A NEW ANNUAL EXHIBITION PROJECT AROUND TORINO AND PIEMONTE
ONE TORINO is the first edition of a new annual initiative, conceived and produced by Artissima in collaboration with museums and foundations in the city, which is aimed at placing Torino at the centre of an important cultural dialogue about contemporary art by consolidating its position as an experimental and dynamic art capital and by promoting both its contemporary and historical identity.
ONE TORINO comprises five independent yet interlinked group shows at Castello di Rivoli Museum of Contemporary Art, GAM Civic Gallery of Modern and Contemporary Art, Fondazione Merz,Fondazione Sandretto Re Rebaudengo, and Palazzo Cavour – a magnificent historical venue in the town centre.
VEERLE is a project and a site of projection, which curator Chris Fitzpatrick has sited in and out of the project-room of Fondazione Sandretto Re Rebaudengo. The sum total of the works it comprises, VEERLE will be kept in constant calculation through a series of overlapping and simultaneous propositions — slow-drip videos, oral reports, gossip, newspapers, web subjects, postal projects, guided visits of the exhibition, daylong screenings, performances in the surrounding residential areas, and so on.
“Veerle” is, quite simply, a given name chosen to unite multiple ranges of artistic activity under the semblance of a single distinguishable corporality. By inserting a series of works within a conversation and putting a series of conversations into dialogue with those works, VEERLE can accrue multiple personalities, such as Federico Acal,Nina Beier, Goda Budvytyte, Liudvikas Buklys, Frank Chu,Trisha Donnelly, Peter Fischli & David Weiss, Ceal Floyer, Isa Genzken, Halflifers, Euan Macdonald, Mahony, Eva Marisaldi,Giovanni Oberti, Julie Peeters, Post Brothers, Rosemarie Trockel, Anne-Mie Van Kerckhoven, and Erik Wysocan.
In some cases, the participating artists were expressly invited to contribute work for the occasion. In others, their work was selected from the Fondazione’s vast collection.
VEERLE consumes the fixed coordinates of exhibition, place, timeframe, primary/secondary statuses, and format, as the organizers recycle the same objects and operations of the same artists — even as the objects are never physically moved.
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