The 338 Hour Cineclub

8 May 2013 – 29 September 2013

Fondazione Sandretto Re Rebaudengo

Curated by Rosalie Doubal, Alec Steadman, Emeline Vincent.

Film e video di artisti italiani

Final exhibition of the 2013 Young Curators Residency programme coordinated by Stefano Collicelli Cagol.

Artists: Meris Angioletti (Bergamo, 1977), Salvatore Arancio (Catania, 1974), Gianluca e Massimiliano De Serio (Torino, 1978), Patrizio Di Massimo (Jesi, 1983), Francesco Fonassi (Brescia, 1986), Anna Franceschini (Pavia, 1979), Alessandro Gagliardo (Paternò, 1983), Riccardo Giacconi (San Severino Marche, 1985), Adelita Husni-Bey (Milano, 1985), Valerio Rocco Orlando (Milano, 1978), Maria Domenica Rapicavoli (Catania, 1976), Marinella Senatore (Cava dei Tirreni, 1977), Giulio Squillacciotti (Roma, 1982) and Diego Tonus (Pordenone, 1984).

Cinema Design: Institute of Friends

The Sandretto Re Rebaudengo Foundation presents The 338 Hour Cineclub. This exhibition, the concluding project of the seventh edition of the Young Curators Residency programme, is curated by Rosalie Doubal (Uk, 1984), Alec Steadman (Uk, 1983), Emeline Vincent (France, 1983) and will open on May 8th. The exhibition focuses on Italian artists who work with film and video in a myriad of forms. Respecting the individual practices of each selected artist, The 338 Hour Cineclub deliberately places emphasis on the shared medium of film and avoids any further thematic grouping. This approach responds to the quality of research and collective commitment to film practice that is evidenced in the works of the exhibited artists, which address diverse issues ranging from the language of pure cinema to politics.

All works are exhibited on a single screen housed in a newly-commissioned cinema pavilion within the gallery. Aiming to make an object of the cinema within the space and to create optimum cinematic viewing conditions, the structure has been designed by the Institute of Friends, a group of artists and designers based in Bolzano. The 338 Hour Cineclub addresses the timeframe of the exhibition, the evolving programme not only developing over the course of the day, but throughout the 338 public hours of the project. Created as a space for the audience to return to freely, visitors can become members of the Cineclub for the price of a single ticket, enabling them to access the entirety of the programme, and allowing for a comprehensive selection of each artist’s work to be viewed.

Six different film programmes are presented during the four-month run ofThe Cineclub. Firstly, responding to the two-hour window of the event, the opening programme acts as a taster, setting a precedent for the unfolding exhibition by presenting a short film by each artist. The main body of the exhibition then comprises of four programmes focusing on the work of three or four artists, each corresponding to the daily opening hours of the gallery and repeated for three weeks. During the first two weeks of the 55th Venice Biennale, The Cineclub again shows the work of every participating artist, focusing on short films. Within each programme the works are ordered incrementally, according to the running time of the films. As such, each day opens with short films, building up to full-length features.

One of The Cineclub’s aims is to recognise the differences present amongst this divergent selection of film and video. By the very nature of the unifying single screen format however, the exhibition simultaneously presents a timely opportunity for an examination of the use of cinematic techniques in contemporary practice. The dialogue between these film works invites consideration of the use of filmic conventions by artists whereby duration, narrative, script, image production and set design are repeatedly revisited.

Returning throughout the duration of the exhibition, The 338 Hour Cineclub members are offered the opportunity to view 75 film and video works, with a collective running time of 25 hours, by 14 Italian artists, each screened in a specialised space singularly conceived for their viewing over the 338 hours of the exhibition.

Rosalie Doubal (b. 1984, UK) is a London-based writer and curator. She holds an MA Art History & English Literature, The University of Edinburgh (2007), and an MFA Curating, Goldsmiths University of London (2012). As part of a curatorial collaboration, Rosalie Co-directed Edinburgh project space Sierra Metro from 2009 – 2012, curating over 20 exhibitions of new work by international early career artists, including three Edinburgh Art Festival presentations. Working independently, Rosalie recently curated limited edition book 10,000 Hours, featuring five new commissions and presented at David Dale Gallery as part of Glasgow International Festival of Visual Art 2012. In London, working with long-term collaborator Matt Carter, the pair recently curated group show Not in The Corners at Maria Stenfors. Rosalie has contributed art criticism to numerous international publications including The Journal of Curatorial Studies and MAP magazine, and works as a visual art correspondent for The List (since 2007) and Time Out London (since 2011). Since 2007, Rosalie has worked with various institutions, assisting Curators at Serpentine Gallery, London, Glasgow International Festival of Visual Art 2010, and Collective Gallery, Edinburgh.

Alec Steadman is a curator and artist based in London. He was a participant of De Appel Curatorial Programme, Amsterdam (2011/12) co-curating Three Artists Walk into a Bar…, De Appel Arts Center and various locations (2012) and Why Stay If You Can Go? Stedelijk @ De Appel Arts Center (2012). Prior to this he spent 5 years as Head of Exhibitions for Zoo Art Fair, later becoming Associate Curator for the same organisation. He has also worked as Interim Event Manager, The Serpentine Gallery; Fair Manager, SUNDAY Art Fair; Programmes Coordinator, Max Wigram Gallery and Studio Assistant for Smadar Dreyfus, as well as curating numerous projects Independently. He studied BA (hons) Fine Art at Middlesex University and was a member of artist collective The Hut Project from 2005-2011. Solo exhibitions included: Giles Said…, Limoncello, London (2010); Machine Gun Corridor, BolteLang, Zurich(2010); and Old Kunst, ICA, London(2009).

Emeline Vincent is a researcher and writer in London. Among a wider research, she specifically devotes her work to the study of crossed relations between visual and audio practices in contemporary
art. In close relation to historical legacies in both fields, she has conducted a thesis through the intertwined developments of both mediums, attempting to define how the audio medium has today reached its own autonomy and legitimacy by the indissociable character certain artistic practices present. Recent publications include a monographic piece on the work of British artist Haroon Mirza in bilingual French magazine Volume (Oct 2012). As a visual arts coordinator at the French Institute in London for many years, she has collaborated with many artists and art institutions in the UK and internationally, specifically working on the promotion of the emergent French art scene in the UK, including artists such has Jean-Pascal Flavien, Matthieu Klebeye Abonnenc, Aurélien Froment, Lili Reynaud-Dewar, Clement Rodzielski, Karina Bisch, among others. She was also a key member and advisor for the Franco-British contemporary art fund Fluxus.

Young Curators Residency Programme

For their annual residency programme, Fondazione Sandretto Re Rebaudengo first receive a list of candidates put forward by top international art schools and institutions and the final three are then selected by an international jury. The 2013 jury is composed of Beatrix Ruf, director of the Kunsthalle Zurich, Joanna Mytkowska, director of Museum of Modern Art in Warsaw, Francesco Bonami, artistic director of Fondazione Sandretto Re Rebaudengo. Invited by Fondazione Sandretto Re Rebaudengo to spend four months in Italy, the curators have the opportunity to explore and develop their knowledge about Italian artists and the Italian contemporary art scene by visiting artists’ studios,museums and galleries and by meeting curators, museum directors, gallerists and critics.

The residency programme, coordinated by Stefano Collicelli Cagol, offers a reflection on contemporary curatorial practice and allows the development and further promotion of the Italian art scene around the world. The residency offers the young curators the chance to explore the country and its art scene and to present their own show with the full support of a professional structure. A coordinator is on hand to advise and guide them throughout the residency, although they are fully independent in their choice of artists, curatorial concept and structure of the final exhibition.

The Young Curators Residency Programme is organised with the kind support of Compagnia di San Paolo

Synopsis films