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Workshops

Demonio! Demonio!

Bedwyr Williams e Tai Shai

7–10 Febbraio, 2017

lingua: English

 

Un laboratorio filmico e di performance condotto da Bedwyr Williams e Tai Shani che esplora le rappresentazione del “sé Demoniaco”. Il workshop prevede la costruzioni di costumi e la scrittura di un monologo e si conclude con un film che attinge da un esperienza vergognosa personale accaduta in passato con l’intento di proiettare una versione demoniaca emancipata del se nel futuro. La magnifica città di Torino funzionerà come sfondo per costruire questo malevolo e teatrale autoritratto.

 

Il workshop incorporerà anche visite al Museo di Cesare Lombroso e CESNUR Centro Studi Nuove Religioni e luoghi della città, che saranno utili come spunti al progetto, e visite alla Piazza Statuto con il Monumento ai Caduti del Frejus ed al Palazzo del Diavolo.

 

 

Giorno 1

Bedwyr Williams e Tai Shani faranno una presentazione delle loro opere passate che si riferiscono ai temi del laboratorio, introdurranno il laboratorio e gli obiettivi del corso. Nel pomeriggio visita al museo di Cesare Lombroso il padre dell’ antropologia criminale italiana positivista ed a siti torinesi che si riferiscono alla magia bianca e nera per fornire alcuni spunti di riflessione.

 

Giorno 2

I partecipanti prenderanno parte ad esercizi progettati per prendere in giro i loro alter ego demoniaci prima di lavorare agli script per i loro monologhi.

 

Giorno 3

Visita al mercato delle pulci di Porta Palazzo, con la possibilità di approvvigionamento costumi poco costosi e oggetti di scena. Pomeriggio riprese di monologhi e la revisione di filmati come gruppo

 

Giorno 4

Conclusione del workshop

  • Biography Bedwyr Willams

    Bedwyr Williams (nato nel 1974 a St Asaph, Galles, vive a Caernarfon, UK) ha conseguito il BA presso la Central St Martins College of Art and Design, Londra UK (1997) e il MA presso Ateliers Arnhem, NL. Utilizza media differenti come la performance, il film e la scrittura per esplorare l’attrito tra gli aspetti banali e quelli terribilmente seri della vita moderna. Williams è noto inoltre, per la sua satira sul rapporto tra artista e curatore, per cui costruisce scenari assurdi dove si svelano queste relazioni. Più recentemente ha esplorato, attraverso il video, il tema della distopia e il senso dell’esistenza del genere umano nell’universo. Ha esposto in numerose mostre collettive internazionali. Tra le sue prossime e recenti mostre personali Barbican Curve Gallery, Londra, UK; Limoncello, Londra, UK (2016); The Whitworth, Manchester, UK; VISUAL, Carlow, IRL; g39, Cardiff, UK; Vestjyllands Kunstpavillion, DK (2015); Tramway, Glasgow, UK for Glasgow International; MOSTYN, Llandudno, UK (2014); Welsh Pavilion for 55th Venice Biennale, Venice, IT (2013); IKON, Birmingham, UK (2012); and Kunstverein Salzburger, AT (2011). Nel 2015 era finalista al Film London Jarman Award e nel 2016 è finalista per Artes Mundi 7.

     

  • Tai Shai

    La pratica multidisciplinare di Tai Shani ruota attorno a testi sperimentali, che si alternano tra narrativa e prosa teorica, per esplorare la costruzione di soggettività, in relazione al realismo post-patriarcale. Il progetto a lungo termine di Shani “Continente Nero Productions” comprende film e spettacoli, che formano una mitologia che concettualizza la nozione di’epica’ per testare le potenzialità della politica e dell’ ideologia femminista, e re-immaginare un mondo post-patriarcale. Shani ha presentato il suo lavoro nel Regno Unito e all’estero, tra cui Tensta Konsthall, Stoccolma (2016); Serpentine Gallerie (2016); IMMA, Dublino (2016); Schirn Kunsthalle, Francoforte (2015); Hayward Gallery, Londra (2014-15); Arnolfini, Bristol (2013); Matt Gallery, Londra (2012) e FRAC Nord-Pas de Calais e Festival Loop, Barcelona (2011).

  • Alumni Biographies

     

    SARA BONAVENTURA is a visual artist with a MA in Art History. As independent videomaker she has been collaborating with performers and musicians, such as Carla Bozulich and the Canadian Constellation Records, vjing, directing clips, adv. Her works have been screened in Italy and abroad; recently, at the Anthology Film Archives, NewFilmmakers NY series, and for Other Cinema at San Francisco ATA Gallery; she won the Veneto Region Award at the 10th Lago Film Fest in 2014, she has been selected for several residencies, at Frans Masereel Centrum (Belgium), at Signal Culture (USA) and by Joan Jonas at Fundacion

    Botin (Spain). She was video-making even before shooting. Trying to keep the fragments together through the montage. If the surface cracks, the crack becomes the surface; that break means intensity. Points of intensity and not sutures, to convey freedom of sense, instead of constrictions of meaning. www.s-a-r-a-h.it

     

     

     

     

    ELENA BELLANTONI (Vibo Valentia, 1975) lives and works between Berlin and Italy. After graduating in Contemporary Art at La Sapienza University in Rome, she studied in Paris and London, where in 2007 she received an MA in Visual Art at WCA University of Arts London. Deepens the dance-theater and the performing arts, her research focuses on the concepts of identity and otherness through relational dynamics that use the language and the body. In 2007 she constitutes Platform Translation Group, in 2008 she co-founded 91mQ art project space Berlin, and in 2015 she creates Wunderbar cultral Project. Among the solo shows: 2016 Hale Yella goodbye / adios Viamoroni Spazioarte Bergamo; 2015 Lucciole Alviani Space, Pescara; 2014 Passo a Due, Careof DOCVA, Milan; Dunque siamo .. Foundation Filiberto Menna to Archaeological Museum of Salerno. Among the group shows, 2016: Beyond Borders. Transnational Italy to British School at Rome; The picutre Club, American Academy in Rome, Al-Tiba9 Algiers Bardo National Museum, Algeria; 2015: Masterpieces from the Farnesina Collection. An Italian art look from the fifties to the present day, Museum of Contemporary Art in Zagreb, Croatia. Among the residencies, 2016: Soma Residency Mexico City, Mexico; 2014: Careof Residency Program DOCVA Milan, Italy.

    2014: Talent Prize, Repubblica.it prize. 2013 first prize FestArte / Factory for the contest I colori del Mondo, Macro Pelanda. 2012: NGBK prize – Neu Gesllschaft für Bildende Kunst -project In Other Words, realized at Kunstraum Kreuzberg Bethanien and NGBK Berlin. 2010 participates at Italiens – junge Kunst project in der Botschaft, Italian Embassy, ​​Berlin. 2009 she won the Movin’up G.A.I. Turin for a project in Santiago de Chile. 2008 residency with the artist Francis Alys 98weeks project space, Beirut. Public collections: 2014 she enters in the Farnesina Collection, at the Ministry of Foreign Affairs, Rome.

     

     

     

     

    EDMUND COOK is an artist who lives and works in London.

    His work currently revolves around staging speculative performance scenarios with sculptural objects that investigate the instabilities and contingencies of communication and technology. These are frequently presented in installations incorporating video and sound.

    He graduated with an MFA from Piet Zwart Institute in Rotterdam in 2012.

    Recent solo exhibitions include Fig 2 at the ICA, London (2015) and ‘They Unduloping’ at Parkour in Lisbon (2014).

    Recent group exhibitions and projects include ‘Her Eyes and My Voice’ Issue Launch at Gasworks (2016), ‘Please Stand By’ at Chisenhale Art Place and ‘Mega Armageddon Death’, The One Minutes selected by Nathaniel Mellors, Touring (Both 2015). He is preparing a solo exhibition at Galería Bacelos in Madrid, opening in March 2017.

     

     

     

    JÜRGEN DEHM is a German writer and exhibition maker. He holds an MA in German Literature from the University of Regensburg, Germany, and a post-graduate degree in Curating and Critical Writing from the Ruhr-University Bochum, Germany. Latest projects include exhibitions at the Museum der Moderne Salzburg, Austria, the Museo de la Ciudad in Querétaro, Mexico, and several gallery shows in Germany and Austria. From July–December 2013, Jürgen was a curatorial fellow at Schloss Ringenberg in Hamminkeln, Germany. From 2007–2013, he led seminars on the history of art and art theory at the Free University of Berlin. Jürgen’s research focuses on the epistemology of the moving image, in particular the crossover between experimental film culture and the art world.

     

     

     

     

    CARL GENT is an artist, writer and musician from Bexhill-on-sea, UK. He obtained his MFA in Fine Art from Goldsmiths College, London (2015) and his BA (Hons) in Fine Art from UCA, Farnham (2013). Recent exhibitions and performances include Wiðercwedolu þá Glésincga, The Residence Gallery, London; De Regreso a la Isla, Casal Solleric, Mallorca; L’Heure Verte: 1st Tasting, Green Ray, London; Questions for Meliza hosted by cosmoscarl.com; Tongue of the Preinoculated #2, Museum of Technology, Cambridge; The Space of No Exception, Sokol Gallery, Moscow; Ground Ground, Cafe Oto Project Space, London; and Bad Truth for the IV Moscow Biennale for Young Art.

    Working across installation, text, performance and print, Gent combines texturally allergic and incompatible materials in an aim to erode the associative histories embedded within them. Be it absinthe, 21st century urban architecture or the romantic landscapes employed by cinematic corporatism, a humiliation of meaning is attempted. In place of this robbed signification is the desire for a clearing that can permit other voices to be heard. Liberation from material anthropocentricism is attempted.

     

     

     

     

    AOIBHEANN GREENAN is a Dublin-based artist working at the intersection of visual art and experimental theatre. Her performative installations expose the processes by which culture and identity are evaluated in our techno-globalised era. Frequently myth and pop culture collide, conjuring fictional subcultures that challenge hegemonic modes of social being. By engaging in strategies that foster audience participation, Greenan’s work seeks to disrupt ideologies of self and other that underlie our current system. Greenan’s work has been selected for solo exhibitions at, among others: Import Projects, Berlin (2016); The RHA, Dublin (2016, 2014); Temple Bar Gallery, Dublin (2015); Roscommon Arts Centre (2013); EVA International, Limerick (2012); The Lab, Dublin (2011) She has presented solo performance events at, among others- The KW Institute for Contemporary Art, Berlin (2016) and Project Arts Centre, Dublin (2014).

     

     

     

     

    JAIME GONZÁLEZ CELA (Madrid, 1984) and MANUELA PEDRÓN NICOLAU (Granada, 1988) are independet curators and educators. Their work as collective is focused on the research about mediation processes within the curatorial practice and the ability of contemporary art to create narratives in order to explore political and social contexts. Manuela and Jaime has curated Art fiction at CaixaForum Barcelona, the winning project in the call for young curators Comisart (2013), C.I.T.I (Technically Unpredictable Investigation Centre) a program of exhibition, activities and actions developed at Sala de Arte Joven in Madrid (2015) and they have participated in the selection committee of Archivo de Creadores, Matadero Madrid. As curatorial team, they have received as well curatorial fellowships at the Spanish Academy at Rome (2015-16) and at Hangar (2016), Barcelona.

     

     

     

     

    INDA PERALORTEGA (b. 1977, Stuttgart, Germany, based in Amsterdam and London) earned a BA at Gerrit Rietveld Academie, Amsterdam (2010) and a MA with Distinction at Goldsmiths, University of London (2016).

    Her investigation has a focus on development of the creative self in combination with politics of pleasure, using the framework of art&life as space for radical experimentation. His work unfolds interdisciplinary, fluctuating between mixed media installations and unrequested anonymous performances/interventions often based on paradox and humor. Their recent exhibitions include living plants as discursive element on a queer lab for exploration of new social forms.

    Her work has been purchased by private collectors along the years and after degree show a piece also penetrated in the Frédéric de Goldschmidt collection.

     

     

     

     

    CAMILLE TSVETOUKHINE (1987) is an artist based in Paris. She is graduate from the School of Fines Arts, Angers (Fr) and HEAD Geneva (Ch). She participated in group exhibitions at Glassbox (Paris), Zoo Galerie (Nantes), Biennale de Belleville (Paris), Gallery Luis Adelantado (Valencia), Forde (Geneva) and solo exhibitions at Salon (Madrid), Galerie Interface (Dijon), Halle Nord (Geneva). In 2016, She was part of a residency program called Emma initiated by Veronica Valentini in partnership with Matadero (Madrid).

    In her work she projects the image of life as a theatrical performance and creates micro-fictions that resemble daydreams. Inspired by popular culture as much as anthropology, cinema, art history, these pieces are filled with references, sometimes hidden in small details. She develops innovating narrative gestures, which fully incorporate the creative process. Attached to a DIY aesthetic, she makes all the accessories, sets and costumes herself. It is understood that the artist likes to play with the visual codes and symbols. Tsvetoukhine develops a definitely fun & pop universe, where exaggeration, superficiality and artificiality are put forward.

     

     

     

     

    AMBIKA THOMPSON lived her past life in an alternative universe that had everything sorted out including herself. In this universe she can’t recall what happened in her past-life so she’s resorted to living in Berlin where she is a parent, writer, and musician. She’s contributed short stories to various publications including Electric Literature, NPR Berlin, The Missing Slate, Fanzine, and Plenitude. Currently she’s working on two novels set in the 80s that are filled with cold war blizzards, swathes of neon, friendly neighbourhood zombies, ouija boards, Jehovah Witnesses, shiny sprinkles of sarcasm and many lovelies doing queer. She’s the fiction editor of Leopardskin & Limes, and one half of the cello riot grrrl duo Razor Cunts and her favourite colour is rainbow. http://ambikathompson.com

     

     

     

     

    LUCIA VERONESI graduated in Painting at the Academy of Fine Arts of Brera, Milan. She moved to Venice in 2003. She works with video, collages, paintings and drawings. Her research deals with video and a more material and pictorial work at the same time: they often interact and one influences the other. In the last years her work has focused on the concept of desire and possession, in particular on hoarding, a mental disorder that drastically changes domestic space. Recently she is working on the concept of landscapes considered from different perspectives, through different meaning: collage, painting, video, photography. She is interested in the alteration of landscape trying to grasp the moment in which new visions come out and other landscapes are created. Her videos were selected for several national and international festival: 32.Torino Film Festival, Video Art Summer Nights, Tel Aviv, Israel, Muff 10 Montréal Underground Film Festival, Mnemonic City Lisbon, B_L_I_N_K_K_K_K Festival #1, Brussels, OODAAQ Festival, Rennes, France, FACADE Video Festival 2013, Plovdiv, Bulgaria, Videoholica International Video Art Festival, Varna, Bulgaria
    Lago Film Fest, Revine Lago, Treviso, Obliqua Festival, Lisbon, OtherMovie 4, Lugano Film Festival, Videoyearbook, Bologna.

    Her works were exhibited in several galleries and museums in Italy and abroad, her recent exhibitions include Fuori una gran notte di stelle, galleria Muratcentoventidue. Bari (solo show), Atrii Sezione Piani, ArtVerona 2016, Shine on your Crazy Diamond, Cervignano del Friuli, Carrus Navalis, Dimora Artica, Milan, Epicentri, Terme di Como romana, The End Of Certainty, Muratcentoventidue, Bari, Accumulation, Mars/The Others Art Fair 2015, In Piena Presenza, Yellow, Varese (solo show), Partners Mars, Milan (double solo show), Premio Terna 05, Tempio di Adriano, Rome, Italy.
    She is co-founder of Spazio Punch, a non profit space located in Giudecca, Venice. www.luciaveronesi.com   www.spaziopunch.com

     

     

     

     

    SAUL WILLIAMS is an artist and writer, and other things, from Fife, Scotland, who lives and works in London, and in the proliferating wreckage of modernity.

Future Ruins: Reading the City, Writing its future

Kapwani Kiwanga e Mirene Arsanios

11–14 aprilE, 2017

lingua: English

 

Perché i racconti di finzione emergono? Che cosa cercano di affrontare e / o porre rimedio?

Questo workshop guidato da Mirene Arsanios e Kapwani Kiwanga esplora il format dei racconto di finzione come strumento che consente la proiezione e l’immaginazione di nuovi futuri. Spesso i racconti di finzioni pongono un forte accento sulla costruzione di mondi alternative e città immaginifiche. Seguendo questo metodo, il seguente workshop considera la città di Torino sia come un palcoscenico che come una risorsa da cui far partire varie escursioni programmate. La storia e l’architettura della città faranno da spunto per iniziare discussioni sulla realtà urbana circostante, e il modo in cui questa potrebbero essere ri-immaginata e ri-scritta. La speculazione immaginifica, del resto, non è un esercizio di fantasia selvaggia; piuttosto prevede un’interrogazione su ciò che può essere immaginato e perché.

 

Testi di narrativa di finzione, film e brani audio funzioneranno da catalizzatori per esplorare e discutere esempi di artisti che hanno fatto ricorso alla fiction per sopportare atti di oppressione ed ingiustizia politica. I partecipanti sono invitati a proporre storie alternative e ad immaginare altri futuri della città e non solo, in qualsiasi modello narrativo che preferiscono (performance, testi, suoni, immagini, presentazione orale, ecc ..). Lo sviluppo di queste nuove narrazioni sarà accompagnato dai leader del workshop e arricchito dai suoi partecipanti in un ambiente solidale e sperimentale. Un posto speciale sarà riservato per l’esame delle voci femministe nell’ambito delle produzioni speculative. In particolare, questo ultimo focus, si propone di offrire ai partecipanti come una “cassetta degli attrezzi” per prendere in considerazioni altri esempi di modelli artistici periferici che utilizzano la speculazione di finzione.

 

 

 

Giorno1

  1. Introduzione al wokshop e presentazioni (1/2 giorno)
  2. Workshop sul perché fiction speculativa emergere ed in quali contesti (ragionando su differenti contesti storici e politici)
  3. introdurre punti di partenza della storia di Torino relativi alle visite programmate

 

Infine una prima breve escursione

Testo: Dhalegren / Renee Gladman

 

Giorno 2. attenzione al pensiero femminista

Mattina Teoria e analisi temi femministi

Proiezione di film-Born in Flames

Testo: Butler / Hopkinson

 

Pomeriggio escursione in città

 

Giorno 3.

Discussione finale e sintesi

Laboratorio con idee e proposte dei partecipanti

Presentazioni

 

Giorno 4.

Mattina – discussione di gruppo e considerazioni finali

  • Kapwani Kiwanga

    Kapwani Kiwanga confonde volutamente verità e finzione nel suo lavoro, con lo scopo di stravolgere narrazioni dominanti, creando spazi in cui il discorso immaginario e marginale può diffondersi. La passione di Kiwanga per la tradizione orale genera una continua esplorazione delle possibilità formali della narrazione nelle sua performance, così come nei suoi lavori audio e video. Kiwanga ha studiato antropologia e religioni comparate presso la McGill University, in Canada; ha partecipato ai programmi di residenza d’artista presso L’Ecole National Supérieure des Beaux-Arts, Parigi (Francia); Le Fresnoy: National Contemporary Art Studio (Francia); MU Foundation, Eindhoven (Netherlands); Le Manège, Dakar, Senegal. I suoi lavori film e video sono stati nominati per due edizioni di BAFTA e sono stati premiati in film festival internazionali. Ha presentato il suo lavoro presso il Centre Pompidou, Parigi, (2006, 2013), Foundation Ricard (2013, 2014, 2015); Glasgow Centre of Contemporary Art, (2008); Paris Photo (2011), Bienal Internacional de Arte Contemporáneo, Almería. Tra le sue mostre personali recenti: The Armory Show (New York), South London Gallery (Londra), Jeu de Paume (Parigi), FIAC (Parigi), Ferme de Buison (Noisel, FR), 1:54 (Londra), Le Granit (Belfort, FR), Galerie Tanja Wagner (Berlino). Mostre collettive recenti EVA biennial (Limerick) Berlino, Ethnographic Museum (Berlino), Goodman Gallery (Johannesburg), Swedish Contemporary Art Foundation, Irish Museum of Modern Art (Dublino),  Galerie Marian Goodman (Parigi), Fondation Ricard (Parigi), Salt, (Istanbul), Tiwani Contemporary (Londra), Temporary Gallery(Cologne), Museo deArte Contemporaneo de Castilla y Léon (Léon). In preparazione due mostre personali nel 2017 a Power Plant (Toronto) e Logan Centre for the Arts (Chicago).

     

  • Mirene Arsanios

     

    Mirene Arsanios è l’autore di The City Outside the Sentence  (Ashkal Alwan, Beirut, 2015). I suoi scritti sono apparsi in pubblicazioni come The Brooklyn Rail, The RumpusThe Animated Reader, e The Outpost tra gli altri. Ha co-fondato il collettivo di 98weeks Research Project a Beirut ed è il fondatore di Makhzin, una rivista letteraria bilingue. Ha conseguito un Master in Teoria dell’Arte al Goldsmiths College e un MFA in scrittura al Bard College. Attualmente vive a New York, dove è stata 2016 LMCC Workspace resident.

  • Alumni Biographies

    YULYA BESPLEMENNOVA is an independent multidisciplinary designer of Russian origin currently based in Italy. She has a specific interest in the topic of hybrid space (space existing both in physical and digital realms) and intersecting fields of urban spaces design, community engagement and interactions with technology. What she does in practice is the user research and engagement, facilitation of co-design processes, communication strategies, service design and general user-centered design consulting applied to various fields. Besides that as a part of Interstellar Raccoons she explore the world of transmedial speculative design storytelling for design which goes beyond problem-solving, but into field of strategic context redefinition. And with the latest initiative ZaryaLAB she engage into observation and research of important changes in the spatial organisation and interactions within society brought by the new media and technologies.

    One of her significant projects illustrating this mix of fields and approaches is #nevicata14 by Guidarini-Salvadeo and Interstellar Raccoons – it was a temporary pedestrian configuration of piazza Castello in Milan during Expo-2015, which was thought not just a physical space, but a process of public engagement and communication and hybrid space.

    VINCENT CERAUDO is a French visual artist working mainly in video film and photographs which is currently living in Amsterdam.

    He studied at the HGB Leipzig Germany, at the Villa Arson in Nice, and at the Fresnoy National Studio of Contemporary Arts, France.

    Vincent Ceraudo has also recently attended the Skowhegan School of Painting and Sculpture in Maine USA, and he his actually an artist in residence at De Ateliers, in Amsterdam.

    His video work has been screened and exhibited internationally, including at the Centre Pompidou Paris (upcoming 2017), Skoweghan School of Painting and Sculpture Maine USA, Cité Internationale des Arts Paris (Studio Collector Prize), «Panorama», Fresnoy Studio National of Contemporary Arts, Palais de Tokyo Paris, Fabrica del Vapore Milano, «physic/psychic» solo show Art-O-Rama international contemporary art fair, Marseille, France, «Getting Lost» Fundation Botin, Spain, “Believe not every spirit, but try the spirits”, MUMA, Monash University Museum Melbourne Australia, «After the future», Museo d’arte Contemporana Villa Croce, Genova, Italy, 58ème Salon de Montrouge, le Beffroi, Montrouge, «Heart of Darkness» Villa Arson, Nice.

    Vincent Ceraudo is also a recipient of the 2015 Mécènes du Sud Grants, 2015 Caza De Velazquez specific Grants, and 2014 Prize of the show-room Art-O-rama.

    CÉDRIC FAUQ is a London-based curator. Co-founder of clearview in Tottenham Hale (London), he is currently implementing tools to subvert the power-tool curating can be via his research on the Black Institution, his collaborations with various practitioners, and strategies of infiltrations and escape within his curatorial practice. He previously worked for Kunstraum (London); David Roberts Art Foundation (London); Lafayette Anticipation (Paris); Artipelag (Stockholm) and Galerie Crèvecoeur (Paris).

    AOIBHEANN GREENAN is a Dublin-based artist working at the intersection of visual art and experimental theatre. Her performative installations expose the processes by which culture and identity are evaluated in our techno-globalised era. Frequently myth and pop culture collide, conjuring fictional subcultures that challenge hegemonic modes of social being. By engaging in strategies that foster audience participation, Greenan’s work seeks to disrupt ideologies of self and other that underlie our current system. Greenan’s work has been selected for solo exhibitions at, among others: Import Projects, Berlin (2016); The RHA, Dublin (2016, 2014); Temple Bar Gallery, Dublin (2015); Roscommon Arts Centre (2013); EVA International, Limerick (2012); The Lab, Dublin (2011) She has presented solo performance events at, among others- The KW Institute for Contemporary Art, Berlin (2016) and Project Arts Centre, Dublin (2014).

    JAIME GONZÁLEZ CELA (Madrid, 1984) and MANUELA PEDRÓN NICOLAU (Granada, 1988) are independet curators and educators. Their work as collective is focused on the research about mediation processes within the curatorial practice and the ability of contemporary art to create narratives in order to explore political and social contexts. Manuela and Jaime has curated Art fiction at CaixaForum Barcelona, the winning project in the call for young curators Comisart (2013), C.I.T.I (Technically Unpredictable Investigation Centre) a program of exhibition, activities and actions developed at Sala de Arte Joven in Madrid (2015) and they have participated in the selection committee of Archivo de Creadores, Matadero Madrid. As curatorial team, they have received as well curatorial fellowships at the Spanish Academy at Rome (2015-16) and at Hangar (2016), Barcelona.

    ALICE PEDROLETTI is an artist based in Milan, Italy. She has a strong photographic practice developed through commercial work and teaching experience, side to a deep personal research that connects art with science, environment, history, and memory. She works with different media focusing on the relationship with objects and archives, sculpture and photography, monument and architecture.

    She founded ATRII Sezione Piani a collective project upon invitation, which uses contemporary art to investigate the concept of atrium from a processual and theoretic point of view. The project is part of The Independent by MAXXI Museum, a research project focusing on the identification and promotion of independent spaces and thinking, and hosted at Cittadella degli Archivi in Milan (City Archive).

    GIULIO SQUILLACCIOTTI (Rome, Italy 1982) Artist, film-maker and researcher lives and works in Milan, Italy.

    He studied Medieval Art History in Barcelona and Rome, where he earned a BA hons in Humanities from La Sapienza University. He owns a MA hons in Visual Arts from the Venice University of Architecture IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. In 2010 he was recipient of the FAR Advanced Course in Visual Arts with Walid Raad. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. He recently completed a feature documentary film shot in the south of Iran on Possession Rituals of African origin in the Persian Gulf.

    His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou, Palais de Tokyo and Gayte Lyrique in Paris (F), at the Berlin Haus der Kultur der Welt and Neues Museum in Weimar (D), Screen Space in Melbourne (AU), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), AKV of Den Bosch (NL), Istanbul 2010 European Capital of Culture (TR), the Beirut Art Centre in Lebanon (RL), the New York Photo Festival, Dumbo Video and the Columbia University in New York City (USA), Art Institute of Boston (USA), OCAT in Shanghai (PRC); in Italy at PAC, Triennale and ViaFarini in Milan, MACRO, MAXXI and 16th Quadriennale of Rome, the Sandretto Re Rebaudengo in Turin and at the Official Competition of the 33rd Torino Film Festival. He has written for Visual Ethnography, Domus, Paesaggio, VICE and Shopping Hour.

    AMBIKA THOMPSON lived her past life in an alternative universe that had everything sorted out including herself. In this universe she can’t recall what happened in her past-life so she’s resorted to living in Berlin where she is a parent, writer, and musician. She’s contributed short stories to various publications including Electric Literature, NPR Berlin, The Missing Slate, Fanzine, and Plenitude. Currently she’s working on two novels set in the 80s that are filled with cold war blizzards, swathes of neon, friendly neighbourhood zombies, ouija boards, Jehovah Witnesses, shiny sprinkles of sarcasm and many lovelies doing queer. She’s the fiction editor of Leopardskin & Limes, and one half of the cello riot grrrl duo Razor Cunts and her favourite colour is rainbow. http://ambikathompson.com

    SAUL WILLIAMS is an artist and writer, and other things, from Fife, Scotland, who lives and works in London, and in the proliferating wreckage of modernity.

    MARENKA KRASOMIL is a social scientist and curator based in Berlin. She is the founder of the online residency x-temporary.org, the coordinator of The Silent University Hamburg and currently working as the assistant curator at Neuer Berliner Kunstverein. During her studies at the Royal College of Art in London and at the Städelschule Frankfurt am Main she specialising in contemporary art curating. With her current curatorial practice Krasomil is focussing on experimental, cross-disciplinary and collaborative strategies. Her curatorial projects include an exhibition with Natascha Sadr Haghighian at Neuer Berliner Kunstverein (2016); a group exhibition and symposia: Idiorrhythmie – an Experiment at Frappant Hamburg (2014); a project at Wysing Art Center, Cambridge: Of Our Own Making (2014); a Performance and Film Program in Hélio Oiticicas Penetrável PN 14 (2013); a group show at Galerie Genscher in Hamburg, and a show at LOTTE project space in Stuttgart (2012). Her publications and editorial works include text contributions to catalogues for Halil Altinder (Neuer Berliner Kunstverein); Balz Isler (Gallery Conradi); INDEX (Kunsthaus Hamburg) and the magazines all-over | Magazin für Kunst und Ästhetik and Die Nadel – Kulturwissenschaftliche Zeitschrift für Kunst und Medien. In 2016 she attended the “International Curatorial Workshop” at Vessel, Italy.

THE FUTURE IS A SECRET SOCIETY

Alex Cecchetti and Lina Lapelyte

WHEN:20–23 June, 2017
LANGUAGE: English

 

Abstract

Along with the exhibition, the artist will conduct a workshop titled THE FUTURE IS A SECRET SOCIETY together with artist Lina Lapelyte. Starting from the assumption that a secret society has moved away from the use of spoken language for communication purposes, the participants will be asked to identify themselves with this future condition, experimenting three different ways of abstract interrelation: poetry, music and tarot. The city of Turin will be functioning as the test bed to experiment these new ways of communication into the real world

 

 

LETTER FROM THE ARTIST

 

Dear Friends,


I am writing you from the future and I am looking forward to meet you here. It seems we have an appointment. But there’s no need to rush because there is no more time; and if there is no time, no one is late. The future is just a society, yet secret to the past. So join our club tomorrow. We speak in tongues, we talk in music, we meet up in dreams, and we gave up communication long time ago to fully embracing poetry. Even our cats purr in rhymes. The past is not dark and the future is not bright, images have nothing to do with light; after all we dream with our eyes closed, don’t we?

Time travel is a thing of the past, here in the future everybody knows time is not a clock but always the weather. So to reach the future, let’s hope in won’t rain And don’t expect to receive lessons, only trees and plants know how to explain things in forms.

 

 

 

PROGRAM

DAY 1

Seminar on poetry as technology. Our future society has abolished communication in favour of expanded poetry. We will be speaking in tongues all day: extreme use of metaphors and labyrinthic kennings, large use of text messages, conversation through haiku, kennings and other form of poetry.

Bring the future to the city of Turin. Order food using poetry, ask for the toilet using haiku. All recordings and texts will be part of our secret society final manifesto.

 

 

DAY 2

Seminar on tarot reading. An image can educate many and enlighten all. The dream of the renaissance is true. Give tarot reading to strangers in a chocolate bar, in a wine shop, at the corner shop. Our secret society communicates only with images, in the blink of an eye. Guided by your personal tarot figure, you will discover the future in the present. Take picture of everything, film everything your guide image wants you to film. All the recordings will appear in our secret society manifesto.

 

 

DAY 3

Our future society have abolished words from language and expanded music communication. It does not matter if you don’t know how to play an instrument. The future is large enough for everybody. Verbal language is not allowed in the recording studio. Bring a music instrument, a turn table, a bird caller, a soprano, everything except words. All sound recording will be encoded in our secret society manifesto.

 

 

DAY 4

Dream sharing and promises.

  • Alex Cecchetti Biography

    Alex Cecchetti is an artist, a poet and a choreographer. Difficult to classify, his work creates mental and physical environments in which the spectators are often part of the work. Cecchetti has exhibited internationally having solo exhibitions at Kunstraum, London, 2015, Contemporary Art Centre (CAC), Vilnius, Lithuania, 2012 and Jue de Paume, Paris, 2011 and solo performances at Serpentine Galleries, London, 2015, Palais de Tokyo, Paris, 2014, MAXXI museum, Rome, 2012. He performed in important festival as Playground Leuven and Parade For Fiac Paris in 2016, Un Nouveau Festival, Pompidou, Paris 2014, The Museum As Performance, Serralves, Porto 2015, TBA Portland 2012. Recently the Palais de Tokyo in Paris dedicated him a day of carte blanche. Next solo exhibitions CCA Ujazdowski Castle Warsaw (Poland) and Ferme du Buissons (France) in the fall of 2017.

  • Lina Lapelyte Biography

    Lina Lapelyte is an artist living and working in London and Vilnius. She holds BA in classical violin, BA in Sound Arts and MA in Sculpture from the Royal College of Art, London. Her performance-based practice is rooted in music and flirts with pop culture, gender stereotypes, aging and nostalgia.
    Lina Lapelytė explores contemporary forms of performativity that are related to rituals of folk, popular music, opera and performance in a context of contemporary art. Her works are fueled by expression, marked by pastiche and grotesque, contextual and conceptual musicality, theatrical suggestibility, stylized visuality. Performances and operas unfold sensitivity to feminine identity and it’s complex relation to contemporary reality.

    Her latest works Ladies (2015), Hunky Bluff (2014) and Candy Shop (2013/2015) were shown in different contexts and locations including the Serpentine Pavilion, London, the Queen Elizabeth Hall, London and the Venice Architecture Biennial, Venice.
    Her collaborative work with Rugilė Barzdžiukaitė and Vaiva Grainytė, opera Have a Good Day! for ten cashiers, piano and supermarket sounds, holds several awards including the main prize of the Fast Forward Festival (Germany). For this work, the artist group is awarded with the Golden Stage Cross and Young Artist Prize by the Lithuanian Ministry of Culture.
    Lina Lapelyte’s works were shown at Magma, National Gallery of Art, Vilnius (2017); Baltic Pavilion, Venice Biennial, Venice (2016); Peculiar People, Focal Point Gallery, Southend-on-Sea/Great Britain (2016); Double Bind, NILO, Reykjavik (2016) and Rupert, Vilnius (2015); Listening, Hayward touring show, Great Britain (2015); Block Universe, London (2015); Park Nights, Serpentine, London (2014); Baltic CCA, Newcastle (2014); Eye and Lense, Whitechapel Gallery, London (2014); DRAF, London (2014); BBC Proms, Royal Albert Hall (2012), London.
    In 2017 she will have a solo Show in Rupert, Vilnius as well as performances in MACBA, Barcelona; FIAK, Paris; Moderna Museet Malmö and will present a new collaborative opera at the National Gallery of Art, Vilnius.

  • Alumni Biographies

    STELLA BARAKLIANOU

    (Greece/U.K.) is an artist and academic. She works primarily with photography and installation. International group exhibitions most recently, “Photography is Magic” curated by Charlotte Cotton, Aperture Foundation, New York, (July- August 2016),  “New Materiality” at the Project Space as part of the artists in residency at the Banff Arts Centre, in Alberta, Canada (February 2016). Forthcoming exhibitions and residencies: include “The conditions of production” Eleftheria Tselioy Gallery, Athens, Greece and a workshop as part of The Institute of Things to Come, in Turin, Italy (June/September 2017).

    She has taught at undergraduate and postgraduate Art and Design courses in the UK and abroad, including OTIS College of Art and Design in Los Angeles, California. She is currently Senior Lecturer at Huddersfield University.

    In her practice she is interested in photographing objects and how the photograph becomes an object in its own respect.  This process or idea of ‘constructing reversibles’ derives from working with reflective material. It allows for the objects to become vulnerable to the effects of light and change.  The final work is mostly a framed finished piece, other times develops into an installation, a poem, an artists book or a performance.

    The viewer is asked to engage with the photograph as an installation, rather than a two-dimensional photograph.

    DANIELA D’AMORE

    Caserta (IT) 1989. My interest is based on the various aspects of the position that each individual assumes about social life and the interactions that result from it. Combining various forms, I try to investigate the human aspect, sometimes intimate of the relationship with the other, also understood as environment, place, nature. Venice workshop / residence at the Pavilion and Atelier (Forte Marghera) commissioned by Carlo Di Raco, Academy of Fine Arts in Venice – Forte Marghera, workshop / residence with the artist Jaša Mrevlje Pollak Pollino Art Prize “Agriculture and Biodiversity” ArtePollino Cultural Association Latronic – Workshop 2015 at the Intelligent Quarter (Naples) by Rosy Rox curated by Adriana Rispoli – “Heads in the soul / fourth study for ecstasy In the landscape” by the artist Virginia Zanetti at the Dino Morra Contemporary Art Gallery (Naples) curated by Marianna Agliottone- “Authentic Movement and Creation” conducted by Andrés Waksman,Naples- “A Realistic Image:Phototherapy Techniques in Art Therapy and Other procedures for psychological well-being “photography workshop, conducted by Judy Weiser-” Food Relationship Area “how food “contaminates” interpersonal relationships, workshop with artist Evelyn Leveghi-Salerno site specific, Piazza XX Settembre – LIMEN ARTE 2014 International Award, curated by Lara Caccia, Chamber of Commerce Vibo Valentia – Porticato Gaetano-Art Exhibition XXVII Edition, 2015- First prize competition “The Seven Works of Misericordia” promised by Pio Monte della Misericordia Artistic Association Politecnico,Napoli- Finalist at the LIMEN ARTE 2014 International Prize,at the Chamber of Commerce, Vibo Valentia- Finalist at the Portici Gaetano Art Competition XXVII Edition, 2015, Gaeta-Finalist at the Pollino Art Prize, “Agriculture and Biodiversity” ArtePollino Latronico- First prize Cultural Association Competition “Skin: Borders and Communication”, Academy of Fine Arts of Naples – National Art Prize, Perugia.

    MOLLY DI GRAZIA (San Francisco, 1984) is an artist based in Pietrasanta, Italy. Rooted in the theater of ritual, her work often draws on historical sources as a means of locating contemporary issues of identity and inclusion. Through multimedia and site-specific installation, viewers are invited to enter a parallel dynamic of inquiry into the universal search for meaningful survival where at times presence alone is a statement of resistance.

    After completing a BA in Writing from The New School in 2006, she continued her creative practice while working as an accessibility and gallery educator at the Solomon R. Guggenheim Museum in New York. She relocated to Italy in 2013 to complete an MFA in Painting at Studio Arts College International in Florence, where she now works as an archivist while exhibiting around Europe and abroad. Recent activities include a Terra Foundation for American Art Residency Fellowship (Giverny, France), and exhibitions at Ohio Northern University (USA), the European School of Economics, Le Murate Progetti Arte Contemporanea, and Museo di Storia Naturale ‘La Specola’ (all in Florence).

    vist while exhibiting around Europe and abroad. Recent activities include a Terra Foundation for American Art Residency Fellowship (Giverny, France), and exhibitions at Ohio Northern University (USA), the European School of Economics, Le Murate Progetti Arte Contemporanea, and Museo di Storia Naturale ‘La Specola’ (all in Florence).

    ALESSANDRO MAZZATORTA. Born in 1991 in Milan, raised in a small village near Milan. He lives and works in Milano.

    In 2010 he start studying at the Brera Academy of fine arts, attends the Sculpture class of Gianni Caravaggio, in 2013 takes part in a program “The autonomy of the artist”, curated by Gianni Caravaggio and Bernhard Rudiger in collaboration with Brera Academy and ENSBA, Lyon. Since 2015 he organizes the artist residency project “Residenza d’artista Carloforte” situated in San Pietro’s island of in Sardinia.

    INDA PERALORTEGA (b. 1977, Stuttgart, Germany, based in Amsterdam and London) earned a BA at Gerrit Rietveld Academie, Amsterdam (2010) and a MA with Distinction at Goldsmiths, University of London (2016).

    Her investigation has a focus on development of the creative self in combination with politics of pleasure, using the framework of art&life as space for radical experimentation. His work unfolds interdisciplinary, fluctuating between mixed media installations and unrequested anonymous performances/interventions often based on paradox and humor. Their recent exhibitions include living plants as discursive element on a queer lab for exploration of new social forms.

    Her work has been purchased by private collectors along the years and after degree show a piece also penetrated in the Frédéric de Goldschmidt collection.

    SERENA PORRATI lives between London and Milan.

    She graduated in Art and Technology at the Academy of Fine Art of Brera (Milan), and at Central Saint Martins (London) where in 2013 she achieved a Master in Art and Science.

    Her research questions the relative distance that separates us from the non-human and the inorganic. Her practice engages with the industrial and the geological, nature and artifice, as well as with ideas of control and chance – issues that speak beyond the language of art and art history, to our environment and society.

    She has been selected in occasion of several shows, and art-residencies, recent prizes she has won include MostynOpen19 (2015) and Fomas prize (2016).

    GEORGIA RENÉ-WORMS
 French born in 1988, 
Lives and works in  Paris
, M.A  Villa Arson,  Nice 2014
georgiareneworms.com

    Georgia René-Worms’ practice is varied, ranging from the making of works of art to curating exhibitions and writing, 
thus multiplying experiments and approaches to her subjects. By dealing with singular characters, and specifically women who had major roles but who escaped recognition or history. In her various works and collaborations she develops the gaze of a critical investigator, The artist takes on a feminist attitude.”Frédéric Bonnet.

    In 2015, she does the residence of research and writing of the “Centre Internationale d’Art et du Paysage de  Vassivière”. Then she benefed from a production grant of the Drac Limousin for the production of a collective work witch she particularly worked on the dispossession of  Medicinal knowledge of the women, among others through the history of witchcraft. She is currently working on a research about the relationship between the Italian art scene of the 60s and 70s and the feminist militant groups in Italy. This research benefited from a grant of the french cultural administration (Drac Paca), and the Nuovi Mecenati Foundation, the reaserch is welcoming by Viafarini residence’s in Milano. She published for some independent art review in France as La belle revue , Initiales, Code 2.0, South Way code and Missouri.

    SAVERIO TONOLI ADAMO (Lucca, 1984) is a painter and a photographer. In his painting practice he crosses different styles, using a combined range of painterly techniques including monotype prints, brushwork, paper restoration techniques, plaster moulding and carving. He seeks the “blind spots” in paint, in which the outcome is not yet important and the focus is on the flow in space of the dancing brush, the relation and expansion of the colours on the surface, the delicate practice of folding paper. He takes necessary distance from other images, objects and visible reality itself, in order to let the paint itself evoke the inner flow of things and give a direct experience, following universal rules of forms beyond the flat classification of matter. As a photographer, he collaborates since 2012 with members of Butoh dance scene and in particular with the japanese masters Yuko Kaseki, Minako Seki, for an ongoing photographic project on dissolved photography, ghosts and digital paint.

    Saverio Tonoli Adamo studied at the Brera Academy in Milan and Fine arts at the University of Salamanca. In 2012 he was invited from Pr. Dr. Rainer Crone, ICCARUS project, for a residence in Long Island, New York. Since 2010 he has been taking part in several workshops in Turin. Among the recent solo shows: VBK gallery, Berlin (2015); The Blank, Turin (2011). Group shows include The Meštrović Pavilion, Zagreb, HK (2017); Eigenheim gallery, Berlin, DE (2016); Incubarte art festival, Valencia, ES (2015); Galerie 102, Berlin, DE (2015).

    GAILE PRANCKUNAITE and MISLAV ZUGAJ work together as “sprawl”. Our main interest lies in future of climate change, which we address with cultural artefacts provoked by global warming. Because the responsibility for these environmental changes lies with humans, we are looking into globalization and multiculturalism for tools to develop an artistic practice with an activist bent.

    To find unexpected images, we engage in field work in regions with contradicting pasts and threatened futures, like post-colonial Hong Kong, the collapsing reefs of Madagascar, the remote development of Iran, the decaying areas of Eastern Europe and the scorching ruins in Western Sahara.

    www.sprawl.asia

City under the sea

LOUISE HERVÉ E CHLOÉ MAILLET

19–22 Settembre, 2017

lingua: english

 

Il laboratorio prende il titolo da un film di Jacques Tourneur del 1965, che a sua volta cita una famosa poesia di Edgar Allan Poe “La città nel mare”. Si concentrerà sulla elaborazione collettiva di una performance basata sul materiale di ricerca raccolti durante la preparazione del film di Herve&Maillet, The Waterway.

 

Alcune teorie del 18 ° secolo che riguardano il cambiamento epocale dell’ambiente marino e l’aumento dell livello del mare hanno portato scrittori, come Benoît de Maillet, ad immaginare la nostra vita passata come uomini-pesce. Queste teorie sono state re-interpretate attraverso una serie di film di fantascienza che raffigurano uomini-pesce e altri miti riguardanti mondi sottomarini e città sommerse, come Atlantide e Ys. Il workshop prevede una collaborazione con un biologo marino che si occupa dell’ interazione tra gli esseri umani ed i delfini la cui conservazione è drammaticamente messa in pericolo dalla vicinanza umana. Il workshop esplora archeologia subacquea e l’immaginario della vita eterna subacqueo in relazione ad esseri viventi del mondo non umano e di quello umano in eterno conflitto nell’area del Mediterraneo.

 

Metodologia

Robert Filliou una volta ha affermato “L’arte è ciò che rende la vita più interessante dell’arte”.

Per questo workshop, Herve&Maillet introdurranno il loro metodo di lavoro come duo: esse credono che a volte è necessario dimenticare i riferimenti artistici, e dare un’occhiata più da vicino al mondo scientifico, per vedere come l’arte può interferire.

 

Le artiste hanno un duplice obiettivo: il primo è quello di sperimentare, insieme con i partecipanti del laboratorio, diversi punti di vista sulla biodiversità subacqueo a partire da un punto di vista ambientale e biologico, compresa la ricerca sul ciclo di vita umana e non umana insieme, e le nozionid di’invecchiamento e di conservazione dei corpi. Motivo per cui faremo visita all’Acquario di Genova, per incontrarecon un biologia marina ricercatore.

In secondo luogo, le artiste cercheranno di immaginare insieme con i partecipanti del workshop, come trasmettere questa esperienza attraverso una performance.

 

Il seguente workshop è collegato al film The Waterway  che le artiste hanno prodotto nel 2014 che narra la storia di un gruppo di persone che si reinventano come creature acquatiche immortali.

 

GIORNO 1

Primo incontro, presentazione e introduzione al workshop. Storie: le artiste presentano il loro lavoro in particolare concentrandosi su alcune delle loro performance passate focalizzate sul tema della biologia subacquea ed il mito di Atlantide.

 

GIORNO 2

Acquario: visita all’acquario di Genova, incontro e discussione con un ricercatore in biologia marina.

 

GIORNO 3

I partecipanti lavoreranno in gruppi sull’idea di trasmissione e narrazione (gruppi diversi con diversi compiti: ricerca, scrittura, messa in scena, l’interpretazione …). Insieme si decidera’ se presentare una performance pubblica.

 

GIORNO 4

Conclusione del workshop

 

Bibliografia e filmografia

Verrà fornita una bibliografia e filmografia in anticipo. L’attenzione si concentra su immagini scientifiche, idee, e immaginari sulla vita sottomarina.

  • LOUISE HERVÉ E CHLOÉ MAILLET

    Louise Hervé e Chloé Maillet vivono e lavorano entrambe a Parigi. La loro pratica è incentrata sulla messa in scena di varie forme di discorso. Tessendo insieme fatti storici, dati autobiografici ed estratti da film di fantascienza e libri didattici, il duo costruisce narrazioni e storie che amalgamano coincidenze rilevanti del passato, così come predizioni sul futuro. Le mostre personali includono Kunsthal Aarhus (2016), Vancouver Contemporary Art Gallery (2013) Kunstverein Braunschweig (2012); Centre d’art contemporain la Synagogue de Delme (2012); Kunsthaus Glarus (2012); and FRAC Champagne-Ardenne, Reims (2011). Mostre di gruppo includono Liverpool Biennal, UK (2014), CAC Vilnius (2014) Oxford Moden Art, UK (2013), La Triennale de Paris, Palais de Tokyo, Paris, France (2012); Centre d’art contemporain de Genève (2011).

Bando

Il BANDO

Il bando è aperto ad artisti, curatori, ricercatori e autori di diverse discipline (performance, musica, cinema, danza, teatro, letteratura, etc) che lavorino o che abbiano uno spiccato interesse nel campo delle arti visive. Sono ammessi candidati maggiorenni, di qualsiasi nazionalità.

La lingua di The Institute of Things to Come è l’inglese, di cui è richiesta una conoscenza base.

The Institute of Things to Come si compone di quattro workshop, della durata di quattro giorni ciascuno. I workshop si svolgeranno negli spazi della Fondazione Sandretto Re Rebaudengo da febbraio a settembre 2016.

Le domande pervenute saranno valutate dai curatori del progetto con lo staff curatoriale della Fondazione Sandretto Re Rebaudengo e gli artisti in visita.

 

 

COSTI E BORSE DI STUDIO

È possibile fare domanda d’ammissione per un singolo workshop (costo 250 euro) o per coppie di workshops (costo 400 euro), da selezionare nella lista di seguito.

 

Tutti i partecipanti ai quattro moduli di The Institute of Things to Come riceveranno una borsa di 200 euro per la copertura di quattro notti di pernottamento con prima colazione in stanze condivise, presso le strutture del B&B Portmanteau (www.portmanteau.it). Nell’appartamento sono presenti postazioni di lavoro con tavoli.

Inoltre The Institute of Things to Come prevede due borse di studio per merito a completa copertura del costo di partecipazione. Una terza borsa a completa copertura del costo di partecipazione è fornita dalla ditta Formech (http://formechitalia.it ) specializzata nella produzione di macchine per la termoformatura sottovuoto.

 

I partecipanti ammessi riceveranno comunicazione entro la fine del mese di dicembre. Le borse di studio verranno assegnate dai curatori del progetto in base a criteri di merito.

Nel gennaio 2017 i nomi dei selezionati saranno pubblicati sui siti di The Institute of Things to Come e della Fondazione Sandretto Re Rebaudengo.

 

I curatori del progetto sono pronti a rispondere a qualsiasi domanda o dubbio a questo indirizzo: info@theinstituteofthingstocome.com

 

Applica

Per presentare la domanda di partecipazione è necessario compilare il modulo sottostante con la seguente documentazione:

1 – copia di un documento valido d’identità(max 5 MB)

2 – una breve lettera motivazionale (max 2000 caratteri) (max 5 MB)

3 – Curriculum Vitae (3 pagine max) e\o portfolio (max 10 pagine) in un singolo file (max 5 MB)

 

Se volete applicare per una scholarship, semplicemente menzionatelo nella lettera motivazionale

 

Il materiale dovrà essere inviato, entro il 1 GIUGNO 2017.

 

COME APPLICARE

Moduli:

Allegare i seguenti file:

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