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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.
Young Curators Residency Programme 2011 Coordinated by Stefano Collicelli Cagol
Palazzo Re Rebaudengo, Guarene, Italy May 29 – June 26, 2011
To see an object, to see the light
To see an object, to see the light 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.
Curators
Pádraic E. Moore
Pádraic E. Moore is a writer, curator and art historian. He holds a BA in History of Art and English Literature from University College Dublin (2004), an MA in Visual Art Practices from IADT, Dublin (2007) and completed CuratorLab, the postgraduate programme at Konstfack University, Stockholm (2010). Moore is a former resident of the Jan van Eyck Academy, Maastricht (2014-15). Moore’s practice is shaped by the belief that visual art enables alternative modes of interaction in a world increasingly led by technological rationality. Moore’s curatorial methodology is meticulous but subjective and is informed by an acute awareness of the artist’s individual position. He is particularly interested in the format of the group exhibition as a platform for making collective, critical statements. Moore is Curatorial Programme Mentor at De Appel, Amsterdam.Recent research has focused upon the influence that esoteric philosophies have had upon the literary and visual arts. Several projects have explored how organisations such as the Theosophical Society offered a vital catalyst for change in late 19th and early 20th century art. Moore’s projects often examine how contemporary culture has embraced aesthetics and ideals informed by such esoteric traditions. Chronicling the work of artists who refer to or follow these traditions is also an integral aspect of his practice. Recent projects include: The Museum of Ancient History, UCD, Dublin (2021) The Great Invocation, Garage Rotterdam, (2020) Orgonomics, Garage Rotterdam (2019) The Last Great Album of the Decade. The LAB, Dublin (2019), Letters of Last Resort, Damien and the Love Guru, Brussels (2018) and The Width of a Circle, W139, Amsterdam (2018).
Ginny Kollak
Ginny Kollak (New York, 1981) 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 (USA). 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, New York, where the exhibitions she curated dipped into topics as diverse as sleepwalking, furniture, and the iconography of stripes including Tim 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 a 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.
Pavel S. Pyś
Pavel Pyś is the Curator of Visual Arts and Collections Strategy at the Walker Art Center. At the Walker, he has curated solo exhibitions by Abbas Akhavan, Daniel Buren, Paul Chan, Pan Daijing, Michaela Eichwald, Christine Sun Kim, Carolyn Lazard, Ralph Lemon & Kevin Beasley, Sarah Michelson, and Elizabeth Price, as well as the group exhibition The Body Electric (2019). In 2018, he was awarded an Andy Warhol Foundation Curatorial Fellowship which aided research towards Multiple Realities: Experimental Art from the Eastern Bloc, 1960s-80s, the largest North American survey of art from Central Eastern Europe to date. Pyś is closely involved in leading the strategic vision, development, and long-range planning of the Walker’s collection. He has curated exhibitions at numerous venues including the Whitney Museum of American Art, New York, Vancouver Art Gallery, Phoenix Art Museum, The Contemporary Austin, Museion Bolzano, and Zachęta – National Gallery of Art, Warsaw. Previously, Pyś was the Exhibitions and Displays Curator at the Henry Moore Institute (Leeds, UK). He received an MFA in Curating from Goldsmiths College (2010) and an MSc in Culture & Society from the London School of Economics (2009). In 2025, he was awarded a Center for Curatorial Leadership Fellowship. He participated in the 2011 edition of the YCRP.
Coordinator
Stefano Collicelli Cagol
Stefano Collicelli Cagol (Padua, 1978) has been the Director General of FACT – Fondazione Arti Contemporanee in Toscana, Centro per l’Arte Contemporanea Luigi Pecci, Prato, since 2022, and since 2021 has been a member of the Scientific Steering Committee of the Italian Ministry of Culture (MIC) and the Contemporary Art Foundations Committee. In 2002, he graduated in Conservation of Cultural Heritage from Ca’ Foscari University, Venice. In 2014, he earned a PhD at the Royal College of Art in London with a thesis on the history of thematic exhibitions of contemporary art in Italy between the 1930s and 1950s. His career as a curator began in 2003 at Castello di Rivoli – Museum of Contemporary Art for the exhibition The Moderns curated by Carolyn Christov-Bakargiev. Between 2004 and 2006, he was assistant curator at Villa Manin – Centre for Contemporary Art, Passariano (UD). In 2011, he was assistant curator for the exhibition A Geographical Expression. Unity and Identity of Italy through Contemporary Art, produced by the Fondazione Sandretto Re Rebaudengo, Turin, where he worked, among others, with Victor Man, Johanna Billing, Isabelle Cornaro, Markus Schinwald, Andro Wekua and Ibon Aranberri. From 2010 to 2013 at Fondazione Sandretto Re Rebaudengo, he coordinated the residency for young curators and contributed to the design and teaching of CAMPO – Course for Curators. At the ninth edition of the Premio Furla in 2012, together with Bart Van Der Heide, curator of the Stedelijk Museum Amsterdam, he nominated the winner, Chiara Fumai. Through these projects, he developed a thorough understanding of the Italian art system and emerging contemporary art. In Italy, as an independent curator, he worked at Castello di Rivoli – Museum of Contemporary Art, Rivoli-Turin; Artissima, Turin; Palazzo Grassi, Venice; GAM – Galleria d’Arte Moderna e Contemporanea, Turin; Fondazione Bevilacqua La Masa, Venice; and the Marino Marini Museum, Florence. He also collaborated with international institutions such as Kunstmuseum Trondheim, where he has been Curator at Large since 2015 and where he presented the works of artists including Lawrence Abu Hamdan and Sidsel Meineche Hansen; LUX Artists’ Moving Images, London; steirischer herbst festival, Graz; VAC Moscow and Venice; the curated by_vienna festival, Vienna; and Art-O-Rama, Marseille. He was curator of La Quadriennale di Roma (2018) and was a visiting professor in the Master in Design for Arts at the Polytechnic of Turin (2018–2019). From 2019 to 2022, he was Curator-at-Large for BY ART MATTERS, Hangzhou, China. He has published several academic articles on the history of exhibitions and his articles have appeared in Stedelijk Studies, Domus, Mousse and Flash Art. He has edited several art publications and exhibition catalogues, including: Davide Stucchi, Light Lights, Mousse Publishing, Milan (2025); Louis Fratino, Satura, Mousse Publishing, Milan (2024); Diego Marcon, Glassa, Lenz, Milan (2023).
Artists
- Salvatore Arancio
Salvatore Arancio (Catania, Italy, 1974) is an artist based in London and Nice whose practice spans video, ceramics, sculpture, drawing, collage, animation and installation. Central to his work is an exploration of images, how they produce meaning, shift across contexts and can be reframed or destabilized. Arancio treats images as fluid constructs operating across scientific, mythological and historical registers, while remaining open to imaginative interpretation, reflecting the instability of knowledge and our mediated relationship to the natural and ecological world. His practice frequently juxtaposes binaries, natural and artificial, mineral and vegetable, scientific and mythological, without resolving them, allowing objects and images to function as sites of ambiguity. Research underpins his methodology, drawing on fieldwork, archives, scientific texts, ethnography and speculative narratives, which are translated into visual systems that resist singular interpretation. Ceramics play a pivotal role in his work referencing geological formations, ritual objects and imagined fossils. His moving-image projects blend documentary and fiction, scientific observation, abstraction, and psychedelic imagery, creating immersive environments that explore temporality, perception and ecological fragility.
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Shasta, 2011
Projector, rotating disk
Courtesy of Martano Gallery, Turin, Italy - Francesco Barocco
Francesco Barocco was born in 1972, Susa, Torino, Italy. He lives and works in Torino.
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Untitled, 2010
Clay sculptures, spray paint on photographs, 165 x 40 x 35 cm, Courtesy of the artist and Norma Mangione Gallery, Turin, Italy
- Marco Basta
Marco Basta was born in 1985, Milano, Italy, where he lives and works.
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Giardino, 2010-11
Felt-tip pen on felt, 320 x 346 cm Courtesy of the artist - Alighiero Boetti
Alighiero Boetti was born in Torino, Italy, in 1940. He died in Roma in 1994.
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Contatore, 1967
Collage on silkscreen, 44 x 62 cm, Private collection - Chiara Camoni
Chiara Camoni (1974, Piacenza) lives and works in a small village in the Apuan Alps, Italy. Her practice spans drawing, botanical printing, video, and, above all, sculpture, with a particular focus on ceramics. Many of her works emerge through collaborations with informal communities or within seminars and workshops, reflecting an approach grounded in shared making. In recent years, Il Centro di Sperimentazione has become an integral part of her practice as a form of collective authorship. Recent solo exhibitions include Con te con tutto, curated by Cecilia Canziani for the 61st International Art Exhibition – La Biennale di Venezia (2026); Swarms, a permanent installation for Luci d’Artista in Turin; Erguidas, yacentes at Patio Herreriano, Valladolid; COLONNE at SpazioA, Pistoia (all 2025); Inizio fine. Rotondo. Tutte le cose del mondo. at Palazzo Collicola, Spoleto, and Chiamare a raduno. Sorelle. Falene e fiammelle. Ossa di leonesse, pietre e serpentesse at Hangar Bicocca, Milan (2024). Recent group exhibitions include Portals to Unwritten Time at Perrotin, Paris, and The Gorgeous Nothings: Flowers at Chatsworth (2025); Bangkok Art Biennale, Manifesta 15, Being Mediterranean at MO.CO. Panacée, Montpellier, Reenchantments in Barcelona, and Sheher, Prakriti, Devi at Ishara Art Foundation, Dubai (2024); as well as Into Nature: Time Horizons (2023) and Becoming Flower at MAMAC, Nice (2022).
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Senza Titolo #13, 2010
Oil on canvas, wood, lamp , 45 x 45 x 55 cm, (Installation view at Marino Marini Museum, Florence) Courtesy of the artist and SpazioA, Pistoia, Italy - Mario Ciaramitaro
Mario Ciaramitaro is a researcher, educator and curator based in Venice. He is a founding member of the collective Blauer Hase and co-curator of Helicotrema – Recorded Audio Festival (since 2012), an itinerant festival investigating forms of collective listening through site-specific programmes of recorded audio, presented in institutions and venues across Italy and abroad. Between 2021 and 2023 he held a curatorial residency at Hangar, Barcelona, and he co-funded with Alberto Restucci AARDUORK, an independent art space in Venice. He taught as teaching assistant in visual arts at Università Iuav di Venezia, working with Lawrence Carroll, Luca Trevisani and Antoni Muntadas, and he tutored for seven editions in the Iuav Master in Photography. In 2022 he co-edited, with Gianfranco Maraniello and in collaboration with Lucy Jones Carroll and the Lawrence Carroll Archive, the catalogue of Lawrence Carroll Keep Looking, the artist’s first retrospective, held at Madre, Naples. He currently teaches interaction design at Iuav, where his research spans speculative design, interface criticism and community-centred design, and contributes as researcher to European projects.
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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) - Luca Francesconi
Luca Francesconi was born in Mantova, Italy, in 1979. Francesconi has participated in numerous exhibitions in public and private institutions, including: Fondazione Ratti, Como (2000); Biennale di Tirana, Tirana (2001); Fuori Uso, Pescara (2004); Galleria Civica di Trento, Trento (2004); Cristina Guerra Gallery, Lisbon (2006); Maison Populaire, Montreuil (2007); Palais de Tokyo, Paris (2009); Fondazione Sandretto Re Rebaudengo, Turin; Crac Alsace, Altkirch; Magasin, Grenoble; Fluxia, Milan (2010); Jan Mot, Brussels; Chez Valentin, Paris (2011); Musées de Montbéliard (2012); Nova – Art Basel Miami (2012); MAN, Nuoro; Museo Marino Marini, Florence (2013); Shanaynay, Paris (2014); Tonus, Paris; Museo Riso, Palermo; Kunsthalle Lissabon, Lisbon (2015); Jupiter Woods, London; Tunnel Tunnel, Lausanne (2016); une, une with Miriam Cahn, Perpignan; Spazio Maria Calderara with Vettor Pisani, Milan (2017); 67 Steps, Los Angeles (2018); and Palazzo delle Esposizioni, Rome (2019). In 2009, he won the Illy Present/Future Prize at Artissima with Galleria Umberto Di Marino. In 2011, he was invited by Bice Curiger to ILLUMInations, the 54th Venice Biennale. In 2014, he participated in MiArt’s THENnow section, invited by Giovanni Carmine and Alexis Vaillant, presenting a work with Jimmie Durham. In 2016, he took part in the XXV National Visual Arts Award – City of Gallarate at MAGA Museum; in 2020, he participated in AGAINandAGAINand at MAMbo, Bologna, curated by Lorenzo Balbi. In 2022, he held solo exhibitions at Galeria Pedro Cera, Lisbon, and Museo Burel, Belluno; in 2023, he participated in ArtCity Bologna with Senza Titolo. Grasso di anguilla. In 2025, he presented a solo project, Interior Farmers, with Galleria Umberto Di Marino in the Discoveries sector of Art Basel Hong Kong. Between 2008 and 2010, he co-directed the independent Brown project space in Milan. Since 2006 he has collaborated with Galleria Umberto Di Marino, presenting four solo exhibitions: A Naked Tree and Some Other Works (2006), Calendario delle Semine (2009), pane pane vino canale di scolo (2014), curated by Jason Hwang, and Hormone Disruptors(2021).
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Untitled, 2006
Mix media on paper, 105 x 75 cm Courtesy of Umberto di Marino Galley, Naples, Italy - Linda Fregni Nagler
Linda Fregni Nagler was born in 1976, Stockholm. She lives and works in Milano, Italy.
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A life on the Ocean's Wave, 2010
Photographic installation, dimensions variable
Courtesy of the artist and Monica de Cardenas Gallery, Milan - Pietro Fogliati
Pietro Fogliati was born in 1930, Canelli, Asti, Italy. He died in 2016, Torino, Italy.
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Proiettore per cromocinetismo, 1972
Projector, rotating disk
Courtesy of Martano Gallery, Turin, Italy - Francesco Gennari
Francesco Gennari (b. 1973, Fano, Italy) lives and works in Pesaro and Milano, Italy.
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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
Giovanni Giaretta (b. 1983, Padua) is an Italian artist based in Amsterdam. After graduating in Design and Production of Visual Arts at IUAV University of Venice, he participated in several international residency programmes, including the Dena Foundation for Contemporary Art (Paris), De Ateliers (Amsterdam) and Deltaworkers (New Orleans). In 2011 he attended the Advanced Course in Visual Arts at Fondazione Antonio Ratti with Susan Hiller as visiting professor. His work has been exhibited internationally at institutions including Framer Framed, RADIUS, West, De Appel (Netherlands), Museo Fortuny, MAMbo, MACRO, Fondazione Sandretto Re Rebaudengo and Galleria Tiziana Di Caro (Italy), as well as La Criée and the Musée Départemental d’Art Contemporain de Rochechouart (France). His films have screened at IFFR Rotterdam, IDFA, Internationale Kurzfilmtage Oberhausen and Go Short. His practice combines moving images, installation, photography and writing, investigating the intersections between cinema, geology, memory and imagination through long-term research and collaborations with scientists and local communities. Since 2019 he has been a lecturer in Fine Art and Moving Image at AKI ArtEZ in the Netherlands.
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Moon, 2009
Shaving mirror, clamp, battery-powered LED torch, sodium chloride, dimensions variable
Courtesy of the artist - Isola and Norzi
Isola and Norzi were born in 1976 in Turin where they live and work.
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Platonic Acquarium, 2010
Plexiglas and marine sponge, 120 x 120 x 120 cm
Courtesy of the artists - Diego Marcon
Diego Marcon was born in 1985, in Busto Arsizio (VA), Italy. He lives and works in Milano, Italy.
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Storie di fantasmi per adulti, 2010
Video, MiniDV, colour/sound, single channel video projection, 16'22''
Courtesy of the artist - Alek O.
In her practice, Alek O. (b. 1981, Buenos Aires) blends the common notion of the readymade with craft, embroidery and other traditional art-making forms. On the verge between transformation and conservation, Alek O. strips the objects’ common visual aspects and replaces them with geometric abstraction. Reversing the perspective of design, Alek O. favors re-creation over creation and deconstruction over construction. The objects are salvaged from their original, usually domestic use: wood from a table, metal from a discarded key, wool from a sweater or a pair of gloves. Thus, the works function as metonymy for the artist, or the people who had a connection with the material. The imprint on her sculpted material of those who owned it or used it represents an important aspect of Alek O.’s work as it encapsulates a series of suggestions where memory, affection, nostalgia and the carefully considered loss of interpretive information converge to create an open poetic gesture. Alek O. lives and works in Milan, where she graduated in Design from Politecnico. The work of Alek O. has been exhibited widely at institutional level, notably at MAMbo, Bologna (2026); Royal Academy, London (2026); Fondazione Nicola Trussardi, Milan (2024); the National Gallery of Modern and Contemporary Art, Rome (2021); The Courtauld Institute of Art, Sommerset House (2020); 16th Quadriennale d’Arte, Rome, Palazzo delle Esposizioni (2016); Triennale di Milano, Milan (2015).
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Corkscrew, 2010
Brass
8,5 x 6,1 x 0,5 cm
Courtesy of the artist
Il conico, 2010
Steel
15 x 11,6 x 1 cm
Courtesy of the artist - Agne Raceviciute
Agne Raceviciute was born in Klaipeda, Lithuania, in 1988 and lives in Milano, Italy and Venezia, Italy, where he works as an artist.
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Posa 01/02, 2011
Photographic print mounted on panel , 130 x 90 cm (left)
Courtesy of the artist - Carol Rama
Carol Rama was born in 1918, Torino, Italy. She died in 2015 in Torino.
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Pissoirs, 2005
Mixed media and bycicle inner tubes on framed map, 106,5 x 117 x 4 cm
Private collection, Turin - Alessandro Sciaraffa
Alessandro Sciaraffa was born in 1976, Torino, Italy, where he lives and works.
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Natività, 2010
Liquid crystal, mother of pearl shell, steel, lamp , 60 x 90 cm
Courtesy of Cardi Black Box Gallery, Milan, Italy
Jury
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 (UK), created in 2012.
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.
Marc-Olivier Wahler
Marc-Olivier Wahler (Switzerland, 1964 ) 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 (Switzerland) (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 São Paulo (Brazil), Buenos Aires, Zurich, Lausanne (Switzerland), Biel (Switzerland), Geneva (Switzerland), Paris, Dijon (France), Marrakech (Morocco), Madrid, Torino (Italy), Lisbon, Coimbra (Portugal), 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.
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