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Young Curators Residency Programme
Every year since 2007 Fondazione Sandretto Re Rebaudengo promotes the Young Curators Residency Programme Torino. The project aims to support emerging curatorial practice while spreading knowledge of the Italian art scene on an international level.
Residency program for young curators 2018 Curated by Lucrezia Calabrò Visconti
Fondazione Sandretto Re Rebaudengo, Turin 7 June - 7 September 2018
Coming soon
Before the era of Coordinated Universal Time, municipal (and other) clocks were set according to the position of the sun, allowing for localized cosmic interpretations. The speed achieved by eventual global synchronization — from the movement of people to the exchange of goods and capital, telecommunications, and later, financial speculation — produced the appetite for more and more surplus value, and the general ideology of acceleration. If Foucault described the biopolitical control of populations through the management of everyday life processes, today all mundane calendar activity is subjected to capitalization: education, work, social, family and other personal obligations. From a Western point of view, efficiency is the only mode of access to the new economy, and slowness either a privilege or a slur. The fetish for the “now” and the false urgency of the contemporary—to be always-already up-to- date, on trend, on-the-move—reward instant gratification at the expense of the laborious and the longer term, leaving little space for reflection, retraction, failure, or even a wasted afternoon. Yet value appreciates in time—how do you choose to spend it? Across a timeworn landscape, abstract national essentialism splinters into complex regional, territorial, and cultural specificities—a context in which many different histories and temporalities collide, coincide, and co-exist. The utopian alternate reality reveals itself as an alternate temporality, and the lapse into provincialism a hegemonic assumption. Does our experience of time—from the city, to the periphery, to the island—really change with our physical geographical location? When does reproductive work occur in the absence of wage-labor? These questions implicate our peers, our generation, ourselves, our “own” time and sense of it. Still the perpetual drive for productivity calls for creative and intellectual, care and manual work to be in process at all times. Coming Soon suggests both an answer to and deferral of this demand until a moment that has yet to arrive—a situation marked by expectation that might as well be now. The static and time-based artworks in the exhibition handle the clock either technically or conceptually, with particular concern for how the time we have can be re-valued, used and shared. Performed for the exhibition opening, Giulia Crispiani’s one-act play anthropomorphizes the characters Yesterday and Tomorrow, setting them in competitive tension. Francesco Pozzato expresses a funereal futurity in an installation that recasts camping gear as ancient Egyptian burial goods. In an animated film, Beatrice Marchi’s alter-ego rides a streetcar across an accelerated history of landscape painting while remaining in a stagnant present. Marinella Pirelli’s experimental films paint a picture of the psychological and environmental context of postwar Italy through the material of the natural world: a lake and a delicate flower’s petals. The plant life in Leone Contini’s installation transforms ideas of national territory through the cultivation of smuggled seeds. Alessandra Ferrini reorients the economic and historical circumstances of the Mediterranean region, in order to see present relations between Italy and the African continent through legacies of Italian colonialism and fascism. During their long-term collaborative performance project, Kinkaleri staged countless “small deaths” in urban capitals to prefigure the end of the era of the West. Lisetta Carmi’s timeless photographs depict subtleties of presence, absence, and marginality within Italian society. Davide Stucchi extrapolates the drawn line from two-dimensions into the space occupied by the body and back again, working out and across materialities that slowly build up and decline. The bilingual book published on the occasion of Coming Soon (Fondazione Sandretto Re Rebaudengo and NERO, 2018) presents insight into each exhibiting artists’ practice through a collection of images that partially refer to the gallery installation. The setting for this visual material is a compilation of invited works of political theory, noir fiction, and sociological analysis expressed in scholarly, epistolary, and diaristic form. These texts,republished from sources dating from 1974 to 2017, by Sonja Dahl, Ida Danewid, Giorgio De Maria, Claire Fontaine, and Simone Forti, develop different threads of research on the production of temporality, today. Along with new essays by the curators, an introduction by Lucrezia Calabrò Visconti, and prefaced by Patrizia Sandretto Re Rebaudengo, this “reader” serves to expand the calendar dates of the exhibition, and deepen the critical engagement with the artists whose work it features. —Mira Asriningtyas, Nora Heidorn, Kari Rittenbach Turin, May 2018
Curators
Mira Asriningtyas
Mira Asriningtyas (b.1986) works as independent curator and writer. She completed De Appel Curatorial Program in 2017 (Amsterdam) and RAW Academie 6: CURA in 2019 (Dakar). In her curatorial practice, she is especially interested in working on site‐specific multidisciplinary projects within the practice of everyday life as a means to address socio‐political issues and history. She has curated exhibition and public programs off-sites and in art institutions such as De Appel Art Center (Amsterdam); Stedelijk Museum (Amsterdam); Fondazione Sandretto Re Rebaudengo (Turin); KKF (Yogyakarta); ISCP (New York); MAIIAM Contemporary Art Museum (Chiang Mai); among others. Her writings have been published in books, online publication, exhibition catalog, monograph, and magazine from Indonesia, The Netherlands, Italy, Belgium, and Australia.
In 2011, she co‐founded LIR Space, an art space that turned nomadic into LIR (curator collective). For the past 8 years, their program ranges from laboratories for experimental exhibition approach, research‐based art projects, public programs, residency, and alternative art education platforms. Over the years, the institutional format is perpetually renewed and in 2019, LIR Space turned nomadic as LIR. LIR’s projects are characterized by multi‐disciplinary collaboration in order to foster continuous transgenerational transmission of knowledge, memory, and history. LIR’s latest project is the 3rd Pollination (2020‐2021) initiated by The Factory Contemporary Arts Centre (Ho Chi Minh City). Titled “Of Hunters & Gatherers”, the project is composed of an exhibition, symposia and dedicated website in multiple sites, co‐hosted by MAIIAM Contemporary Art Museum (Chiang Mai), Selasar Sunaryo Art Space (Bandung), The Factory Contemporary Arts Centre (Ho Chi Minh City), with the support of SAM Funds for Arts and Ecology (Indonesia) and The Gray Centre for Art & Inquiry (Chicago).
In 2017, she started a biennial site‐specific project titled “900mdpl” in Kaliurang, an aging resort village under Mt.Merapi volcano. The program invites local and international artists for a research residency and create a socially‐engaged archive of the space presented as a multi-site exhibition and a transient museum. The 1st edition (2017) presented portraits of the community and their living space. The 2nd edition (2019) was an attempt to pinpoint the small village within the map of Indonesian bigger history. The 3rd edition (2022) is looking upon the relationship between mythology and how it affects the environmental sustainability of the area.”
Nora Heidorn
Nora Heidorn (Germany, 1990) makes exhibitions, public programmes, artist projects, and publishes her writing. Her practice is led by interdisciplinary research investigating sexual reproduction, health, and care through an intersectional lens and using artistic methods. She is undertaking an LAHP-funded PhD at the Royal College of Art, London in collaboration with Birth Rites Collection and teaches at Central Saint Martins College, London. She has previously worked as Curator and Project Coordinator in the Department of Art at Goldsmiths College and as Associate Director at The Approach, London. For an archive of projects and writings please visit www.noraheidorn.com
Kari Rittenbach
Kari Rittenbach (United States, 1985) is a critic and independent curator based in Brooklyn, New York. She attended Yale University, the Courtauld Institute of Art, and the Whitney Independent Study Program. Her writing has appeared in Afterall, Artforum, Art Papers, Frieze, Flash Art, Paper Monument, Texte zur Kunst, and in artist books and museum catalogues. She has organized performances, exhibitions, and events at The Kitchen (New York), The Whitney Museum (New York), Sculpture Center (New York), Artists Space (New York), Barbican Art Gallery (London), and other institutions. Recent projects include What Everybody Knows (with Monika Senz, at Svetlana, New York & Jenny’s, Los Angeles, 2017), Trees in the Forest (Yale Union, Portland, OR, 2016), Fever (Galerie Emanuel Layr, Vienna, 2016), and Dead Ends (1001 44th Rd, Long Island City, 2015). She has lectured in Art Theory at the University of Washington, and is on the editorial committee of May Revue.
Coordinator
Lucrezia Calabrò Visconti
Lucrezia Calabrò Visconti (Desenzano del Garda, 1990) is an independent curator and art writer. In her practice she develops research-based exhibitions and public programmes, expanding and experimenting with the traditional format of object-based exhibitions. In 2018 she was the curator of the 6th Moscow International Biennale for Young Art, Abracadabra. Other projects include Abstract Sex. We don’t have any clothes, only equipment with Guido Costa for Artissima, Turin 2019; Get Rid of Yourself (Ancora Ancora Ancora), Fondazione Baruchello, Rome 2019; Why Is Everybody Being So Nice?, De Appel and Stedelijk Museum, Amsterdam 2017; Good Luck, See You After the Revolution, Uva, Amsterdam 2017; Dear Betty: Run Fast, Bite Hard!, GAMeC, Bergamo 2016. She held the position of Curator of the New Entries section of Artissima in 2018 and 2019. In 2018 she founded the performative and educational platform The School of the End of Time with artists Ambra Pittoni and Paul-Flavien Enriquez-Sarano, and from 2015 to 2018 she run the independent space CLOG in Turin. She curated publications such as Shifting views on Italian art. The curatorial residency as a research model (2020) and The New Work Times (2018), and her writings appeared in specialised magazines, artists books and museum publications. She gained her curatorial education at De Appel, Amsterdam; CAMPO12, Fondazione Sandretto Re Rebaudengo, Turin; Visual Arts and Theatre, IUAV University, Venice and pursued curatorial training at Artists Space, New York. She completed the advanced course in Critical Theory of Society at Università Milano-Bicocca in 2021 and is currently enrolled in the Research-Based Master Programme Curatorial Critical Cybernetic Research Practices at HEAD, Geneva. She is the co-founder and currently Vice-President of AWI – Art Workers Italia.
Artists
- Lisetta Carmi
Lisetta Carmi was born in 1924, Genova, Italy. She lives in Cisternino, Italy.
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I Travestiti, La Morena, 1965–70
Photograph, modern gelatin silver print, 30x40cm
Courtesy Martini & Ronchetti, Genova, Italy
Piazza Armerina, Sicilia, 1977
Photograph, modern gelatin silver print, 30x40cm
Courtesy Martini & Ronchetti, Genova, Italy
Sicilia, 1977
Photograph, modern gelatin silver print, 30x40cm
Courtesy Martini & Ronchetti, Genova, Italy - Leone Contini
Leone Contini was born in 1976, Firenze, Italy. He lives and works in Palermo, Italy and Prato, Italy.
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Giardino Viaggiante (Traveling Garden), 2018
Dimensions variable
Courtesy of the artist - Giulia Crispiani
Giulia Crispiani was born in 1986, Ancona, Italy. She lives and works in Roma
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Happening Today, 2018
Banner, 200x300cm
Design: Federico Antonini
Courtesy the artist![]()
Yesterday Has Already Left, 2017
One-act play and installation, 10’
Courtesy the artist - Alessandra Ferrini
Alessandra Ferrini 1984, Florence, Italy. She lives and works in London, UK.
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Radio Ghetto Relay, 2016
HD video, 15’24’’
Courtesy the artist
OutCross (Black Mediterranean), 2018
Vinyl, dimensions variable
Courtesy the artist - Kinkaleri
Kinkaleri was founded in 1995 by Matteo Bambi, Massimo Conti, Marco Mazzoni, Gina Monaco. They operate in Prato, Italy.
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WEST(Paris)(Roma)(Amsterdam)(Athina)(Wien)(Berlin)(Bruxelles)(London)(Beijing)(Praha)(Tokyo)( New York), 2002-2007
Video, 210’, split on two channels
Courtesy of the artist and Centro per l’Arte Contemporanea Luigi Pecci, Prato - Beatrice Marchi
Beatrice Marchi was born in Gallarate (VA), Italy, in 1986. She lives between Milan and Hamburg.
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Paesaggio figurativo (William Turner, Landscape With a River and a Bay in the Background), 2017
Acrylic and pastel on wood and glass, 60x85cm
Private collection![]()
Loredana across the landscapes, 2017
HD video, 4’02’’
Courtesy of the artist - Marinella Pirelli
Marinella Pirelli was born in 1925, Verona, Italy. She died in 2009 in Varese, Italy.
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The Lake, 1965
16mm transferred to DVD, 14’
Courtesy Archivio Marinella Pirelli![]()
To Burn, 1971
16mm transferred to DVD, 4’
Courtesy Archivio Marinella Pirelli - Francesco Pozzato
Francesco Pozzato was born in 1992, Vicenza, Italy. He lives and works in Venice, Italy.
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1068 BC (My Father), 2018
Installation, dimensions variable
Courtesy of the artist - Davide Stucchi
Davide Stucchi was born in 1988, Milano, Italy. He lives and works in Milano, Italy.
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Not Much Could Be Saved from the Volcano, 2018
Rusted iron chain, chili spaghetti, dimensions variable![]()
Anacapri, 2013
Felt-tip pen on paper, 14.5x21cm
Courtesy the artist and Deborah Schamoni Galerie, MunichMilano, 2018
Felt-tip pen on paper, 14.5x21cm
Courtesy the artist and Deborah Schamoni Galerie, Munich![]()
Naso (Pisello) X, 2017
Aluminium hanger, 25x19x26cm
Courtesy the artist and Deborah Schamoni Galerie, Munich
Jury
Chus Martínez
Chus Martínez (Spain, 1972) 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, 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, Spain (2002–05 ). For the 51st Biennale di Venezia (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.
Mark Rappolt
Mark Rappolt is editor in chief of Art Review and founder of Art Review Asia. He has been editor at AA Files, the journal of the Architectural Association of London, where he has also lectured as well as curated a project on the writings of texts still to be translated by George Perec and other unpublished works by members of Oulipo. His texts have been featured in several publications, such as The Times, Die Zeit, i-D and Citizen K, as well as in various exhibition catalogues, such as those dedicated to Slater Bradley, Alex Katz, Bharti Kher, David Cronenberg and more recently Yuko Mohri and Joh Kømer. Among his books are also monographs dedicated to architects Greg Lynn and Frank Gehry. He is currently co-curator of Xiàn Chãng, a major exhibition of one-artist projects that takes place within West Bund Art & Design Fair of Shanghai. New productions have been commissioned to artists from south-east and far east Asia, with the first projects involving artists Ming Wong and Michael Lin.
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