Fondazione Sandretto Re Rebaudengo presents the fourtheen edition of the Young Curators Residency Programme Torino
Fondazione Sandretto Re Rebaudengo announces the curators selected for the fourteenth edition of the Young Curators Residency Programme Torino (February – May 2020): Alison Karasyk (U.S.), Camille Regli (Switzerland), Katie Simpson (UK). The coordinator of the fourteenth edition is Lucrezia Calabrò Visconti.
The curators were selected by a jury composed by Andrea Viliani, Director of Madre. Museo d’arte contemporanea Donnaregina, Naples, and Alessio Antoniolli, Director of Gasworks, London.
The Young Curators Residency programme consists of a research residency in Italy that has the dual objective of developing the professional and critical skills of the young curators selected, while aiming at spreading knowledge of the Italian art scene on an international level. The residency provides the opportunity for the three selected candidates to get in contact and work with Italian artists, and furthers the Fondazione Sandretto Re Rebaudengo’s commitment to the national contemporary art as well as its engagement with emerging curatorial practice. The in-depth research process, which sees the curators visiting over 200 artists’ studios, museums and art institutions across Italy under the guidance of a reference Italian curator, culminates in an exhibition curated with the support of the team of Fondazione Sandretto Re Rebaudengo. Now in its 14th edition, the Young Curators Residency programme is still a unique example in Italy and a renowned project internationally, thanks to the quality of the training provided and the outstanding practice pursued by the alumnae and alumni who, in many cases, hold prominent positions in museums and institutions.
Nominated participants are recent graduates of the most relevant international programmes for curators: The selection of participants takes place in collaboration with the most renowned international programs for curators: Royal College of Art, London; Graduate Program, Center for Curatorial Studies, Bard College, New York; Curatorial Program, De Appel, Amsterdam; CuratorLab, Konstfack University of Arts, Stockholm; Independent Study Program, Whitney Museum of American Art, New York; MFA Curating, Goldsmiths University of London; MA Curatorial Practice, California College of the Arts, San Francisco; MAS/CAS Curating, Zurich University of the Arts. Participants are pre-selected following the indications of the directors of the courses involved by sending a motivational letter, curriculum vitae, portfolio of previously realised projects, published or recently edited texts.
The residence lasts three months, and this year the final exhibition will take place in the spaces of the Fondazione Sandretto Re Rebaudengo in Guarene d’Alba. The preparation of the exhibition is preceded by the study of bibliographic material, meetings with artists, curators, gallery owners, collectors and museum directors through trips and visits to the most important cultural production centres of Turin, Milan, Venice, Bolzano, Rome, Bologna, Naples, Palermo.
The residency is organised with the support of Compagnia di San Paolo.
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 (Switzerland) lives and works between Zurich and London. She holds a MA in Cultural Studies at King’s College London and a MA in Curating at the Zurich University of the Arts. After working at the Musée de l’Elysée in Lausanne, she acquired experiences in arts pr and communications consultancy in contemporary art, working with renowned international institutions including the Swiss Pavilion at the Venice Biennale, Gropius Bau, Berlin, the Istanbul Biennale, Verbier Art Summit, Bagnes, Richard Saltoun gallery and performance art festival Block Universe, London, among others. Her curatorial practice focuses mainly on ‘small’ (as opposed to overarching) narratives that speculatively reconfigure the world we live in – as well as narratives that are triggered by performativity, site-specificity and interrelational encounters, in order to shape new forms of knowledge. She is part of the curatorial board of the OnCurating Project Space, an independent art space in Zurich that provides critical discourse through curatorial and experimental exhibition formats. She curated several exhibition projects, including the group shows Queering the exhibition; I will be your idol; and the durational performance This is your captain in collaboration with Zürich moves. She is part of the multi-formatted project Choreographing the Public and the discursive series I might be wrong. Regli is a regular editor and contributor of the academic journal ‘OnCurating.org’.
Katie Simpson (UK) is a London based curator and producer with a focus on commissioning site-specific projects with emerging artists. Her curatorial practice currently considers institutional and self-organised support structures that are convivial and disruptive; questioning the role of these spaces through experimental approaches to art making. Other interests include addressing socio-political concerns that affect accessibility to art, questioning hierarchies of culture through archival research, and thinking through feminist approaches to collaborative curatorial practice. She graduated with an MFA in Curating from Goldsmiths College in 2018 and has since held the position of Associate Director at not-for-profit art organisation Jupiter Woods, London, delivering a programme of activities including reading groups, exhibitions, and off-site events. Since graduating, she has completed a Curatorial Fellowship at Goldsmiths Centre for Contemporary Art, London,where she co-organised public programming events such as a collective listening session, children’s workshop, and community video screening. Before moving to London, she was initiator and curator of a ten-month exhibition programme, The Koop Project, Gallery Manager at Neue Froth Kunsthalle, and Gallery Manager and Curator at Community Arts Centre, Brighton.
Lucrezia Calabrò Visconti is an independent curator living in Italy. In her practice she develops research-based exhibitions and public programmes, often engaging in collaborative projects with a hybrid, interdisciplinary form. Her recent projects include: Abstract Sex. We don’t have any clothes, only equipment with Guido Costa for Artissima, Torino (2019); Get Rid of Yourself (Ancora Ancora Ancora), Fondazione Baruchello, Roma (2019); Abracadabra, 6th International Biennale for Young Art, Moscow (2018); Why Is Everybody Being So Nice?, De Appel and Stedelijk Museum, Amsterdam (2017); Good Luck, See You After the Revolution, Uva, Amsterdam (2017). In 2018 she founded the performative and educational platform The School of the End of Time with artists Ambra Pittoni and Paul-Flavien Enriquez-Sarano. She gained education at De Appel, Amsterdam; CAMPO12, Fondazione Sandretto Re Rebaudengo, Torino; IUAV, Venezia and pursued curatorial training at Artists Space, New York. Her writings appeared in specialised magazines and publications. Since 2018 she is responsible of the Young Curators Residency Programme by Fondazione Sandretto Re Rebaudengo and she is the curatorial consultant for the New Entries section for emerging galleries in Artissima.
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