noland’s installation harkens back to Depero, and his optimistic journey to New York, documented in the diaristic traces and doodles, a sort of concrete poetry, of his 1931 manuscript, New York Film Vissuto: Primo Libro Sonoro. Noland’s Corral Gates echo the disillusionment that Depero eventually found with New York, ultimately precipitating his shift to and embrace of fascism.

While the exhibition is not presented chronologically, it instead presents the objects in their autonomy and reflects, in part, our brief passage, as three curatorial residents at the Fondazione Sandretto Re Rebaudengo, through Italy.


Carla Accardi
Rosso Giallo, 1968
Paint on Sicofoil, 139 x 69 cm, Courtesy private collection, Torino, photo Maurizio Elia

Vanessa Alessi
W-HOLE [Roof of Fondazione Sandretto Re Rebaudengo, Torino], 2016
Steel, transparent oliskin, 400 x 150 x 8 cm, courtesy of the artist, photo Maurizio Elia

Elisa Caldana (1)
Cage for Migratory Bird , 2015
Painted iron, courtesy of the artist, photo Maurizio Elia

Elisa Caldana (2)
The Island Behind the Horizon, 2015
Offset print on paper, 100 x 141 cm, courtesy of the artist, photo Maurizio Elia

Nicolò Degiorgis
PEAK, 2015
Artist book, 90 photos, 16 x 24 cm, each, courtesy of the artist and Rorhof, Bolzano, photo Maurizio Elia

Fortunato Depero(1)
Esercizi di lingua inglese, 1928-1930
Ink on paper, 32 x 25 cm, each, courtesy of Mart, Archivio del ‘900, fondo Depero, photo Maurizio Elia

Fortunato Depero(2)
Untitled [Letter from New York], 1928-1930
Ink on paper, 34 x 20 cm, courtesy private collection, Torino, photo Maurizio Elia

Collettivo Fernweh
Elementi Utili, 2015
Hand made book, 96 pages, perfect bound with 8 stitched, plastic inserts, multiple formats with white uncoated paper, black uncoated paper with whit ink, gray uncoated paper, 17.5 x 23.5 cm, courtesy of the artists, photo Maurizio Elia

Cady Noland
Corral Gates, 1989
Installation, metal, leather, bullets, 60 x 220 cm (two elements), courtesy Fondazione Sandretto Re Rebaudengo, Torino, photo Maurizio Elia

Luigi Ontani
InveroSiMILE, 1999-2000
Wooden mask with paint, ceramic and mother of pearl, 60 x 30 x 20 cm, courtesy of the artist, photo Maurizio Elia

Turi Rapisarda
Auto da fé, 1996
Gelatin silver prints, 44 x 29 cm, each, courtesy Fondazione Sandretto Re Rebaudengo, Torino, photo Maurizio Elia

Salvo (1)
Untitled, 2008-2009
Oil on wooden panel, 245 x 103 x 3 cm, courtesy of Archivio Salvo, Torino, photo Maurizio Elia

Salvo (2)
15 drawings on hotel paper, various dimensions, courtesy of Archivio Salvo, Torino, photo Maurizio Elia