- Weekly residential modules at Cittadellarte: a programme of seminars and laboratories open to students, professionals, social entrepreneur, activists and members of society, developed following a participatory teaching format, based on collective debates and knowledge exchange between mentor and participants. The modules draw some of their core case studies from Geographies of Change, a participatory online archive collecting and interlinking organisations active in the fields of governance and policy-making, alternative economic models, urban systems, environment, education and communication.
Mentors are often former UNIDEE residents, participants to visible project and to ARTInRETI platforms, ambassadors for Third Paradise, Cittadellarte’s current and past associates. Amongst the new collaborators, scholars and researchers, curators, cultural operators, agents of change within specific territorial realms.
Aimed at delving into three broad thematic areas, which represent the first lemmas for the construction of a Triennal (2015-2017) Shared Collective Vocabulary of Ideas on Cittadellarte’s Art and Social Responsible Transformation, developed across UNIDEE - University of Ideas’ educational programme. This Vocabulary intends to make available the theoretical and project materials used by the mentors and the speakers, and produced by the participants throughout the weekly modules.
- Seminar modules outside Cittadellarte in collaboration with universities, Fine Arts academies, artistic research centres in Europe and beyond addressed to graduate and postgraduate students, PhD students and researchers.
During the year 2016 the relationships with Italian University and Fine Arts Academy will be reinforced and new collaborations will be open to partners such as Università degli Studi di Torino; Università IUAV, Venezia; Accademia di Belle Arti di Brera, Milano; Accademia di Belle Arti di Roma; Accademia di Belle Arti di Firenze; ISIA-Istituto Superiore per le Industrie Artistiche di Faenza; SACI Studio Art Centers International, Firenze; Fondazione Bevilacqua La Masa, Venezia; Ecole supérieure d'art et design – ESAD, Grenoble (FR); École cantonale d'art du Valais – ECAV, Sierre (CH); Fundación Universitaria Bellas Artes, Medellín (Co); Instituto Superior de Arte-ISA, La Habana (Cuba); Queens Museum, New York.
- Residency programmes at Cittadellarte for international artists, organised in collaboration with institutional partners, e.g. RESO’ network, A. M. QattanFoundation (Palestine), Inlaks Shivdasani Foundation (India), aiming at educating and producing. During their stay at Cittadellarte the artists are accompanied along an educational path based on an in-depth analysis of specific issues in relation to a responsible social transformation. A flexible programme encompassing debate series, meetings with curators, artists and social entrepreneurs, experts’ studio visits, conferences with guests, visits to exhibitions and places relevant to the themes discussed, etc., will be the companion to this residential journey. In terms of production, the residency aims at facilitating the creation of new projects for exhibitions, events, public debates, publications etc.
- Connective Residency at Cittadellarte: launched in 2015, this residency programme of six months is open to Italian and international artists and collectives interested in exploring and expanding the themes of social responsible transformation, selected by direct invitation as well as via open call. The aim is to establish active “connections” between the resident artists’ own practices and the content and dynamics brought forth by the weekly residential modules and all relevant project activities developed within Cittadellarte.
The invited artist for the 2015's edition were Andrea Caretto and Raffaella Spagna.
In 2016 the artist in residency is Leone Contini.
Objects in the mirror are closer than they appear: Contemporary art histories and other news
Starting from examples of detection, “aesthetic journalism” and fictional institutions, this module will investigate the writing of art histories in contemporary artistic research practices.
The hypothesis is that the contemporary perception of the psychological potential of the past, the present and the future as cultural ideas, shapes our relationship to archives, documents, artworks and oral histories produced by art scenes. Such relationship is affected by the difficulty of holding one’s gaze on topicalities while they unfold, and running the risk of fitting so well to one’s epoch that it becomes impossible to critically observe it. Faced with an ever-expanding array of media and sources with which to interact, the writing of contemporary art history has been confronted in recent years with the transfer of storytelling techniques beyond the borders of the literary sphere. Approaches from new journalism and historical novels are employed in the writing of art history not only as a means to chronicle the past and present of contemporary art, but also as a situation where utopian and dystopic anticipation assists the representation of a plural art scene.
More synchronic and less chronological, the community-based recording of contemporary art enables to infiltrate major narratives with micro-histories and material knowledge. The speed of information has dramatically reduced the gap between the moment when the event takes place and that when it gets recorded. Far from being a mere site for storing information, the archive is interpreted as a situation where knowledge is produced and not only documented.
With the aim of “doing theory” throughout the week, the module will feature lectures, screenings and discussions, supplemented by workshop-based activities. Special attention will be given to the notion of responsibility in the writing of history and collective authorship with reference to art theory, communication studies, literature, cinema and digital cultures.
Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan)
Workshop presentation and construction of a common library of references: Every participant will introduce her/himself through bringing a book/document/research object/DVD… which is representative of their position / ideas about the themes discussed. This common library will be open to consultation during the workshop days. Each participant has a 10 min slot for his/ her presentation.
The short (art) century: Statement followed by group discussion
All art has been contemporary (representing present art and museum critique after 1968): Statement followed by group discussion
Screening: L’Arche Russe (Alexander Sokourov)
Fictional institutions: presentation of case-studies and discussion.
Workshop session: encyclopaedias of fictional artists.
Screenings: Noor Abuarafeh, On ‘Observational desire on a memory that remains’ and other selected videos.
Discussion and collective writing.
The uses of literacy: oral history, history from below, micro-history.
Workshop session: oral history.
Workshop session: oral history.
Screening: The Battle of Orgreave (Jeremy Deller).
Archives: research methodologies
Workshop session: document-based research.
New journalism, historical novels and creative non-fiction
Workshop session: fabricating the news.
Screening: It Happened Tomorrow (René Clair); Wag the Dog (Barry Levinson).
Final discussion and public presentation of the works/ texts/ documents produced during the workshop sessions.
The mentor will prepare a reader for participants with key texts, some of which will be discussed during the week.
Giorgio Agamben, “What is Contemporary?”, in What is an Apparatus? Stanford, Ca.: Stanford University Press, 2009.
Sergio Atzeni, Il Figlio di Bakunin (Bakunin’s Son), New York: Italica Press, 2008.
Alfredo Cramerotti, Aesthetic Journalism: How to Inform Without Informing, Bristol & Chicago: Intellect, 2009.
Frank O’Hara, The Day Lady Died (http://www.poetryfoundation.org/poem/171368)
William Morris, News from Nowhere, London: Penguin, 2014.
Georges Perec, Les Choses: A Story of the Sixties, trans. Helen Lane, New York: Grove Press, 1967.
Alessandro Portelli, They Say in Harlan County, Oxford: Oxford University Press, 2010.
Leonardo Sciascia, Il teatro della memoria, Torino: Einaudi, 1981.
Antonio Tabucchi, Sostiene Pereira (Pereira Maintains), Edinburgh: Canongate Books, 1996.
Paul Veyne, Writing History: Essay on Epistemology, trans. by Mina Moore-Rinvolucri, Manchester and New York: Manchester University Press, 1996.
Wu Ming, New Italian Epic, Torino: Einaudi, 2009.
Living Theatre, The Connection
Keren Cytter, Continuity
Yael Bartana, …And Europe will be stunned
Jeremy Deller, The Battle of Orgreave
Excerpt from Radio Days, a movie by Woody Allen
Excerpt from Wag the Dog, a movie by Barry Levinson
Excerpt from Hans Namuth, Pollock Painting
BIOGRAPHY AND STATEMENT
Federica Martini, PhD, is an art historian and curator. She was a member of the Curatorial Departments of the Castello di Rivoli Museum of Contemporary Art, Musée Jenisch Vevey and Musée cantonal des Beaux-Arts/Lausanne. Since 2009, she is head of the Master program MAPS - Arts in Public Spheres at ECAV, Ecole Cantonale d’Art du Valais, Sierre.
Recent projects include The Museum of Post-digital Cultures (2013 - ongoing); Taking Time (Nida Art Colony, 2012); Vague Terrain - 0° latitude-longitude Gleisdreieck (Complices, Berlin, 2012); Royal Garden 4 - Rivières (Le Crédac - Centre d’art contemporain d’Ivry, 2012); Slipping Glimpser (Théatre Arsenic, Lausanne, 2011); Incongruous (Musée cantonal des Beaux-Arts/Lausanne, 2011).
Anne-Julie Raccoursier: after her studies in Geneva, Anne-Julie Raccoursier spent a few years in the US and obtained a Master of Fine Arts in Critical Studies from the California Institute of the Arts in Los Angeles.
As an artist she is involved in conceptual and discursive interventions using installations and videos. In her works, she focuses closely on contemporary issues such as identity, the culture of entertainment and its rituals as well as the art of displacement. Her video installations have been presented recently in the personal exhibitions “Wireless World“ at the Centre d’édition contemporaine in Geneva, “Non-stop fun“ at the Musée cantonal des Beaux-Arts in Lausanne, “Woodstock“ at St.Gall, “Crazy Horse“ at o.T. Raum für aktuelle Kunst, Luzern, “Loop Line“ at Kunsthaus Langenthal and “Crazy Horse“ at Palais de Tokyo, Paris.
She teaches at the Research-Based Master Programme CCC at the Geneva University of Art and Design and at the Master Arts in Public Spheres, at Ecole cantonale d’art du Valais, in Sierre.
download the full documentation about the module and the mentor in PDF format