TAKE_ACTION is a curatorial installation, concerning about political and aesthetic judgment, understood as action taking, in a plural and democratic fashion. We intend to argue that curatorship, besides selecting, exhibiting, translating and producing a discourse about artworks, can also promote, through a semi-fictional apparatus or a curatorial installation, the conditions for real action taking, and therefore for true political commitment by the audience. Hence, more than allowing a process of intellectual commitment to the themes related to the hegemony of capitalism and the economic crisis, we will assemble the necessary conditions for the viewer to act, indeed, in the world. To accomplish this purpose, we will implement a participatory exhibition process and apparatus (a specific form of network), achieved through the mediation of the aesthetic judgment, understood as political action (in the arendtian meaning of the terms), and therefore instigating political action itself. Continue reading “Take_Action”

Friday, 4th November

Friday talks are devoted to previous exhibitions about economic crisis in PIIGS countries. The first debate will be held by activists and artists from Escuela Moderna and the curators of PIIGS_An Alternative Geography of Curating. The second debate will be held by Michelangelo Corsaro, assistant curator for dOCUMENTA 14 and Laura Preston, editorial assistant for dOCUMENTA14. 
On Friday afternoon we host a section devoted to artists that will last till Saturday morning. With You’ll never work alone. Life, Art, Company and Project, Clara Madaro, the collective Apparatus22 and Parasite 2.0 deal with the idea of project inside contemporary artistic practices. Following that, Irish artists Fiona Marron presents her video After Automation (2013).

progr_4nov_def Continue reading “Friday, 4th November”

Check the condition. A real-time archive on the emergent curatorial open calls in Spain

In the most outstanding work of Spanish literature, Don Quijote de la Mancha, Miguel de Cervantes said that ‘proverbs are short sentences that come from experience and speculation of our ancient sages’. In Spain, traditional proverbs called ‘refrán’, are quite used regularly.
One of them, ‘por amor al arte’, translated as ‘for art’s sake’ or ‘because of love to the art’, refers to the free labour as a result of a passion: art. It is a saying used in any type of activity, however it assumes a lack of economic report in artistic activity. We can see how the speculation of the sages, which Cervantes made reference, has been maintained over time. It became the norm working ‘for art’s sake’. Especially in the field of art, it has always been perceived the development of unpaid work justified by the mere ‘passion to art’. Continue reading “Check the condition. A real-time archive on the emergent curatorial open calls in Spain”

Irish project for PIIGS_An Alternative Geography of Curating

For PIIGS_An Alternative Geography of Curating we aim to create a platform for discourse around the economic crisis from the perspective of arts and curatorial practice in Ireland. Our starting point however was the identification of key themes that underpin a broader discussion around the crisis across all PIIG countries. Themes that emerged from our initial meetings and informed the methodology for the project were:
Cycles; financial and other. Where does art fit in these cycles? Art world & hierarchy? What is the value systems associated with art? How do people use art? What does it mean to be an Irish artist today / during recession? Continue reading “Irish project for PIIGS_An Alternative Geography of Curating”

A few notes about The Bijlmer-Spinoza Festival as a possible non-exhibition model


The Bijlmer-Spinoza Festival, Street of Sculptures, Amsterdam, The Netherlands, 2009
A key moment of Campo, the Curator Course of Fondazione Sandretto Re Rebaudengo, is the making of the collective project. The project is conceived and designed by students, at the early stages of the course. Through a process of confrontation with tutors, the group of curators arrives independently at the project, which is then presented to the public during Artissima, every year in November. Continue reading “A few notes about The Bijlmer-Spinoza Festival as a possible non-exhibition model”

“Merry crisis and happy new fear”. Ideas running through the walls.


“Merry crisis and happy new fear”, was written on a wall a few years ago, it was 2008, in Greece. First visible traces of a discomfort growing over and over, until the brutal events that in the last few years shored up not only in Greece, but in several European countries harshly bitten by the economic crisis. Continue reading ““Merry crisis and happy new fear”. Ideas running through the walls.”

Let’s get in the Arena

We start working on our different contribution to the project. Our aim is to build a platform, not only an exhibition. As so its concerned, we have involved different curators, philosophers, sociologists – that will soon appear on this blog with a formal introduction – for some talks, conversations, workshops.

By doing this, I propose to realize an arena. Almost circular, that can be a place of exchange, communication. An arena can help us deconstructing the traditional scholar-teacher relationship, developing a more horizontal based dimension of narration and approach. It’s a sort of platform, a space for words, logics, thoughts. Continue reading “Let’s get in the Arena”

“Same same but different”: the PIGS exhibition and how originality is no more a strong point in contemporary art, rather the lack of it highlights a common feeling about an unsolved issue.

Back in 2015, Escuela Moderna and Ateneo Libertario, two artistic and political groups who share the same operative platform created by Massimo Mazzone (www.escuelamoderna.eu), organized a show about crisis and the art from PIGS’ states. The exhibition structure was not focused on the “exhibition moment” rather than on the creation of a network capable of managing various issues about the crisis. The idea of making a show about crisis started in Italy, then it migrated to the other states of the acronym. Informed on a do-it-yourself politic, they specifically gathered artists and researchers uninvolved in any economical committee or in conflict of interests. Each nation showed a specific issue about the main topic, differing from the others; Continue reading ““Same same but different”: the PIGS exhibition and how originality is no more a strong point in contemporary art, rather the lack of it highlights a common feeling about an unsolved issue.”

Can one make exhibitions which are not exhibitions? – Few methodological notes on exhibition making

When we think to exhibitions we expect to find ourselves in a space, whether delimited or not, surrounded by works of art, may they be immaterial or ephemeral but always somehow embodied by something defined as a work of art. Rivers of ink has flowed to find how to call this situation (and these works), but what we would like to pursue here is the format of such experience.
We would like to point out four cases along with few remarks about these examples of event-exhibition that could shape our methodological approach and maybe help us in defining our final intervention. The four example here considered are: the XI Lyon Biennale by Hans Ulrich Obrist and Stephanie Moisdon (2008), the XXIIX Sao Paulo Biennale by Ivo Mesquita and Ana Paula Cohen (2008), the I Bergen Biennale by Øvstebø, Filipovic and Van Hal (2007) and the Madrid Trial at ARCO Madrid (2007) organized by Anton Vidokle and Tirdad Zolghadr. Continue reading “Can one make exhibitions which are not exhibitions? – Few methodological notes on exhibition making”

Practice Matter – some technical worries to start designing our exhibition

As previously said to all the curators involved in the project, PIIGS_An Alternative Geography of Curating finally has at last a home. The exhibition will take place at Fondazione Sandretto Re Rebaudengo, from the 3rd to the the 6th of November. We will occupy the bookshop of the Fondazione, a large room that links the exhibition spaces to the caffetteria: it is about 25 meters long and 6 meters wide, a huge total-white space with which we have to deal with.
I attached below some photographs of the room; we will provide more material as soon as possible so as to you can start thinking a way to use the space in the best way possible. Continue reading “Practice Matter – some technical worries to start designing our exhibition”