October 30, 2010 - Artissima - Curatorial programme
October 30, 2010

Curatorial programme

raumlabor, House of Contamination, 2010.

Curatorial programme

Poetry in the Form of a Rose
5-7 November 2010
12-8 PM

Artissima 17
OVAL – Lingotto Fiere
Turin, Italy
Tel: +39.011.19744106
info [​at​] artissima.it

This year’s programme, Poetry in the Form of the Rose, borrows its title from the book of poems published by Pier Paolo Pasolini in 1964 after he made his cinema debut. The series of events revolves around visual artists who invade other arts and disciplines such as architecture, cinema, dance, design, education, literature, and urbanism, as well as professionals from other arts whose investigations are close to contemporary art.

House of Contamination
Designed by raumlabor

Artissima commissioned raumlabor to design a life-size maquette of an experimental museum. The House of Contamination hosts a space for each of the investigated art disciplines and is conceived as a prototype to be tested during the fair. Its design allows the sections of Poetry in the Form of a Rose to superimpose and inform each other. Walls are built with recovered material: plastic, paper, fabric and wood are intercepted at some point in the recycling process. The furniture is constructed with old fridges, washing machines and doors. A garage that is half-buried with clothes regularly emits wind, moving the fabric walls of the corridor. All rooms are intercommunicating, the only dividing wall can move merging cinema and theatre, simultaneously sealing the literary salon. From the skywalk visitors can assess the mutant departments of this hypothesis of museum.

Programmes include:

All the Rest is Literature
Curated by Vincenzo Latronico
All the Rest is Literature could be a contemporary art museum focused on writing, or a literary salon for artists only: it gathers art critics whose criticism could be fiction; artists whose books are books even if they aren’t by artists, and novels that are novels only because it is a writer who wrote them.
With: Nanni Balestrini, Keren Cytter, Paul Fournel, Maria Fusco, Jennifer Higgie, Raimundas Malasauskas, Chus Martínez, Ingo Niermann, Gianluigi Ricuperati, Dieter Roelstraete, Tiziano Scarpa, Leanne Shapton, Mark Von Schlegell, Gernot Wieland

The Dancers
Curated by Anthony Huberman
The Dancers provides a context in which art shares the stage with contemporary choreography, allowing each discipline to inform the other. The contributions included in The Dancers take place on a theatrical stage and occasionally appear throughout the fair.
With: Eleanor Antin, Ei Arakawa, Pierre Bal-Blanc, Biba Bell / MGM Grand, Boris Charmatz, Amy Granat & Felicia Ballos, Joachim Koester, Xavier Leroy, Debra McCall / Bauhaus Dances, Franz Erhard Walther

Pickpocket Almanack
Curated by Joseph Del Pesco and Dominic Willisdon
Pickpocket Almanack is a device for research on education and knowledge. Building on chosen events that will take place in different cities immediately after Artissima, artists, curators and writers were asked to create a series of education programmes or hypotheses for faculties.
Faculties selected by: Pratap Chatterjee, Pip Day, Jill Dawsey, Paul Elliman, Harrell Fletcher, Maria Fusco, Sylvie Gilbert, Sarah Hromack, Vincenzo Latronico, Machine Project, Raimundas Malasauskas, Aaron Peck, Rick and Megan Prelinger, Vivian Rehberg, Althea Thauberger, Torolab, Tessa Giblin and Saskia Vermeulen, Raluca Voinea

Thinking through Cinema (Deep Red)
Curated by Benjamin Cook and Mike Sperlinger – LUX
In 1975, film director Dario Argento shot his giallo masterpiece Profondo rosso in Turin. For Thinking Through Cinema (Deep Red), Argento’s film becomes a stand-in for cinema as a whole; a starting point from which to explore the differences between film and cinema. Six commissioned artists present their version of Profondo rosso, using Argento’s film as a source text, but perhaps without showing a single frame of the original.
With: Meris Angioletti, Juliette Blightman, Clare Gasson, Torsten Lauschmann, Nathaniel Mellors, Emily Wardill

by Dexter Sinister
Dexter Sinister will demonstrate their Meta-the-difference-between-the-two-Font, a typeface derived from MetaFont, the 30-year-old computer typography system originally programmed by Donald Knuth. The font will be primarily applied throughout Artissima’s architecture in the form of vinyl wall signage, while its backstory will be exhibited as a 3D caption in the House of Contamination.

Urban Genome Project
by Joseph Grima and Pedro Reyes in collaboration with Salottobuono
Urban Genome Project is an experimental mapping of the genetic code of cities. Within Artissima, it will gather testimonies on the subject and finalize the project for a mobile research unit. The curators’ production studio will also function as a meeting room for their open talks.

Hypnotic Show
Curated by Raimundas Malasauskas, conducted by Marcos Luytens
Hypnotic Show is an exhibition in the mind of the audience created by the fused practices of art and hypnosis.
Scripts by: Robert Barry, Etienne Chambaud, Dora Garcia

Picnic for the Mind
Curated by Gianluigi Ricuperati
Picnic for the Mind is a series of three seminar-lectures in three magazines published in the 1960s and 70s will be used to generate a discussion.
Seminars by: Andrea Branzi, Andrea Cortellessa, Hans Ulrich Obrist

Artissima is owned by Regione Piemonte, Provincia di Torino and Città di Torino, and managed by Fondazione Torino Musei with the support of Camera di commercio di Torino, Compagnia di San Paolo and Fondazione per l’Arte Moderna e Contemporanea CRT.
Main Partner: UniCredit
Partners: GREY GOOSE, illycaffè, Mattioli

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