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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 2009 Coordinated by Ilaria Bonacossa
Palazzo Re Rebaudengo, Guarene, Italy May 10 – June 21, 2009; Palazzo Ducale, Genoa, Italy September 19 – October 18, 2009
And Yet It Moves
Fondazione Sandretto Re Rebaudengo and Fondazione Edoardo Garrone present Eppur si muove (And yet it moves). The exhibition comprises works by Rosa Barba, Emanuele Becheri, Eva Cenghiaro, Rä di Martino, Patrizio Di Massimo, Caterina Nelli, Giulia Piscitelli, Moira Ricci, Davide Savorani and Elisa Strinna. In Le Mépris (1963), French filmmaker Jean-Luc Godard sets silent movie director Fritz Lang on the roof-terrace of the modernist Villa Malaparte in Capri shooting The Odyssey. The final shot pictures Odysseus facing endless waters as an invitation for the viewer to project his/her own narratives upon the void between past and present. In 1908, on the Mediterranean island of Capri, the exiled Russian writer Aleksei Maksimovich – better known as Maxim Gorky – was planning his Capri School. Far from the epicenter and ideals of Lenin’s Bolshevism, the School saw myth and religion fulfilling a central role in the revolution. It was then, during the summer of the following year, that eight Russian workers arrived to take part as students in Gorky’s peculiar utopia. At the SISMOS center of the Istituto Nazionale di Geofisica e Vulcanologia in Rome, Italian artist Elisa Strinna found a seismographic recording of the Messina earthquake of 1908. This scientific data collected during the movement of faulting tectonic plates in the Mediterranean, is an excerpt from a registration of one hundred years of Natural History. Through a musical translation, Strinna recalls the archival strata. The true method for making things present is to place them in our space (and not us in theirs). That is why only anecdotes have the power to move us. We don’t displace our beings into theirs: they step into our life. [Walter Benjamin, The Arcades Project, conceived in 1927 – unfinished]. It seems as though when artists deal with data, documents or moments from collective or personal histories, their ways of relaying them, acting upon them or even modifying them, are close to Benjamin’s aforementioned potential of the anecdote and its retreat from messianic historicism. In this exhibition the anecdote does not depend on the viewer’s empathy with the story told, but allows the event to be seen through diverse simultaneous temporalities.
Curators
Inti Guerrero
Inti Guerrero (Bogotà, 1983) is a Hong Kong-based curator and educator. He is currently Co-Artistic Director of the 9th Yokohama Triennial and Adjunct Professor (MA) at the School of Creative Media-City University of Hong Kong. He was the co-Artistic Director of Ten Thousand Suns: the 24th Biennale of Sydney, tutor of the Curatorial Studies postgraduate programme at the Royal Academy of Fine Arts- KASK, Ghent (2021-2023); Artistic Director of bap – bellas artes projects in the Philippines (2018-2022); the Estrellita B. Brodsky Adjunct Curator, Latin American Art at Tate, London (2016-2020); Curator of the 38th EVA International, Limerick (2018); co-curator of Dakar Biennale, La Biennale de l’Art africain contemporain (2018); and Artistic Director of TEOR/éTica, San Jose (2011-2014). As an independent curator he curated or co-curated the exhibitions: Myth Makers, Sunpride Foundation – Tai Kwun, Hong Kong (2022); Long Green Lizards at Dakar Biennale, La Biennale de l’Art africain contemporain, Dakar (2018); Fraccionar at Casa Luis Barragán, Mexico City (2018); Soil and Stones, Souls and Songs (touring at MCAD, Manila, Para Site, Hong Kong, and Jim Thompson Art Center, Bangkok, 2016-2017); Chronicle of Interventions,’Tate Modern, London (2014); A Transatlantic Affair. Josephine Baker and Le Corbusier, Museum of Art of Rio-MAR in Rio de Janeiro (2014); A Journal of the Plague Year (touring at Para Site, Hong Kong; The Cube, Taipei; Arko Art Center, Seoul; and Kadist Art Foundation and The Lab, San Francisco; 2013-2015); The City of the Naked Man, Museum of Modern Art of São Paulo (2011); Eppur si Muove, Fondazione Sandretto Re Rebaudengo, Torino (2009), among others.
Julia Kläring
Julia Kläring (Vienna, 1978) graduated in Visual Arts at the Academy of Fine Arts in Vienna, where she specialized in Conceptual Arts, Performance Arts and Video. She participated in the curatorial program of Ecole du Magasin, Grenoble (France). She is currently working on various artistic and curatorial projects that deal with performance and its intersections with text and image formats, such as documentary practices. She took part to different exhibitions among which: She Devil 3, Studio Miscetti, Roma, and National Museum of Contemporary Art, Bucharest (2009), Salon Fauxpas brutal, Vienna (2008), Diskurs-festival: Cyborgs crossing, Performance-Festival, Giessen, Germany (2008), Art-e-conomy at Challengers! curated by Marko Stamenkovic, LOM, Venice (2007). Among her curatorial projects: To store stories, exhibition and publication, conceived with Katharina Lampert, IG Bildende Kunst, Vienna (2009), Performing Memory, itinerant series of conversations (2009), Point.doc, curatorial project, realized in the context of Ecole du Magasin (2008), Nicht nur ein Bild, sondern eine ganze Welt (Not Just an Image, But a Whole World), for the Kunstraum Niederoesterreich, Vienna (2012). From 2010 to 2011 she followed the research and performance project 37 Years too Late, which was shown in stages in London, Dornbirn and Vienna.
Pieternel Vermoortel
Pieternel Vermoortel (Belgium, 1981) is a curator, writer, and editor based in Austria. She is Senior Curator at steirischer herbst, Graz, an international art festival where she co-curated the last three editions (since 2022). As artistic director of Netwerk Aalst (2016-2022), Belgium, she focused on decentering curatorial practices and stretching the possibilities of how cultural production can be made public, experienced, discussed, or written about. At FormContent, London, which she co-founded in 2006, she worked, among others, on the nomadic project It’s Moving from I to It (2012-2016), taking the pulse of conversations on art writing, authorship, and subject-object relations. In recent years she has curated and commissioned projects with, among others, Pablo Bronstein, Jeremiah Day, Ieva Epnere, Lucile Desamory, Dora Garcia, Jos de Gruyter & Harald Thys, Laure Prouvost, Imogen Stidworthy, and Meg Stuart. She has published extensively and curated exhibitions in London, Cairo, Singapore, and elsewhere. She has held permanent teaching positions at Goldsmiths College London and Curatorial Studies KASK Ghent.
Coordinator
Ilaria Bonacossa
Ilaria Bonacossa (Milan, 1973) is a curator, art critic and the current Director of Palazzo Ducale, Genoa. She previously served as director of the National Museum of Digital Art in Milan from 2023 to 2024. She earned a BA in Contemporary Art History from the Università Statale di Milano and an MA in Curatorial Studies from Bard College, New York. She has worked as a research assistant for the 2003 Whitney Biennial and as curatorial assistant for Manifesta 3, Ljubljana. For seven years, she was curator at Fondazione Sandretto Re Rebaudengo, Turin, and from 2012 to 2017, she was the artistic director of the Contemporary Art Museum of Villa Croce, Genoa. In 2013, she curated the Icelandic Pavilion with the solo project of Katrin Sigurdardottir. She has been a member of the technical committee for acquisitions of FRAC Provence-Alpes-Côte d’Azur of Marseille (2007–2013), member of the scientific committee of PAC Milan (2013–2016) and Head of Italy for the Artist Pension Trust. In 2007, she was a member of the Golden Lion Jury at the Venice Biennale and in 2013 a member of the nominating committee for the Inamori Foundation Prize, Kyoto. She was a founding member of Art@Work, a collective that develops contemporary art projects in the non-profit sector and for private collections. Since 2016, she has been the artistic director of La Raia Foundation. From 2017 to 2021, she was director of Artissima, the International Fair of Contemporary Art in Turin, and, since 2019, she has been Course Advisor Leader for the Master’s programme in Arts Market at NABA – Nuova Accademia di Belle Arti, Milan. From 2021 to 2024, she served as Arts and Culture Liaison for Riyadh Art, the Public Art programme of the Royal Commission of Saudi Arabia.
Artists
- Rosa Barba
Rosa Barba, born in Agrigento, Italy, and based in Berlin, Germany, explores themes of permanence, impermanence, reality, and fiction through films, sculptures, installations, publications, and performances. Her work examines how space is influenced by temporal and linguistic constructs, challenging traditional narratives and semiotics. Barba deconstructs cinematic elements, merging physical materials with abstract concepts like time and sound. Her work is part of numerous international collections and her forthcoming and recent solo exhibitions include: Museum Haus Konstruktiv, Zurich Art Prize (2026), Albertina Museum, Vienna (2026), Calouste Gulbenkian Museum, Lisbon (2026), MAXXI, Rome (2025), MoMA, New York (2024, 2025), MALI – Museo de Arte de Lima, Peru (2024), Centre Pompidou, Paris (2023), Tate Modern, London (2023), Villa Medici, Rome (2022), Neue Nationalgalerie, Berlin (2021-2022), and at Biennials such as the 53rd and 56th Venice Biennale, Sao Paolo (2016), Sydney (2014) and Performa (2013). Barba was awarded the Zürich Art Prize (2026), Smithsonian Artist Research Fellowship (2025), the Calder Prize in 2020 and the Fondation Prince Pierre de Monaco’s International Prize for Contemporary Art in 2015.
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Outwardly from Earth's Center, 2007
35 mm film transferred to video, 24 min (installation view)
Courtesy of the artist - Emanuele Becheri
Emanuele Becheri was born in Prato in 1973, graduated from the Academy of Fine Arts in Florence in 1995. Becheri has always been interested in drawing, which he has studied in different languages – experimenting with drawing in total darkness, then through photography, video and music, and finally arriving at sculpture and terracotta. The relationship between drawing and sculpture is not a concept but, according to Becheri, a reverberation. There is a resonant relationship: we feel mainly in the terracotta, a tension in the gesture, a vibration of the line, a complicity in which certain details in the drawing resonate in the sculpture just as certain details in the sculpture resonate in the drawing. It would be misleading to see it as a reminiscence of the work of the old masters. In 2026, the Museo Collezioni Comunali d’Arte in Bologna dedicated a solo exhibition to him, curated by Lorenzo Balbi. Among his solo exhibitions: Sculture at MEF – Museo Ettore Fico, Turin, 2025; Opere at CAR Gallery, Bologna, 2024; Sculptures at Galerie Bernard Bouche, Paris, 2024; Sculture e disegni at Museo del 900, Florence, 2020. Among his group exhibitions: East and West at GNAMC – Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, 2025; Teste at ChorAsis, Villa Rospigliosi, Prato, 2025; Controluce at Museo d’Inverno, Siena, 2024; Panorama XIX at GNAMC – Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, 2023; Ragione e Sentimento at GNAMC – Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, 2019; Video from the Collection of the Galleria Nazionale d’Arte Moderna e Contemporanea at EMST – National Museum of Contemporary Art, Athens, 2018; De scultura at Casa Masaccio – Center for Contemporary Art, San Giovanni Valdarno, Italy, 2018.
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Rilascio, 2006
Carbon paper on kraft paper, wood, plexiglass, 280 x 175 cm / 260 x 175 (installation view)
Courtesy of the artist - Rä di Martino
Rä di Martino was born in Rome and studied in London, graduating with an MFA from the Slade School of Art. She won a fellowship at Columbia University and spent five years in New York before returning to Italy. Her practice explores the passage of time and the discrepancies between epic narratives and lived experiences. Her works often balance pathos with a certain detachment, disrupting the synchronicity between image and text. Her films, video installations, and photographs have been presented at institutions and festivals including MoMA PS1 (New York), Tate Modern (London), NiMK Netherlands Media Arts (Amsterdam), MCA (Chicago), Palazzo Grassi–Punta della Dogana (Venice), Artists Space (New York), Museion (Bozen), Magasin (Grenoble), Busan Biennial, Manifesta, Torino International Film Festival, Kino der Kunst (Munich), Viper Basel, and Transmediale (Berlin). In 2014, she presented her first medium-length documentary The Show MAS Go On at the Venice International Film Festival, winning the Gillo Pontecorvo Award, the SIAE Award, and a Nastro d’Argento for Best Documentary. In 2018 her first feature film Controfigura—winner of the Eurimages Lab Award—premiered at the Venice Film Festival and was nominated for a Nastro d’Argento. In 2018–19 she won the MIBAC Italian Council Award and developed the installation and book Afterall, shown at Mattatoio (Rome) and Kunstmuseum St. Gallen (Zurich, 2020). The same year, her solo exhibition at Museo del Novecento, Florence, with the work L’eccezione, received the first Lio Capital Award. In 2021, she directed the experimental documentary Fuori dai teatri, inspired by the archive of the Teatro di Pontedera. In 2022, she presented solo exhibitions at Forte Belvedere (Florence) and Torre Matta (Otranto) with a new work on Carmelo Bene commissioned by Museo Castromediano di Lecce / Archivio Carmelo Bene. Recent exhibitions include Kant Can’t Can-Can at Fondazione Giuliani, Rome (2025), Electric Whispers at Beirut Arts Center and Fotografia Europea, Reggio Emilia (2025), PLAY IT AGAIN at Forte Belvedere – Museo Novecento, Florence (2023), and Premio Acacia at Museo del Novecento, Milan (2020). She is currently developing her second feature film Ya & Niki, an Italian–French–Lebanese co-production.
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August 2008, 2008
16 mm film transferred to video, 5' (video frame)
Courtesy of the artist - Patrizio Di Massimo
Patrizio Di Massimo was born in 1983, Jesi, Ancona, Italy. He lives and works in Milano, Italy and London.
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OAE, 2009
video, 16 mm, (installation view)
Courtesy of the artist - Caterina Nelli
Caterina Nelli was born in 1979, Roma. She lives and works in Roma.
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Long Portraits. Michele, Pierfrancesco, Cecile, Giorgio, John, Federica, Brando, 2006-07
7 pinhole photographs, hand printed on baryta paper, 30 x 30 cm each, (installation detail, Pierfrancesco)
Courtesy of the artist - Giulia Piscitelli
Giulia Piscitelli (b. 1965, Naples) lives and works in Naples. Piscitelli explores themes of labor, value, identity, and collective memory, transforming everyday objects and situations into critical narratives on contemporary society. Selected solo exhibitions include: Short Films, Palazzo Diedo – Berggruen Arts & Culture, Venice (2025); Chiave Terrestre, MUNAV, Venice (2025); Una Nuvola Come Tappeto, Museo del Tesoro di San Gennaro, Naples (2024); Anime, Casa Masaccio, San Giovanni Valdarno (2019); Nella Società, in Gesellschaft, Kunstmuseum Luzern (2019); Wide Rule, Kayne Griffin Corcoran, Los Angeles (2015); Intermedium, MADRE, Naples (2013); Contested Zone, CUBITT Gallery, London (2011); Rischi Minori, Fondazione Giuliani, Rome (2011); Beige, Fondazione Morra Greco, Naples (2010); and Ballhaus, RISO Museo d’Arte Contemporanea, Palermo (2008). Her work has been featured in major international exhibitions, including the Lagos Biennial (2024); documenta 14 (2017); the 16th Quadriennale d’Arte, Rome (2016); the 54th Venice Biennale (2011); the 5th Berlin Biennial (2008); and 50 Lune di Saturno, T2 Torino Triennale (2008).
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Todos, 2008
video, 9', (installation view)
Courtesy of the artist - Moira Ricci
Moira Ricci (b. 1977, Orbetello, Italy) explores the ties between identity, family memory and territory, weaving archival materials, digital technologies and popular imagery. Her practice, often rooted in personal history, investigates forms of belonging and the emotional layers that connect bodies to places. After studying photography at C.F.P. Bauer and Visual Communication at the Brera Academy, she developed a language that blends documentation, invention and visual intervention. She has presented solo exhibitions in Italian and international institutions, including MAMbo, MUNAF, MUCIV, Marubi National Museum of Photography, DelloScompiglio, PAC Ferrara, and many galleries. Her work has been shown in numerous group contexts, from the Centre Pompidou to the Quadriennale in Rome, from Palazzo Strozzi to MAXXI. Winner of awards and residencies such as Gasworks in London and Location One in New York, Ricci continues to investigate the relationship between image, memory and social transformation through projects that connect territory, narrative and contemporary visual practices.
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20.12.53 – 10.08.04, 2004-09
13 digital prints (installation view) Courtesy of the artist - Davide Savorani
Davide Savorani (b. 1977, Faenza, Italy) is an artist whose practice spans multiple media, from drawing and sculpture to writing and performance. His research develops through open-ended processes, conceived to embrace what emerges from the encounter between his own imaginary and the context in which the work manifests itself. For Savorani, the dialogue between bodies, materials, space, and duration can challenge the notion of finiteness and open up a space of suspension. His projects often take the form of performative environments, in which presences, conditions, and circumstances can generate new possibilities of meaning. Savorani lives and works in Milan. In 2022, the publishing house bruno (Venice) released Argh!, a book edited by Frida Carazzato and Caterina Riva, collecting a selection of drawings taken from the artist’s working journals between 2005 and 2019. In September 2024, he presented a new site-responsive environment as part of the Evolving Love festival at Centrale Fies, Dro, Italy. Since 2024, Savorani has taught Performance Techniques in the MA programme at IED – Accademia di Belle Arti Aldo Galli in Como. Savorani has participated in several collective exhibitions and events, including: Una Sauna, Il Colorificio, Milan (2022); Isolationkunst, Samtidskunst Museet, Roskilde (2020); Afterglow, Gavin Brown Enterprise, Rome (2019); Every time You Close Your Eyes, Tile Project Space, Milan (2018); 40° Sopra la performance, Palazzo Magnani, Bologna; News at Betty, Betty Nansen Teatret, Copenhagen (2017); People In A Building Without A Building, ex Guarmet, Milan (2016); Island Time, CAMH, Houston (2015); REVISIT, Overgaden, Copenhagen (2014); Do It: Houston, Alabama Song, Houston (2013); Prune in the Sky, Toves Galleri, Copenhagen (2012); Not an image but a whole world, Kunstraum, Vienna (2012); L’inadeguato/Lo inadecuado/The inadequate, Spanish Pavilion / La Biennale di Venezia (2011); Against Gravity, ICA, London (2010); HaVE A LoOk! HAve A Look!, FormContent, London (2010); #02 Mal d’archive, La Friche la Belle de Mai, Marseille (2010); Eppur si muove, Fondazione Sandretto Re Rebaudengo, Guarene (2009). Solo exhibitions include: Argh!, CLER, Milan (2022); Something Else I Buried Deep, CLER, Milan (2019); Noi Non Siamo Fiume, Kunsthalle Eurocenter, Lana (2016); Stressed Environment, Marselleria, Milan (2016); Green Room, Careof, Milan (2011); Gallisterna, Brown Project Space, Milan (2008).
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Hybrîda, 2009
Installation, mix media (installation view)
Courtesy of the artist - Elisa Strinna & Eva Cenghiaro
Elisa Strinna is an Italian multimedia artist based in the Netherlands since 2018. Her multisensory environments bring together film, sculpture, light, and sound. She approaches sculpture as a form of world-making through which she studies and imagines systems of resilience and interconnection across human and more-than-human life. Bringing premodern European healing practices into dialogue with contemporary science, she explores care as a relational, interspecies process. Moving between documentary and science fiction, her films question dominant visions of the future and the colonial logics embedded in contemporary space exploration. Selected presentations include Verwey Museum Haarlem (2026), RADIUS CCA (2025), International Film Festival Rotterdam (2023), documenta fifteen (2022), A Tale of A Tub (2021), Culturgest (2020), Palazzo Re Rebaudengo, Guarene (2009, 2020), Hong-gah Museum (2018), MART (2015), MAXXI (2014), the Taipei Biennial (2012), and MACRO (2011). She holds a master’s degree in Visual Arts from IUAV University of Venice and a postgraduate diploma in Documents and Contemporary Art from ÉESI, France. Selected residencies include Creative Residency Arita (JP, 2026), EKWC (NL, 2025), and the Jan van Eyck Academie (NL, 2018–2019).
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Wood Song, 2007
Sound installation (detail)
Courtesy of the artist![]()
Wood song, 2007
Sound installation (installation view)
Courtesy of the artist
Jury
Carlos Basualdo
Carlos Basualdo (Argentina, 1964) is the Keith L. and Katherine Sachs Senior Curator of Contemporary Art at the Philadelphia Museum of Art, where he oversees the Museum’s Department of Contemporary Art. He was part of the curatorial teams for Documenta11 (2002), the 50th Venice Biennial, and conceived and curated Tropicalia: A Revolution in Brazilian Culture, which travelled from the MCA, Chicago, to the Barbican Gallery, London (2004/2005) as well as the Bronx Museum, New York and the Museu de Arte Moderna, Rio de Janeiro (2006/2007). In 2006, he initiated two exhibition series at the Museum called Notations and Live Cinema, both of which are devoted to the permanent collection and video. He was the lead organiser of Bruce Nauman: Topological Gardens, that represented the United States at the 2007 Venice Biennial, where it was awarded the Golden Lion for Best National Participation. In 2010 he organised a survey exhibition of the work of the Italian artist Michelangelo Pistoletto, a collaboration between the Philadelphia Museum of Art and the MAXXI Foundation, Roma, where it travelled in the spring of 2011. He organised Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg and Duchamp, which opened in Philadelphia in October of 2012. From 2010 until 2013 he worked as curator at Large at MAXXI Arte, in Roma.
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.
Charlotte Laubard
Charlotte Laubard (1974) is a French curator, director of CAPC Musée d’Art Contemporain de Bordeaux (France) since October 2006 where she recently curated the exhibitions Diego Perrone, David Maljkovic and On Lost Worlds. She has previously worked as a curatorial associate at PS1 Contemporary Art Center, New York (1999 – 2000), at Castello di Rivoli Museo d’Arte Contemporanea, Torino (Italy) (2002-05), and she was the consultant for the Viktor Pinchuk Foundation, Kiev, on the opening of its contemporary art museum (September 2006). In Torino in 2004, Charlotte co-founded the art space More Fools in Town together with Australian artists Geoff Lowe and Jacqueline Riva, where they have organised many events. She also curated the 2003 edition of the Fuori Uso festival in Pescara (Italy) and exhibitions in Fondation Ricard in Paris (Così va il mondo, 2003; Incipit, 2006), and in the Victoria College of Art in Melbourne (Daniel Dewar & Gregory Gicquel, 2006). From 2001 to 2006, Charlotte Laubard was a contributor to Artforum, 02 Magazine, Beaux-Arts Magazine, and the editor of the contemporary art rubric of the magazine Technikart.
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