Archivio Eventi

21 February 2019.

Next Exhibitions

The Promised Land
Michael Armitage

Opening: 21 february, h 7 pm

The Fondazione Sandretto Re Rebaudengo presents “The Promised Land”, the first solo show of Michael Armitage (1984) in Italy. The exhibition includes existing works along with new paintings, produced specifically for the occasion.

14 February 2019.


Mikhail Karikis

curated by
Valerio Del Baglivo
Michele Bertolino (Junior Curator)

14.02, h. 19:00
performance, 14.02, h. 19.15

Fondazione Sandretto Re Rebaudengo hosts the second chapter of The Institute of Things to Come, with an exhibition, a performance and a workshop of artist Mikhail Karikis. Founded in 2017 by artist Ludovica Carbotta and curator Valerio Del Baglivo, The Institute of Things to Come is an itinerant art programme aimed at investigating forms of imaginative speculation as cultural strategies and methodologies for critical positions. The 2018 theme is TERRA INCOGNITA (a Latin term used in ancient cartography to indicate the existence of unexplored lands) and it is inspired by the book of sociologist Albert Meister, Under the Beabourg (1976). In his text Meister describes the existence of an imaginary museum right beneath the original one: an underground-cultural center (a Beabourg with lowercase “b”) where an assembly of four thousand people organizes a countercultural pole. This reference is taken as a starting point to speculate about fictional territories, places and landscapes invented by artists, that have served as literal and metaphorical sites of subversion, anti-authoritarianism, utopia and fantasy.

The artist Mikhail Karikis exhibits, for the first time in an Italian institution, Children of Unquiet, a research project that rethinks the destiny of Larderello (Pisa), the site of the first geothermal power plant in the world, and today a territory disfigured by the effects of industrial automation. Investigating the voice as a sculptural material and a socio-political agent, Karikis has explored collaborative work with communities as a means to help engagement with social causes. The themes of labour, industrial landscape, and the effects of globalization on local communities represent some of the preoccupations of his recent film projects. In his work with communities the artist often resonates with new ways of thinking about the destiny of territories scarred by industrial obsolescence.
In Children of Unquiet the artist Mikhail Karikis collaborated with youth to orchestrate a children’s ‘take-over’ of an abandoned workers’ village in Tuscany. The video is filmed in the Tuscan geothermal area of Valle del Diavolo, known for inspiring the hellish descriptions of Dante’s Inferno, for being the place where sustainable energy production was invented in the early 1900s and where the first geothermal power plant in the world was built. Until the 1980s, five thousand workers and their families lived in a cluster of iconic modernist industrial villages built around the power station and master-planned by the influential architect Giovanni Michelucci. Following the introduction of technologies that replaced human labour in the power plant however, unemployment in the area increased and prospects for the young became limited resulting in the rapid depopulation and complete desertion of entire villages.
Children of Unquiet features forty-five children who are growing up in the region and near an industrial village which was abandoned by their parents after the near-complete automation of the geothermal power plant where they worked. In the video, youngsters between five and twelve years old seize the depopulated sites transforming the vaporous wasteland into an amphitheatre, a playground and a self-organised school at the same time. They sing and harmonise with the powerful subterranean rumbles and industrial noises resonating across the area; they congregate in the ruins to read political texts by Antonio Negri and Michael Hardt, and play among the abandoned homes.
In turn playful and meditative, spectacular and intimate, operatic and realist, Children of Unquiet resonates with alternative ways of thinking about the destiny of territories which are scarred by capitalist transformations. It reflects on post-industrial legacies and hints at possible or desired ecological futures conjured up by the poetic and activist imagination of the generation that is most affected by current socio-economic changes.
At the opening, joined by Ilaria Gadenz (co-founder of Radio Papesse), the artist presents 102 Years Out of Synch, an audio-visual performance that retraces Dante’s steps to Valle del Diavolo in an attempt to hear what the poet might have heard. Combining newly filmed footage and fragments of the 1911 silent film L’Inferno, environmental sound recordings, narration and extended vocals, 102 Years Out of Synch mines the strata of legend, industrial archaeology, subterranean resonance and the aural imaginary.
Finally after the opening, the artist lead the workshop Political Love in collaboration with curator Sofia Victorino (Daskalopoulos Director of Education and Public Programmes at Whitechapel Gallery in London) for our 2018/19 Associates (Josephine Baan, Emma Brasó, Emily Fitzell, Constantinos Taliotis, Jérôme de Vienne, Stephanie Winter). Inspired by many political activists’ practices and texts (including Toni Negri’s and Michael Hardt’s essay on ‘political love’) the workshop reflects on how we can become more aware of the politics in our encounters with others sensitised to the hierarchies implied in our use of architecture and recording technologies, and more knowledgeable about how representation can empower and give agency.
Children of Unquiet was produced by Radio Papesse and commissioned by Art Sheffield 2013, the Biennale of Sydney 2014, Radio Papesse and Villa Romana.

Mikhail Karikis is a Greek-British artist based in London. Shortlisted for the 2016 Film London Derek Jarman Award (UK) and the 2015 Daiwa Art Prize (JP/UK), Karikis has a background in art, architecture and music, and often collaborates with communities to create projects that highlight alternative modes of human existence, solidarity and action. His work is exhibited widely in museums and international biennials including Yebisu International Festival of Art & Alternative Visions, Tokyo Museum of Photographic Arts, JP (2019); Ear to the Ground, New Orleans Museum of Art, USA (2018-2019); Artists’ Film International, touring sixteen countries (2017-2018); British Art Show 8, UK (2015-2017); Kochi-Muziris Biennale, (2016-2017) IN; 5th Thessaloniki Biennale, GR (2015); 19th Biennale of Sydney, AU (2014); Mediacity Seoul/SeMA Biennale, Seoul, KR (2014); Inside, Palais de Tokyo, Paris, FR (2014-2015); Assembly, TATE Britain, London, UK (2014); 2nd Aichi Triennale, Nagoya, JP (2013); Videonale 14, Bonn, DE (2013); Manifesta 9, Ghenk, BE (2012); and Danish Pavilion 54th Venice Biennale, IT (2011). Solo exhibitions include Mikhail Karikis, MORI Art Museum, Tokyo, JP (2019); Not an Ordinary Protest, Whitechapel Gallery, London, UK (2018-2019); Ain’t Got No Fear, Turku Art Museum, FI (2018); The Chalk Factory, Aarhus 2017 European Capital of Culture, DK (2017); Love Is the Institution of Revolution, Casino Luxembourg, LU (2017). Forthcoming exhibitions will be presented at De la Warr Pavilion, UK and MIMA, UK.

21 November 2018.

At the crossroads of different pasts, presents and futures

At the crossroads of different pasts, presents and futures
Simon O’Sullivan | Mohamed Abdelkarim | Nicoline van Harskamp

Fondazione Sandretto Re Rebaudengo
via Modane, 16 Turin

h. 6:30 – 9:00 pm

The Institute of Things to Come inaugurates its 2018-19 programme entitled TERRA INCOGNITA on 21 of November with “At the crossroads of different pasts, presents and futures” a night of talks, performances and screenings at Fondazione Sandretto Re Rebaudengo, Turin. The term “Terra Incognita” was used in ancient cartography to indicate the existence of unexplored places and lands. Along the 2018-19 The Institute takes this reference as a starting point to speculate about fictional territories, places and landscapes invented by artists, that have served as literal and metaphorical sites of subversion, anti-authoritarianism, utopia and fantasy.

The opening event of the 2018-19 programme At the crossroads of different pasts, presents and futures reasons on the standardized representation of historical narration, the intertwining of different time frames, and the act of transmission as a form of resistance to power structures. Invited artists Simon O’Sullivan, Mohamed Abdelkarim and Nicoline Van Harskamp inhabit and construct worlds of their own logic where imaginary communities, invented characters, and historical figures interlace their existences and produce counter narrations that recognizes the existence of different times and landscapes. Artist and thinker Simon O’Sullivan gives a talk about mythopoesis, myth-science, mythotechnesis addressing fictioning as a ‘counter-strategy’ against today’s post-truth and post-fact political terrain; Nicoline Van Harskamp presents her film PDGN that portrays a future no longer controlled by national governments or global corporations, and where a new linking language is seen to develop between people through voluntary self-instruction; to conclude artist Mohamed Abdelkarim performs When it comes to truth I wouldn’t dare to tell it, a narrative fictional anthology consisting of anecdotes, poems, songs and radio drama that revisits History and its impacts on complex social issues.

Fictioning: Mythopoesis, Myth-science and Mythotechnesis
30 minutes talk in English

The talk will address the performance of fictions. In particular Simon O’Sullivan will be interested in how such practices (of what I call fictioning) can open up other worlds from within this one and how this might constitute a ‘counter-strategy’ against todays post-truth and post-fact political terrain. O’Sullivan will also introduce his wider collaborative research project (carried out with David Burrows) on mythopoesis/myth-science/mythotechnesis, attending to a historical sequencing between these but also, more importantly, to the idea of temporal loops operating between different pasts, presents and futures.

2016, Single Channel Video, 16’ 53’’, with italian subtitles

PDGN is a fiction video that portrays a future in which the world is no longer run by national govern- ments or global corporations, and that is neither utopian nor dystopian. A new link language is devel-oping between people across this world through voluntary self-instruction. The script for PDGN wasconstructed from actually spoken, non-native English in a series of workshops. Some aspects of lan-guage and narrative were borrowed from feminist fiction that proposes systems of language-change, such as Marge Piercy’s Women on the Edge of Time (1976) and Suzette Haden Elgin’s Native Tongue (1984). The language of the script was further developed by applying common and expected factorsof language evolution in the areas of syntax, lexicon, and phonetics. These ‘distorting factors’ wereconceptualized with the help of academics in fields such as creole studies, computational linguisticsand language acquisition as well as Esperantists, recreational language inventors, and the lead ac-tresses Ariane Barnes, Mouna Albakry and Paula So Man Siu.

When it comes to truth I wouldn’t dare to tell it
A narrative anthology consists of anecdotes, poems, songs and radio drama.

Performance with italian subtitles, 40 minutes

The performance is a sub-episode from the series project Dramatic episodes about Locomotion (2014–2017). In this episode, the project revisits a number of stories through the performer Haroun Kanshour whom the artist imagined and he encounter with. Stories float over characters are marginalised from what known as History.
Dramatic episodes about Locomotion is a long-term project, conceptually in a position of re-reading and re-examining the disaster through the dichotomy of Means of production vs. Cultural genealogy and its impacts on different social phenomena such as religion, gender and nationalism. Utilise stories from the Middle Ages era as a paradigm to understand contemporary issues.

Simon O’Sullivan is Professor of Art Theory and Practice in the Department of Visual Cultures at Goldsmiths College, University of London. He has published two monographs with Palgrave, Art Encounters Deleuze and Guattari: Thought Beyond Representation (2005) and On the Production of Subjectivity: Five Diagrams of the Finite-Infinite Relation (2012), and is co-editor (with Henriette Gunkel and Ayesha Hameed) of Futures and Fictions (Repeater, 2017) and (with Stephen Zepke) of both Deleuze, Guattari and the Production of the New (Continuum, 2008) and Deleuze and Contemporary Art (Edinburgh University Press, 2009). He also makes art, with David Burrows and others, under the name Plastique Fantastique – and is currently working on a collaborative volume of writings, with Burrows, Fictioning: The Myth-Function of Contemporary Art and Philosophy.

Nicoline van Harskamp studied at the Royal Academy of Visual Arts, KABK, in The Hague, and the Chelsea College of Art and Design, in London. Her works have been presented at BAK Utrecht; KunstWerke Berlin; Kunstraum London; and BMW Tate Live Performance Room. She took part in Sydney Biennale; Eva International Limerick; Manifesta 9 Genk; Gothenburg Biennale; Bucharest Biennale; and exhibitions at Witte de With; CAAC Sevilla; Kadist Paris; Rotor Graz; FRAC Lorraine; and Clark House Bombay. She received the 2009 Prix de Rome award. Currently she holds teaching positions at Sandberg Institute Amsterdam and Kunstakademie Münster.

Mohamed Abdelkarim was born in Minya (Egypt) in 1983. After he had written his Master’s thesis of knowledge engagement at ECAV, Switzerland 2014, Abdelkarim turned toward producing text-based performances, and become committed to performative practices across multidisciplinary research, concerning the perception of narrating, singing, dancing, detecting and doing.
His practice engages with these actions through the focus on travel, locomotion, renegades history and picaresque literature, where a series of non-linear, serendipitous encounters with concepts, fictions, almost truth and what is known as historical facts, are gathered to form a script and an archive of events and stories. In this context, his practice aims at producing narratives and expose the way narratives are produced. As part of his performative practices, Abdelkarim established a project “Tadbikat” as a performative project that brings together (and synthesises across) lectures, debates, group readings, critical responses, and creative quests, alongside with organising performance nights under the title of “Live Praxes.”

13 September 2018.





Thursday 13 September 2018

7 – 9 pm

Sophie T. Lvoff, Lou Masduraud, Irène Mélix, Georgia René-Worms, Maha Yammine
Curated by Bernardo Follini

Reversed Theatre
Fabrizio Cotognini
Curated by Lorenzo Benedetti

Opening & Cocktail

21 September 2017.

Ghita Skali

On September 21th Fondazione Sandretto Re Rebaudengo will open the first solo show in Italy of Ghita Skali (Casablanca, 1992), curated by Lorenzo Balbi. The exhibition is the result of a six-years-long collaboration with ENSBA Lyon – École Nationale Supérieure des Beaux Artes.
Starting from the observation of a new subtropical landscape tipology, Ghita Skali’s research is focused on the aesthetic and social implications of artificial date palms, recently employed in the urban context. The plants are designed thanks to advanced technological and eingeneering studies and today they constitue the most modern camouflage system of telecommunications. At the same time, the palms become a paradigm of contemporary strategies aimed at integrating the natural and the built landscape.