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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 2020 Coordinated by Lucrezia Calabrò Visconti

Palazzo Re Rebaudengo, Guarene, Italy October 3 - November 15, 2020

Waves Between Us

The 14th edition of the Young Curators Residency Programme unfolded against the backdrop of COVID-19’s gripping hold over northern Italy. The sounding alarm of this time – both literally and metaphorically – became a point of departure for the exhibition, uncovering a dual interpretation of the Italian term sirena. Known as both the mythological female figure of the sea and the sound of emergency, the sirena awakens our senses and orients us in the moment whilst amplifying an urgency to pause and listen.

In Homer’s The Odyssey, the sirena is portrayed as a perilous and powerful air and sea creature – a female, or gang of females, whose song seduces the poem’s protagonist Odysseus and his crew as they attempt to helm their ship home. Listening to their voices poses the threat of descending into the underworld with no return. Both divine and grotesque, the sirena lures the ego into a dissolved state, evoking delusion, seduction and an undoing of consciousness. In her seminal book For More than One Voice: Toward a Philosophy of Vocal Expression, Italian philosopher Adriana Cavarero describes how the pathos of the story, ‘is concentrated on the deadly, seductive circuit between voice and hearing, sound and ear. As monstrous singers, or deadly women with powerful voices, the Sirens produce an acoustic pleasure that kills men’. Dwelling in the aqueous depths and on land, the sirena represents both proximity and remoteness experienced within our own world today. Therein, Waves Between Us reflects upon Cavarero’s claim, ‘distance is measured by the sound of the voice and not by the purview of the eye’.

In this exhibition, the sirena performs a unique slippage, weaving through each artists’ practice to explore sound as a mode of transmission, saltwater as a texture of connectivity, and the underworlds of the grotto and swamp as ecosystems of interaction and change. The artworks presented engage with embodiment in physical and collective forms; the flesh of our throats, the voices that reverberate from our mouths, the stories that resonate between our ears, and the memories that dwell in our guts. Inhabiting the ground floor and basement of the Palazzo Re Rebaudengo–nestled in the hills of Guarene–the exhibition provides a periphery for vocal, material and collective experimentation. Site-specific commissions by ALMARE, Benni Bosetto and Binta Diaw transgress normative boundaries of time and space, engaging with alternative narratives and shared rituals. Raffaela Naldi Rossano’s works on paper also materialize ritual, forming a nonlinear system of symbology and correspondence. The sculptural works of Bea Bonafini and Nuvola Ravera integrate natural and local materials into intimate vessels that echo the elements of our own watery bodies. Marco Giordano and Real Madrid’s sculptural installations evoke the erotics of subterranean space, queering organic and everyday objects as containers for liquid and vocal emission. Elisa Strinna’s video work navigates the nuanced channels of the Mediterranean Sea, while the Sicilian collective Femminote’s purchasing project Isola delle Femmine enacts the emancipatory potential of a borderless territory.

The artworks presented explore ‘saltwater as passage, saltwater as the medium of transport, saltwater as sweaty sign of our bodies’ exertions and tearful signs of our capacity for affect’ in the words of art historian Griselda Pollock. Traversing sculpture, sound, video and drawing, the wave is a connective thread that evokes movement between our bodies and the bodies of water around us, giving texture to the resonance of voices, the passage of sound, and unseen natural depths. As the world adjusts to the reality of its isolated enclaves, how will our subjectivities be nurtured within the walls of our houses, our grottos, and our oceans? How are systems of communication intervening to form new spheres of thought and connectivity? In both the exhibition and accompanying online platform, Waves Between Us engages with these questions, inviting artists to wrestle with myths, virality, and sonic experimentation to test new ways of being together.

Download the booklet of the exhibition

Click on the siren to visit the online platform of Waves Between Us, weekly updated with online commissions by exhibiting artists

Publication 2020

Curators

Alison Karasyk

Alison Karasyk (U.S.) is an independent curator based in Brooklyn, New York. Her research interests focus on the intersection of gender, space, memory and materiality. Karasyk has held curatorial and editorial positions at the North Norwegian Art Centre, the Brooklyn Museum, CRUSH Curatorial, the Museum of Modern Art, and Aperture Foundation, New York. She was Assistant Curator of the Lofoten International Art Festival (LIAF) 2017: I Taste the Future. Karasyk completed her MA at the Center for Curatorial Studies at Bard College (CCS Bard), New York, and her BA at Oberlin College, Ohio. She is the 2018 recipient of the Ramapo Curatorial Prize. Karasyk is currently working on a research and exhibition project aimed at cultivating new dialogues on the Scandinavian witchcraft trials and the relevance of these historical events of gendered and indigenous violence through the lens of contemporary art.

Camille Regli

Camille Regli (Switzerland) is an independent curator based in Zurich and Biel/Bienne after several years in London. She is the co-founder and curator of the contemporary art centre KRONE COURONNE and has collaborated with institutions including Kunsthaus Biel/Centre d’art Bienne, the City of Geneva, the Swiss Pavilion at the Venice Biennale, the Istanbul Biennale, and the Centre d’Art Contemporain Genève. In her curatorial work, she explores how objects, bodies, and space generate alternative forms of experience, focusing primarily on small narratives that offer feminist and speculative readings of contemporary society. She is also part of curatorial collectives including Zaira Oram and Collectif Détente, with whom she develops long-term research projects. She holds a master’s degree in Cultural Studies from King’s College London and an executive master’s in Curating from the Zurich University of the Arts.

Katie Simpson

Katie Simpson (Midlands, UK) is Senior Curator at Nottingham Contemporary. Her current research interests align with socially, politically and environmentally engaged practices that propose alternatives to dominant narratives and methodologies. Her practice is guided by curiosity, encounters and openness with an aim to dismantle hierarchies of, and access to, art and culture. She has experience of commissioning ambitious and experimental artistic projects and public programming, as well as organising and nurturing artistic residencies and community engaged projects. In a freelance capacity, she mentors and supports artists with funding, grant, and residency application writing, and with the development of artistic and curatorial projects. Previously, she held the positions of Curator of Exhibitions at Nottingham Contemporary, Studio Manager & Exhibitions Hub Curator at Goldsmiths (London), Co-Director at not-for-profit art organization Jupiter Woods, (London) and Curatorial Assistant at Goldsmiths Centre for Contemporary Art (London). In 2020 she participated in the Fondazione Sandretto Re Rebaudengo’s YCRP (Young Curator’s Residency Programme). She received a BFA in Visual Culture from the University of Brighton (2013) and MFA in Curating from Goldsmiths (2018).

Coordinator

Lucrezia Calabrò Visconti

Lucrezia Calabrò Visconti (Desenzano del Garda, 1990) is a curator and art writer. She is currently Head Curator at Istituto Svizzero in Italy, where she curates the programmes across its venues in Rome, Milan, and Palermo. Her recent projects include the monographic exhibition how we always survived by Pauline Boudry / Renate Lorenz and the group show Con lo zucchero in bocca in Rome; the exhibitions Deadline With The World by Gabriele Garavaglia and Miriam Laura Leonardi and The House of Dorothy by Vincent Grange in Milan; and the public programme Time is on my side by Helvetropicos in Palermo (all 2025). She previously served as Chief Curator and Head of the Curatorial Department at Pinacoteca Agnelli in Turin. At Pinacoteca Agnelli, she curated and co-curated major monographic exhibitions such as Salvo. Arrivare in tempo; Lee Lozano. Strike (Pinacoteca Agnelli and La Bourse – Pinault Collection, Paris, 2023–2024); and Sylvie Fleury. Turn Me On (2022); as well as new commissions including Dominique Gonzalez-Foerster. PISTARAMA and exhibitions such as Lucy McKenzie and Antonio Canova. Vulcanizzato (2023). For Pinacoteca’s Pista 500, she curated projects and new commissions by artists such as Chalisee Naamani, Monica Bonvicini, Shirin Aliabadi, Nina Beier, Julius von Bismark, Mark Leckey, Cally Spooner, VALIE EXPORT, Sylvie Fleury, Liam Gillick, Marco Giordano, Nan Goldin, Shilpa Gupta, Louise Lawler, Alicja Kwade, SUPERFLEX, among others. She curated exhibitions and programmes for institutions in Italy and abroad. In 2018 and 2019, she was the curator of the New Entries section at Artissima, Turin. In 2018, she curated the main exhibition of the 6th Moscow International Biennale for Young Art, titled Abracadabra, and co-founded the collective platform The School of the End of Time, with whom she co-curated the public programme accompanying the Biennale. From 2018 to 2021, she worked at Fondazione Sandretto Re Rebaudengo as curator and head of the Young Curators Reisdency Programme. From 2015 to 2018, she co-founded and curated the programme of CLOG Project, a research-driven independent space with a focus on contemporary arts and culture, autonomous education experiments and self-production projects. As a writer and journalist, her essays and texts have been published in various exhibition catalogues, publications and journals. Her book In the studio: Lee Lozano was recently published by Hauser & Wirth Publishers (2025). She is a co-founder and currently vice-president of AWI – Art Workers Italia, the first association established to advocate for contemporary art workers in Italy, since 2020; and she sits on the board of the Milano Art Community since 2025. She received her education in visual and performing arts from IUAV University in Venice, in curatorial studies from De Appel, Amsterdam and Fondazione Sandretto Re Rebaudengo, Turin, and specialised in critical social theory at the University of Milan – Bicocca and at the Critical Curatorial Cybermedia research Master at la HEAD, Geneve.

Artists

ALMARE

Founded in Turin in 2017, ALMARE is an organization dedicated to contemporary practices that use sound as a means of artistic expression. It operates at the intersection of music and art through the conception and production of events, new commissions, and educational programs. Grounded in collaboration and interdisciplinarity, ALMARE fosters artistic experimentation that contributes to broader critical reflections on the present. ALMARE’s activities engage diverse audiences, with the aim of making artistic experience an accessible space for knowledge and participation. ALMARE has collaborated with national and international institutions and organisations including Museion, Fondazione Sandretto Re Rebaudengo, C2C Festival, MAMbo, Auditorium Parco della Musica Ennio Morricone, Palazzo Grassi, PAV, Politecnico di Torino, La Becque, Nieuwe Instituut and Timespan. Its projects have received support from the European Union, the Italian Ministry of Culture, Fondazione Compagnia di San Paolo, Fondazione CRT, Regione Piemonte and the City of Turin. ALMARE has worked with international artists and musicians including Kode9, Chuiquimamani Condori, Nkisi, Invernomuto, KMRU, Rian Treanor, Ziúr, Michela De Mattei, Carl Stone, Cheb Runner, Jokkoo, Thomas Ankersmit and Nídia. ALMARE is a member of Reset! Network, an EU-supported network of independent cultural organisations.

Life Chronicles of Dorothea Ïesj S.P.U. Episode 1: On the morning of the Fifth Anniversary, 2020
Courtesy the collective. Photo ©️ Domenico Conte
Bea Bonafini

Bea Bonafini is an interdisciplinary artist based between London and Barcelona. Working across tapestry, painting, ceramics and installation, Bonafini’s work questions ways of reshaping narratives around womanhood, spirituality and our relationship to the “Other” or the more-than-human world. Hybrid figures embody timeless archetypes and can be seen as guides or companions in a changing world, in works that range from intimate to monumental scales. Bonafini holds an MA in Painting from the Royal College of Art (2016) and a BA from the Slade School of Fine Art (2014), London. She has been artist-in-residence at the British School at Rome (2020) and the ArtExplora Mediterranean Program (2024), and has completed major commissions for Manifesta 15 (2024), Artocene Biennale (2023), Ala Foundation (2023) and Palazzo Abatellis (2022). Solo exhibitions include Intangible (Vangar, Valencia, 2026), Luminescence (Renata Fabbri, Milan, 2024), and The Floating World (Kristin Hjellegjerde, Florida, 2024). Bonafini’s work has also been featured in group shows at MAXXI L’Aquila, Triennale Milano, Fondazione Sandretto Re Rebaudengo, and Italian Cultural Institutes in London, Sao Paulo and Mexico City.

Winged Victory, 2019
Courtesy the artist and Chloe Salgado Gallery, Paris. Photo ©️ Domenico Conte
Benni Bosetto

Benni Bosetto (Merate, 1987) is an Italian artist who lives and works in Milan. Her most recent solo exhibitions include: Rebecca at Pirelli HangarBicocca in Milan, curated by Fiammetta Griccioli (2026); Verde d’Alghe at the Museo della Marineria in Pesaro, curated by Attilia Fattori Franchini (2024); Slippery Orchid at Emanuela Campoli, Milan (2023); Stultifera at MAMbo, the Museum of Modern Art in Bologna (2022); 00 0 00 at ADA, Rome (2021); Il Portico at Almanac, Turin (2020); Ambiente X at Kunstraum, with Xenia Perek, London (2019); Le Streghette at Fonderia Battaglia, Milan (2018); Gli Imbambolati at ADA, Rome (2018); Sweep away sweep anyway, the end of the world will never come, curated by Caterina Molteni, at the Convento de los Domenicos, Ibiza (2017); Tile Project Space, Milan (2016). Her work has also been featured in numerous group exhibitions, including: The Ventaglio, a project by EVERMONDO in collaboration with UNICEF, at Spazio Maiocchi in Milan (2026); Here at Kora – Centro del Contemporaneo, Castrignano dei Greci (2026); News From The Near Future at the Sandretto Re Rebaudengo Foundation in Turin (2025); The Years: Episodes in the History of Art in Naples from the 1960s to the Present at the Madre – Donnaregina Museum of Contemporary Art in Naples (2025); Facile Ironia at the MAMbo Museum in Bologna (2025); Vibrant Nature. On Decay and Rebirth at the Castello di Rivoli Museum of Contemporary Art and Orti Generali, Turin (performance) (2024); Che sarà sarà at Palazzo Re Rebaudengo, Guarene (2023); Afterimage at MAXXI L’Aquila (2022); Dancing Plague at GAMEc, Bergamo (2022); La camera picta at the Civic Gallery of Trento (2021); Lo dico Io at the National Gallery of Modern Art in Rome (2021); FUORI at the Rome Art Quadriennale, Palazzo delle Esposizioni, Rome (2020); Wave between us at Palazzo Re Rebaudengo, Guarene (2020); #80#90 at Villa Medici, Rome (2019).

From Bowels to Sky (detail), 2020
Courtesy the artist. Photo ©️ Domenico Conte
Femminote
Marco Giordano

My Mouth in Your Mind (detail), 2019
Courtesy the artist, Frutta, Rome, and The Modern Institute, Glasgow. Photo © Domenico Conte

Listen With Your Mouth, 2019
Courtesy the artist, Frutta, Rome and The Modern Institute, Glasgow. Photo ©️ Domenico Conte
Raffaela Naldi Rossano

Raffaela Naldi Rossano (b. 1990, Naples) is a multi-disciplinary artist who explores a wide range of media, including installation, video, sculpture, text, drawings and performance.  Her research has its roots in her psychology studies centred on Jungian and Gestalt Theory, after which she received an MA in photography and moving image at Goldsmiths, University of London; its premises are her investigation of memories and intergenerational transmission.  Her artistic practice thrives at the intersection of archeology, desire and collective unconscious, domesticity, interspecies kinships, craft and queer theory, together with the reinterpretation and re-writing of mythologies, in the context of the Mediterranean area starting from her hometown Napoli in Southern Italy.  Her work Tentacular Bed was commissioned by the Sharjah Art Foundation for the Sharjah Biennial 2025: To Carry, where it was part of Throwing Shells, curated by Amal Khalaf. Subsequently, in 2025, she is a researcher at the New School in New York, Department of Arts and Theory, at Parsons University. Naldi Rossano is the winner of the XIX edition of Premio New York, promoted by the Ministry of Foreign Affairs and International Cooperation, the Ministry of Culture, with ISCP, Italian Cultural Institute and Columbia University. Her video WARP (2022) was awarded the Special Prize for an Emerging Talent at SMAFF St. Moritz Film Festival and has been exhibited at Fantasmagoriana, LIAF22, Lofoten Biennal curated by Francesco Urbano Ragazzi and at Cinema Galleggiante in Venice curated by TBA21Academy and Barbara Casavecchia. Recent solo exhibitions are: SERPENTINA. Per un mūsēum senza tempo, promoted by Fondazione Elpis as part of Una Boccata d’Arte, Belvì, Sardinia (2023); Undomesticated Voices, double solo show with Lara Damaso at Istituto Svizzero, Milan (2022); How She Spins, solo show expanded curated by Sonia D’Alto, Damien and the Love Guru, Bruxelles (2022); I Confess, solo exhibition curated by Chus Martinez, der TANK, Basel (2019); Partenope, solo exhibition at Aetopoulos, Athens (2019). She was one of the participating artists in the 2020 edition of Quadriennale D’Arte, Rome, curated by Sarah Cosulich and Stefano Collicelli Cagol. Selected group exhibitions are: Il Canto delle Sirene, Villa Medici – Accademia di Francia a Roma (2025); A scattering of Salt, DEREE, The American College of Greece, Athens (2024); Spettri, curated by Kathryn Weir, Madre, Naples (2022); Utopia Distopia: il mito del progresso partendo dal Sud, curated by Kathryn Weir, Madre, Naples (2021); There is no Time to Enjoy the Sun, Fondazione Morra Greco, Naples (2021); Waves between Us, Fondazione Sandretto Re Rebaudengo, Guarene (2020); Doing Deculturalization, Museion, Bozen (2019); May the Bridges I Burn, Manifesta, Palermo (2018). Her artworks are in the public collection of Museo Madre in Naples and private collections in Italy and abroad.

Partenope, 2019
Courtesy the artist. Photo ©️ Domenico Conte
Nuvola Ravera

Soap Opera, 2017/2020
n collaboration with Giuseppe Ricupero. Courtesy the artist. Photo ©️ Domenico Conte

Big Babol (detail), 2017/2020
Courtesy the artist. Photo ©️ Domenico Conte
Real Madrid

Love but leave room for disappointment, 2018
Courtesy the artists. Photo ©️ Domenico Conte

Bacco Malato, 2019
Courtesy the artists. Photo ©️ Domenico Conte
Elisa Strinna

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).

The Infrastructure (video still), 2018/2019
Courtesy the artist

Jury

Alessio Antoniolli

Alessio Antoniolli received his MA in Art History from Birkbeck College, University of London in 1998, specialising in issues of internationalism, diversity and cultural policies in the visual arts in the UK. He is currently the Director of Gasworks in London, and Triangle Arts Trust, where he is focusing on creating and supporting the development of artists’ projects in Africa, South America, South Asia and the Middle East. Previously, Alessio ran the International Residency Programme at Gasworks, curating a programme of artists’ residencies and outreach activities for visiting artists based outside the UK. During this time he was also involved with Triangle Arts Trust in the development of Batiscafo, an artist-led residency programme in Havana, Cuba.

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.

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