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 2019 Curated by Lucrezia Calabrò Visconti

Fondazione Sandretto Re Rebaudengo, Turin April 15 – September 29, 2019

Capriccio 2000

Capriccio 2000 is the final result of the 13th edition of the Young Curators Residency Programme. In music, a capriccio is a composition that takes a free-form approach to tempo and style. In painting, it refers to an architectural fantasy in which buildings and archeological ruins from different geographies and temporalities are placed together to form plausible, yet fictional landscapes. Gesturing to these connotations, the exhibition Capriccio 2000 traverses electronic dance music cultures in millennial Italy – particularly hardcore – to propose a sensory tableau: of listless bodies, ritualised gestures and neon hues amidst the detritus of suburban life. While several earlier instances of nightclub and rave culture have been canonized as spaces of resistance, hardcore, arriving in the 1990s, had a much more diffuse and nihilistic aesthetic. Directly interacting with mass cultural consumption from its onset, hardcore developed into a popular musical language in the early 2000s, proliferating within local youth scenes across Europe. Considered low-brow and folkloric by most, hardcore speaks to a unique cultural moment that arose from often overlooked geographies across Europe. Focusing on peripheral areas – from Turin in the north along the highway through Bergamo and Brescia to the suburban districts of Rome – the exhibition engages with youth culture as it emerged within the post-industrial landscapes of Italy. Such non-centralised spaces came to form the dominant culture of the time, influenced by styles seeping down from other cities in northern Europe whilst simultaneously developing their own distinct and idiosyncratic local languages. Within the exhibition, the notion of capriccio is adopted as a creative method of assemblage, in which elements are selected for their aesthetic and impressionistic sensibilities as opposed to notions of representational truth. Taken from the title of an installation by one of the exhibiting artists, Andrea De Stefani, Capriccio 2000 encompasses a range of approaches, from the direct engagement with histories of electronic dance music in the work of Michele Rizzo to a more abstract evocation of landscape in Dafne Boggeri’s hypnotic video work LIANE and the intimate paintings of listless youths by Giuliana Rosso.



Rosa Tyhurst

Rosa Tyhurst (UK, 1986) is a curator, writer, and publisher based in Oakland (USA). She graduated from the Curatorial Practice MA Program at the California College of the Arts, San Francisco (USA) in 2018 with a thesis focused on the work of Art Club 2000. Recent projects include: PS8 (San Francisco, 2017-2018), Break-up Letters (published 2018), Artwork for Bedrooms (The Wattis Institute, San Francisco, 2018), You had to be there (swissnex, San Francisco, 2018). Rosa has held positions at the De Young Museum, San Francisco; Limoncello, London; SUNDAY Art Fair, London, and is currently the America’s Collection Fellow at KADIST, San Francisco.

Jeppe Ugelvig

Jeppe Ugelvig (Denmark, 1993) is a curator and cultural critic. His research interests evolve around histories and theories of cultural production, as well as the intersections of queer, cybernetic and decolonial thinking. He completed his IB diploma at the Mahindra United World College in India in 2012, his undergraduate degree Communication, Curation, Criticism at Central Saint Martins in 2016, and his MA degree at the Center for Curatorial Studies at Bard College, in 2018. Jeppe’s writing has appeared in Frieze, Parallax, ArtReview, Flash Art International, Spike, Kaleidoscope and LEAP, amongst many others, and he has written exhibition catalogues for artists and projects including Dozie Kanum, A Kassen, BODY HOLES, and Soft Baroque. He functions as the features director and editor of DANSK Magazine and contributing editor of Wallet. He has staged exhibitions in Copenhagen, Ramallah (State of Palestine), Berlin and London, and most recently curated the exhibition Fashion Work, Fashion Workers at the Hessel Museum of Art, New York.

Hannah Zafiropoulos

Hannah Zafiropoulos (Greece, 1992) is a curator, researcher and writer living and working in London and Stockholm. Her practice departs from the possibilities of the emergent field of ‘the curatorial’ to inspire new methodologies and modes of curatorial research, with a particular focus on performativity and participation. Using live action role play as a starting point, her research develops a methodology of ‘procedural authorship’ through which a curator may open up spaces of renewed democratic participation in which diverse voices can participate in the process of meaning and the production of new knowledges. She has worked as Assistant Curator at Calvert 22 Foundation, London and has previously curated projects at Gasworks, London and Tensta konsthall, Sweden, where she will hold the position of Guest Curator for 2019, developing a research programme around the history and methods of the Fogelstad Women’s Citizenship School. From 2013-16, she was Director of Exhibitions at Howard Griffin Gallery, London. She regularly writes for publications including Art Review, The Calvert Journal, Apollo and Koreografisk Journal and has recently co-edited the forthcoming publication Red Love: Reading Alexandra Kollontai (Sternberg Press, 2018). She holds a BA in History of Art from the Courtauld Institute of Art and an MA in Curating Contemporary Art from the Royal College of Art, and has recently participated in the curatorial research programme CuratorLab at Konstfack University of Arts, Stockholm.


Lucrezia Calabrò Visconti

Lucrezia Calabrò Visconti (Desenzano del Garda,1990) is an independent curator currently living in Italy. She gained education at De Appel, Amsterdam; CAMPO12, Fondazione Sandretto Re Rebaudengo, Turin; IUAV University, Venice and pursued curatorial training at Artists Space, New York. In her practice she develops research-based exhibitions and public programs, expanding and experimenting with the traditional format of object-based exhibitions. Her recent 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); Abracadabra, 6th International Biennale for Young Art (Moscow, 2018); Why Is Everybody Being So Nice? (De Appel and Stedelijk Museum, Amsterdam, 2017); Good Luck, See You After the Revolution (Uva, Amsterdam, 2017). 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. Her writings appeared in specialised magazines, artists books and museum publications. Since 2018 she is responsible of the Young Curators Residency Programme by Fondazione Sandretto Re Rebaudengo, acting as a tutor for a selected number of international curators coming from prominent curatorial programmes worldwide and aiming to research the Italian art system. Since 2018 she is the curatorial consultant for the New Entries section for emerging galleries in Artissima, Turin.


  • Dafne Boggeri

    Dafne Boggeri was born in 1975, Tortona, Alessandria, Italy. She lives and works in Milano.

    LIANE, 2017
    Still video
    Courtesy of the artist

  • Caterina De Nicola

    Caterina De Nicola was born in 1991, Ortona (CH), Italy. She lives and works in Milano, Italy.

    More Friends, 2019
    Various materials, dimensions variable
    Courtesy of the artist

  • Andrea De Stefani

    Andrea De Stefani was born in 1982 in Arzignano, Italy. He lives and works in Venice, Italy and Vicenza, Italy.

    Dry Landscape (Babylon Beach), 2018
    Plaster, dimensions variable Courtesy of the artist

  • Lorenza Longhi

    Lorenza Longhi was born in 1991, Lecco, Italy. She works between Milano, Italy and Losanna, Switzerland.

    Today is Great (La Vita Dolcissima), 2017
    Silkscreen and etchings on fabric
    Courtesy of the artist

    Today is Great (Crazy Color), 2017
    Silkscreen and etchings on fabric
    Courtesy of the artist

    Today is Great (Perfect Match), 2017
    Silkscreen and etchings on fabric
    Courtesy of the artist

  • Michele Rizzo

    Michele Rizzo was born in 1984, Lecce, Italy. He lives and works in Amsterdam.

    HIGHER xtn, 2019
    Courtesy of the artist

  • Giuliana Rosso

    Giuliana Rosso was born in 1992, Chivasso (TO), Italy. She lives and works in Torino.

    I vetri rotti balleranno per la notte, 2019
    Papier-mache sculpture
    Courtesy of the artist

  • Andrea Magnani

    Andrea Magnani was born in 1983, Faenza (RA), Italy. He lives and works in Milano, Italy.

    The Divination Running Project, 2012-ongoing
    Silkscreen print,
    sweat and dirt on handsewn fabric; digital print on
    bespoke fabric label; laser cut, chromed banner support;
    snap-hooks; chains; 3D print; digital print and pencil
    on box; tissue paper; digital print on paper; UV print
    on microfiber towel; stoneware. Dimensions variable
    Courtesy of the artist


Andrea Viliani

Andrea Viliani is an art critic and curator and, since 2013, Director of the MADRE, the public museum of contemporary art founded by Campania Region in Naples, where he organised exhibitions by Francis Alÿs, Thomas Bayrle, Daniel Buren, Mimmo Jodice, Mark Leckey, Fabio Mauri, Boris Mikhailov, Giulia Piscitelli, Vettor Pisani,Walid Raad, Ettore Spalletti, Sturtevant, Padraig Timoney, Mario García Torres/Alighiero Boetti. At MADRE he has produced as well seminars and publications by artists such as Gusmao&Paiva, Stephen Prina and Akram Zaatari and oversaw the ongoing projects Per_forming a collection and Progetto XXI. From 2009 to 2012 he worked as Director of the Fondazione Galleria Civica-Centro di Ricerca sulla Contemporaneità, Trento (Italy); from 2005 to 2009 he was Curator at MAMbo–Museo d’Arte Moderna, Bologna (Italy) where he presented an exhibition program focused on the contemporary legacy of the 60s/70s institutional critique and on a possible new approach to it (“institutional narrative”). From 2000 to 2005 he worked as Assistant Curator at the Castello di Rivoli-Museo d’Arte Contemporanea, Torino (Italy). In 2012 Viliani was one of the six curatorial Agents/Core-Group of dOCUMENTA (13), co-curating with the Artistic Director Carolyn Christov Bakargiev and Aman Mojadidi the related position in Kabul and Bamiyan (Afghanistan). He also curated exhibitions and projects in various other institutions as, among the others, Paweł Althamer (MUSEION, Bolzano, Italy), Gabriele Di Matteo (FRAC Limousin, Limoges, France), David Maljković (GAMeC, Bergamo, Italia), Deimantas Narkevičius (Museo Marino Marini, Firenze, Italia) and Haris Epaminonda (Fondazione Querini Stampalia, Venezia, Italy). Among the 60 “players” of the 2007 Biennale de Lyon, he is a contributor to the art magazines Flash Art, FROG, Kaleidoscope and Mousse.

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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