World Art Day 2025

A Trieste Contemporanea libraryline seminar dedicated to the figure of Aby Warburg
curated by Giulia Zanon and Filippo Perfetti.

On 15 April, for the occasion of World Art Day 2025 promoted by UNESCO, libraryline, the cultural initiative of the Trieste Contemporanea Library launched in 2022, is pleased to invite the Trieste public to celebrate the great art and cultural historian Aby Warbug (1866-1929) and his work Bilderatlas Mnemosyne. The event will take place at 5.30 PM at Studio Tommaseo (via del Monte 2/1) with the collaboration of the Seminario Vescovile Library of Trieste and the Altriformati association of Venice.

Giulia Zanon and Filippo Perfetti will curate a seminar devoted to the contemporary success of this famous work, which was designed to trace the re-emergences of Antiquity in Western culture (and left unfinished at Warburg’s death in 1929). The materials of the German scholar, which were transferred to London in 1933 to save them from the Nazis, his method, which in fact founded iconology and anticipated studies focused on visual culture, and Warburg’s conviction that the memory of the past activates the present, remain today the driving forces behind London’s Warburg Institute (directed by Sir Ernst H. Gombrich from the 1950s-1970s). The institute is one of the world’s leading centers for the study of the movement and boundary-crossing of art and culture—spanning time, space, and disciplines—to inspire, inform, and connect.

The Atlantean form is, using the words of Georges Didi-Huberman, “the visual form of knowledge, a knowledgeable form of seeing”. It is an object of thought that combines, overlaps and implicates two paradigms: the aesthetic one, of the visual form, and the epistemic one, of knowledge. Since its rediscovery in the 1990’s, Aby Warburg’s Mnemosyne Atlas has become the emblem of an investigation of the world through images.  It is therefore not surprising that it is a constant reference, increasingly used (and abused) in the practice of contemporary artists.

Is the Mnemosyne Atlas really a useful tool for those who work with images today? This question is the basis of the seminar proposed by Trieste Contemporanea, which will put this work in relation to the field of contemporary art. Starting with the explanation of how it works and some principles that govern this “thinking machine”, Giulia Zanon and Fillippo Perfetti will investigate how Mnemosyne can be useful for an artist who does not seek in it only a formal mimesis. Through testimonies by artists from different backgrounds and different practices, there will be an attempt to restore the fruitful encounter between those who today engage with images – with the making of images – and the intellectual legacy of Warburg, in the Mnemosyne Atlas, who sought to make a unity of meaning of the image within a complex system that is rigorous and sensitive to every stimulus.

Giulia Zanon – She has her PhD from the Iuav University of Venice with a thesis on the history of Aby Warburg’s Mnemosyne Atlas. Her interests focus on the history of culture, the survival of antiquity in the Renaissance, and the relationship between image and word. She is a part of the Centro Studi ClassicA and the Mnemosyne Seminar, the international epicentre of Warburg studies. She is an editor of La Rivista di Engramma.

Filippo Perfetti – He is a PhD student at the University of Udine. His fields of study include theories of image and montage, particularly in experimental cinema. He is part of the Centro Studi ClassicA and the Mnemosyne Seminar. He is an editor of La Rivista di Engramma.

THE HAND, A TOOL FOR THOUGHT

The exhibition Kodikamo hrpa [The Heap, Encoded] which premiered at the gallery of the Institute of Contemporary Art in Zagreb, consists of 30 artworks in total. To view the entire collection, some kind of a QR code reader is needed – for example, your smartphone and an internet connection – which is also required for viewing the overall contents of this publication.

Twenty graphite drawings on paper await us at the gallery. All of them are black and white, and in uniform size of 51 × 51 cm. Already at first glance, we see that these are two groups of drawings, since they are evidently visually different.

The first group of drawings, a series of ten, represents the numbers from 1 to 9 and 0; the second group, which also consists of ten drawings, are hand-drawn QR codes. As for the third group of drawings, you do not initially know that it exists at all; they are not present in the gallery space, and they are not reproduced in these pages. You can access these drawings only by scanning the codes. They are practically non-existent as physical objects, unless we imagine the pixels as physical material of which they consist.

The almost primary artistic procedure with which the exhibits have been executed, the graphite drawing on paper, does not give away and is not immediately associated with an exhibition that includes digital technology and digital space, and even the dimension of time. Jandrić’s idea of the drawings’ transformation and their digitalisation arises from the collision between handicraft and incessant contemporary digitalisation of all contents, and places the drawings in them into a field of interactivity between the analogue, the audience and the digital, which is rarely inherent in them.

The first series of drawings features heaps of natural numbers and zeros, mathematically written as N0. The first drawing that represents zero and does not belong to natural numbers, the drawing of a black square, is an evenly graphited plane of 48 × 48 size, with an empty border that is 1.5 cm wide. The association with Malevich and Black Square is not accidental, but rather literal; it refers to the autoreferentiality of artistic processes and procedures, and serves as a kind of homage. This is simultaneously an instruction to the drawing’s observer – that this is not a world of actual objects, but rather quite the contrary, that this is a rejection – or already was, when viewed from our time – of the burden of the objective world, the liberation from it, and focusing on the essence of form. Even Malevich himself called his Black Square the zero point of painting; hence, Jandrić uses it analogously as the starting, zero point of this series of works.

Furthermore, the technique of graphite on paper and the very process of the elements’ repetitiveness are, naturally, associated with Knifer and his repetitiveness of the form of meander and the continuity of the process of change. Along the lines of Knifer, who materialises absurdity, Jandrić seeks the materialisation of the idea – albeit not only technically, but also conceptually.

The other nine drawings show heaps, whose abundance in the drawings respectively follows the sequence of natural numbers, and which are arranged in regular geometric squares multiplied by the logic of the mathematical square. Hence, one heap is placed into one square, two heaps into four, three into nine… All the way to nine heaps placed into eighty-one squares.

The heap is frequently featured in art; each carries its own unique meaning, but Jandrić does not rely on the concept or the morphology of heaps known to us from art history.

Out of those closest to us, we should note Kožarić’s Heap from 1976, exhibited at the Venice Biennale, which consisted of a heap of Kožarić’s older works and which addressed with its contents a completely different topic, problematics and concept, just like the other, entirely different heap of Kožarić’s, found in his work I’m Feeling Like the Belly of a Lion That Has Eaten Too Much from 1971. The arte-poverian heaps of Michelangelo Pistoletto from the early 1960s, the heaps of candy by Félix González-Torres, and the heap of sharpening shavings by Predrag Pavić all show that the morphology of the heap is not connected to the meaning it carries.

The QR codes are also a motif that, similarly, frequently appears in numerous artworks of entirely different meanings and nature, although most QR codes represented in art are nevertheless usable and lead an observer to a new content, which is also their function. Again, the QR code in Pistoletto leads to the content referring to the history of his work; in Takashi Murakami, it leads into the world of integration between art and consumerism; in the works by Xu Bing for the Metropolitan Museum, it leads to calligraphy.

But what exactly are these heaps of Jandrić’s? His professional biography states that he studied architecture, which he abandoned in favour of studying sculpture, never once having abandoned the basic principles of spatial thinking in his work. He is interested in numbers, drawing, geometry, space, volume, concept, analysis and context, virtually the basics of planning. When he introduced in his work the idea of the heap 30 years ago, this was actually the reflection of the attitude that a heap of any material is a potential sculpture and that a sculpture can be executed in any material and medium since, alongside its three-dimensionality, it also attains its volume with the accumulation of imagined content, and not merely by the materiality of form. To Jandrić, nearly everything is a heap, and every heap is a sculpture. Everything is a sculpture, Jandrić asserted in conversation during the preparations for his exhibition at the Institute of Contemporary Art. These drawings of heaps are also to be understood in this manner, as deconstructed sculptures broken down into sequences of two-dimensional drawings, planes.

The ideal form of a heap is the cone. It is symbolised by a triangle and a circle inscribed into a square, constituting a nearly Euclidian principle of the analysis of structure, space, and changes. A sculpture. Out of this heap, out of the circle and the triangle inscribed into the square, Jandrić made his recognisable sign, the icon of the heap or the avatar of the sculpture.

However, we nevertheless have before us two-dimensional planes of drawings, which do not even seek to form volume. They are executed so that the entire plane of the paper is covered in a thick layer of graphite – hence, it thematises the surface of the plane – while the drawing consists of caesurae in the black surface, white lines. As a drawing, we assume that which has not been touched by the author’s hand and is not covered in graphite, that which is not really a drawing per se, but is rather an untouched piece of paper; therefore, we can say that the drawing has been deconstructed into its own negative.

All drawings have been executed freehand; the thin lines, which were carefully left untouched in their white spaces, were carefully outlined; however, the author’s signature looms nevertheless. Jandrić did not aim at technical anonymity in execution, quite the contrary, he invokes the importance of handiwork, the meanings from the renowned 1934 book In Praise of Hands by Henri Focillon. In it, Focillon interprets the hand as the key factor of creative expression and shaping the world, for he sees the hand as a tool, as a basic means of shaping the material world, which thereby represents the extension to the artistic, creative thought and creative energy; the hand as the medium of the materialisation of the idea, in which the work of the hand and its result also represent a trace left by man in time. Simultaneously, Focillon does not see an artwork as a static object, but rather as a dynamic process that is changing, developing and adapting as a living organism. The life of forms.

Since appropriate paper is required for working with graphite in thick layers, Jandrić chose paper that is coarse, embossed, actually intended for watercolours, Canson Montval Torchon 270 g – which, however, holds best the layers of graphite that must fill out the surface to maximum density; this paper must remain steady in its surface tension so as to remain flat, without traces of treatment on the paper’s surface that would make it corrugated. The graphite itself comes from a 9B pencil and a 9B graphite stick, i.e., the softest possible version of graphite. The drawings which bring us the square pattern of QR codes had to be measured only for the necessary precision so that the code would be scanned correctly; however, save for the mark of measure, they were also drawn freehand. They were executed in a somewhat harder graphite. The marks themselves were drawn with an HB pencil, while the fields were filled out with 5B graphite. The little squares of the QR codes, more than 300 of them in each of the ten drawings, measure 1.9 cm, and had to be measured so that they are proportionate to the paper format. The latter was determined by factory settings; for, in production, there is no packaging in rolls, but rather in sheets with set dimensions, which the author can adapt to his needs only to a certain extent.

Each QR code corresponds to one of the drawings of heaps. The QR codes lead us from the analogue, hand-drawn drawing to the digital sphere, and bridge the way to the third, final series of drawings, the vectorial ones, which open up to us at the link to which the scanning of the QR code led us. The digital, vectorial drawings are identical with their raster and arrangement of lines and heaps to the black and white drawings of heaps; however, their dimensions depend on the device on which one views them, even though the proportions tell us that the digital version of the drawing is ideally equal to the hand-drawn one. The key visible difference is that the digital drawings have coloured, variegated grading backgrounds. Even though Jandrić did not require colour as a means of expression in his works, we concluded in conversation (1) that they may be associated with Rothko’s dynamic limned surfaces, but carry other, opposite, antisymbolic meanings. In the dematerialised digital form, the background contrasts the white lines; however, just like it does not carry a symbolic meaning, it also does not carry a mathematical one. It is a randomly selected, playful spectrum opposite to the original drawing.

The Croatian title of the exhibition Kodikamo hrpa evidently arises from the author’s licence to play with words, thereby adding to the works’ meanings. Kodikamo, this anomaly of the word kudikamo [much more/less], is acoustically associated with code/codes, which are an evident threshold between the analogue and the digital. However, kudikamo (2) is a word used with adjectives to boost their comparative form, e.g., much better or much more beautiful, meaning indeed, quite, certainly, substantially, far… better or more beautiful. Placed next to the noun hrpa [heap], it is also associated with spatial movement that leads the exhibition visitor everywhere, which is exactly what happens at the border between that which we view at the gallery while viewing the analogue, and entering the digital space in which we view a series of works that is not visible at all at the exhibition and in this publication.

The starting point of my work is my awareness of the fact that sculpture is everything, hence, the heap is everything, and therefore it is also possible that a heap, a noun, is also an adjective – again, naturally, with my wordplay and my authorial licence. (3)

In present-day trends in contemporary art, dominated by the direct and literal social activism – and Jandrić had once also presented a couple of works on this subject in his corpus, which also included the icons of heap – such series of works, based on handiwork, will seem anachronous at first glance to a frivolous observer, just like my attempt to technically describe the exhibition and the characteristics it consists of. My argument for this procedure is that the exhibition indeed contrasts the handiwork and the slow-paced, manual production procedure, while around 800 hours of work, not counting the breaks, was required for the execution of all 30 works.

This exhibition, however, proceeds from a different starting point since it is not activist by nature, but does offer with its dedication to the traditional and conventional medium of drawing a social commentary – albeit not resistance – in a discreet, personal and rational manner, which also carries in the sum of its characteristics a poetic play, speculation, suspicion, dilemma, but also a silent critique of contemporary times, while commenting on and adopting the latter’s settings.

This exhibition renders the basic art medium – the drawing – interactive and virtual by animating the audiences of all profiles and generations to use their devices in a manner in which many do not use them typically. Had you witnessed the weeks-long observing and explaining of the instructions for the exhibition’s use, you would have been surprised at the way in which respective demographic groups of audiences react differently from standard expectations and generally accepted prejudices.

This is the beauty of any exhibition, and also of this one – to put observers to the test they do not expect, to provoke thinking, to offer discomfort and comfort, to demand viewing, to demand interaction, to offer a space of the physical and the virtual, whether it be tangible or immaterial, or simply a space in which we live, and differentiates it from the one we think about.

And all of this through a simple encoded heap, but which originated during many months in contemplative work created by hand, the forgotten tool for thought.

Janka Vukmir
Translated by Mirta Jurilj

Notes:
1. Conversation between J. V. and Đ. J. during the preparations for the exhibition, 2 April 2024.
2. https://hjp.znanje.hr/
3. From the conversation between J. V. and Đ. J. during the preparations for the exhibition, 2 April 2024.

1964: excerpt of Ernesto Nathan Rogers’ editorial for “Casabella”, n. 294-295 (photograph Agnese Divo)

17.00 | Introduction (Giuliana Carbi Jesurun e Giulio Polita)
17.10 | Orietta Lanzarini (architectural historian), Marco Stefani (architect), Davide Sartori (art historian): The Role of Photography in Updating the Census of Architecture in Friuli Venezia Giulia from 1945 to the Present Day
17.40 | Manuel Orazi (Quodlibet Editions, Macerata): A Brief but True History of Italian Architectural Publishing, 1992–2024
18.00 | Luca Pitoni (Tomo Tomo, Milan): Anita Klinz, The First Italian Art Director
18.20 | Paolo Tassinari (Tassinari e Vetta, Trieste): Typographic Architecture
18.30 |  Luka Skansi (historian of architecture): Italy, Yugoslavia and the Heroic Architectural Publishing
18.50 | Claudia Biamonti (art historian) and Agnese Divo (photographer): Trieste. Notes for a Contemporary Atlas. Spaces and Architecture from the Post-War Period to the Year 2000
19.00 | Specificities of Architectural Photography. Examples in Friuli Venezia Giulia: Conversation with the Photographers Marco Covi, Stefano Graziani, Schirra/Giraldi, Led by Annalisa Polli (Visual Hub, Trieste)
19:40 | Analysis and Discussion

Trieste Contemporanea will host on Wednesday, February 26, 2025 at 6 pm the meeting Arithmias of Modernity. The Invention of the Desert and the Memories of Colonialism in FIAT 633NM by Eleonora Roaro. The artist will engage in a conversation with Andrea Mariani, Professor of Cinema, Photography, and Television at the University of Udine.

The in-depth exploration presented at Studio Tommaseo is part of the rich interdisciplinary program of screenings and conferences accompanying the eighth edition of the Mind the Gap project, launched by Altreforme in 2017 in collaboration with various cultural and institutional entities in the Friuli Venezia Giulia region. The 2025 theme, How Do You Construct Images of the Other?, raises questions about the ways we create images that overwrite desires, demands, cultures, and bodies. It expands on the artistic works’ suggestions by incorporating scientific, historical, philosophical, and sociological perspectives.

In the context of investigating Fascist colonialism in Africa in the late 1930s, particularly in the territories of Ethiopia and Eritrea, Eleonora Roaro and Andrea Mariani’s talk aims to deconstruct the myth of modernity starting from two emblematic and mutually antithetical elements: the desert environment, perceived as a territory yet to be colonized, and the means of transportation. In Andrea Mariani’s book “L’audacissimo viaggio: I media, il deserto e il cinema nella microstoria della spedizione Tripoli-Addis Ababa 1937” (2017), the automobile reveals its limitations in its attempt to control the territory: the efficiency promoted by the modernist myth of technology collapses in the face of failures and errors. In Eleonora Roaro’s audio-video installation “FIAT 633NM” (2021), on the other hand, the FIAT truck becomes a symbol of fascist rhetoric about infrastructure and the need to dominate time and the unknown. The desert landscape thus stands as a cultural invention, a space ideologically constructed to legitimize forms of abuse and domination.

The event is part of the public program of the exhibition How do you construct images of the other?, organized by Altreforme in collaboration with the Municipality of Udine and on view at Casa Cavazzini, Museum of Modern and Contemporary Art of Udine, until March 16, 2025.

The meeting is part of the public program of the exhibition Come costruisci le immagini dell’altro? (How do you construct images of the other?), produced by Altreforme in collaboration with the City of Udine and open at Casa Cavazzini, Museum of Modern and Contemporary Art in Udine until March 16, 2025.

Admission is free while places last.
See the schedule of events here: www.projectmindthegap.it/conferenze-e-laboratori/

Eleonora Roaro is a visual artist and researcher based in Milan. She studied Photography at IED Milan, Visual Arts and Curatorial Studies at NABA and Contemporary Art Practice at Plymouth University.Her works are often the result of research that digs deep into archival materials, highlighting, through the moving image, submerged stories and unusual details removed or distorted from collective and individual memories. Since 2011, his work has been exhibited in numerous museums and galleries, including La Triennale, Milan; Fabbrica del Vapore, Milan; Casa degli Artisti, Milan; Museo Diffuso, Turin; CAMERA, Turin; MACRO, Rome; CAMeC, La Spezia; E-Werk, Freiburg; Maison de la Culture, Clermont-Ferrand; La Friche, Marseille; and Istituto Italiano di Cultura, Madrid-Prague. In academia, he is also a lecturer at NABA and IED in Milan and has published articles in scientific journals such as L’avventura, Alphaville and LabCom.

Andrea Mariani is Associate Professor at the University of Udine (Italy), where he teaches Media Theory, Film Philology and Exhibition Design. He is currently Principal Investigator of the PRIN2022 project FilmBaseMatters: A Material Approach to the History of Small-Gauge Film in Italy and scientific contributor to the Amateur Movie Database (https://www.amateurcinema.org). He is also editor of the publishing series Plexus (Meltemi) and ExSeries (Mimesis/DSL Press+).

Mind The Gap is a project funded by the Autonomous Region of Friuli Venezia Giulia and the Municipality of Udine, with the support of Fondazione Friuli, Fondazione Pietro Pittini, Boato International, Legacoop Fvg. With the patronage and collaboration of the University of Udine, University Iuav Venice, Master Moving Images.  Supporting the project as operating partners: Agorè Associazione di Promozione Sociale (GO), Adriatico Book Club (VE), Associazione Etrarte (UD), Ater (UD), Centro Espressioni Cinematografiche (UD), Cinemazero (PN), Cooperativa Aracon (UD), Enfap FVG (GO) Fondo per l’Audiovisivo FVG (UD), Lago Film Fest (TV), Liceo Caterina Percoto (UD), Young for Fun (GO). www.projectmindthegap.it

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Trieste Contemporanea is pleased to invite you to the finissage of We are still dreaming on Friday, November 29, 2024, at 7:15 pm, at via del Monte 2/1, Trieste.

On the final day of Matteo Trevisan’s exhibition—a photographic reportage on the community of young people under 30 living in the Susa Valley—curated by Annalisa Polli, the book I Guardiani della montagna. We are still dreaming, published by Danilo Montanari Editore last October, will be presented.

The exhibition is made possible with the support of the Autonomous Region of Friuli Venezia Giulia, co-produced with Visual Hub, and in collaboration with Officine Fotografiche Roma.

#IOSONOFRIULIVENEZIAGIULIA

Alban Muja, three watercolours on paper from the series Above Everyone, 2022, cm 50×38 (courtesy Charim Galerie, Vienna)

Alban Muja: Fragments of Walls

What does it mean to live in spaces that are neither fully formed nor entirely erased—spaces where necessity writes its own rules, where history lingers as both weight and resource? Alban Muja’s works invite us into these spaces, where structures emerge as monuments to lives shaped by adversity, endurance, and the shadows of unresolved pasts.
Muja’s practice is driven by the evolving dynamics of social, political and economic transformations in his native Kosovo and the wider Balkans. Often engaging with architecture and public spaces, Muja examines how these reflect broader societal narratives, while at times linking them to his own lived experiences. Drawing from the processes that have shaped the region, Muja employs a range of mediums, including video, painting, drawing, and installation, to create works that explore the complexities of societal change. This exhibition brings together two projects by Muja—a two-channel video installation and a series of watercolors on paper. Set against the urban landscapes of Albania and Kosovo, these works reflect the lingering traces of socio-political upheavals that continue to shape everyday life.
In his video work Why Kamza (2021), Muja presents a visual essay that offers a temporal view of Kamza, a town on the outskirts of Albania’s capital, Tirana. Filmed from a moving car, the footage alternates between sunset and sunrise views, capturing rows of retail outlets and roadside developments on both sides of the street. With its seemingly endless panorama of furniture shops, the resulting imagery creates a haunting, ghostly tableau, simultaneously modern and desolate. At first glance, the shops seem benign, yet their sheer number hint at something amiss. The excess of identical or nearly identical businesses raises questions—are these spaces mere facades, or do they reveal something about the hidden economies and structures that pulse beneath the surface? Though local details hint at geographic specificity, the repetitiveness and ubiquity of the scenes obscure easy recognition, creating a broader commentary on the fluidity of urban spaces shaped by economic necessity, and post-socialist transitions.
The watercolor series in Above Everyone (2022/2023) depicts buildings in Kosovo layered with rooftop extensions added atop existing structures, reflecting the necessity-driven adaptations of residents. Often created without permits and in violation of housing codes, in a post-war context, they reflect both resourcefulness and the challenges of navigating resources and institutional constraints. Muja’s watercolors capture this tension with subtlety, neither overtly interrogating systemic flaws nor romanticizing these acts of DYI improvisations. Instead, they offer a nuanced exploration of how individuals reclaim agency in reshaping their environments, even when doing so challenges norms. By highlighting the interplay between rebuilding and regulation, individuality and collective order, the works provide a layered perspective on a society in self-realization and transformation.
In Fragments of Walls, Muja explores the subtle traces of the past that continue to manifest in the material realities of the present. His works invite us to look beyond the visible—to consider how structures, both physical and symbolic, can reflect more than just the practicalities of construction; they suggest histories imbued with an unrelenting search for stability. Prompting us to think not only about the places we live in, but also about the very forces that shape those places—memory, narrative, power structures—ultimately posing a larger question: How do these tensions between past and present shape not just a place but an identity, both personal and collective, that emerge within it?

Jehona Morina

Boko Nestor, “Le Manteau / Der Mantel / The Cloak”,  Benin 2018 (courtesy Elisabeth Masé)

The project “Le Manteau / Der Mantel / The Cloak” was initiated by Swiss artist and writer Elisabeth Masé in 2017: People of different cultures and religions gather around a table to embroider a cloak made of heavy red linen. Their subject is the idea of protection. By creating texts and ornaments of their own design, it is the participants who define what protection means to them. In 2018, the collaboration on the project by musicians and the Tchekpo Dance Company led to the production of a dance theatre show that debuted in Ouidah, Benin, West Africa and was then staged in Europe and the United States. Now the show comes to Trieste: Tchekpo Dance Company & Elisabeth Masé present “A Cloak for Trieste” on November 18 at the Sala Assicurazioni Generali of the Politeama Rossetti theatre, together with dancers Ange Kodro Aoussou-Dettmann, Florent Nikiema, Tobias Weikamp and the ArteffettoDanza students of Trieste.

Trieste Contemporanea hosts a meeting on Saturday 16 November at 7:00 pm to present the dance performance, in which the cloak is the protagonist as if it were a “Great Mother,” and to delve into the project and the artistic research that originated this theatre piece. Together with the artist Elisabeth Masé – who the Trieste public knows for the exhibition “Amerika. Give Me a Reason to Love You” she presented at the Studio Tommaseo in 2017 –, the choreographer Tchekpo Dan Agbetou and the dancers will discuss how this type of collective project forges social bonds through individual life stories and how it points to “protection” as the foundation of our social relationships. In the meeting some video documentary passages by Elisabeth Masé and Zoe Jungbluth on project’s phases of development will also be screened.

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In the year of the 300th anniversary of Immanuel Kant’s Birth libraryline-triestecontemporanea pays a tribute to the great German philosopher with a conversation by Umberto Curi, Marcello Barison and Marco Pacini discussing the topic “Kant to the Test of Contemporary Technoscience”.

Programme:
Venice, Monday, 4 November 2024

Part One
IUAV-Ca’ Tron
(Santa Croce 1957, Venice)
17:30
Luca Massimo Barbero – Le fotografie alla Fondazione Cini.
Giovanni Bianchi – From LOndon to VEnice, with LOVE, Patrick Procktor e Gabriella Cardazzo.
Carlo Montanaro – Le altre immagini.
18:15
A series of brief speeches by:
Jane Chisholm
Luigino Rossi
Ian McKeever
Ania Jagiełło
Lech Stangret
Andrzej Wełmiński
Helmutas Šabasevičius
Leon Tarasewicz
Milada Ślizińska
Mario Sillani Djerrahian
Samir Mehanović
Janka Vukmir
Giuliana Carbi Jesurun

Part Two
Casa del Cinema–Videoteca Pasinetti
(Palazzo Mocenigo, Santa Croce 1990, Venice)
19:30
Screening of the film:
Art and Space: Portrait of an Art Journey by Gabriella Cardazzo and Duncan Ward, United Kingdom, 1997, 38’51’’ (in collaboration with Casa del Cinema–Videoteca Pasinetti of the City of Venice and courtesy of Egidio Marzona)

Part One will be broadcast via live streaming (enter the YouTube video player at the top of this page).
Read here more about Gabriella Cardazzo.

Introducing Remarks about ArtSpace Association by Gabriella Cardazzo

Thursday 24 October
Parole Funambole (words on a tightrope): conversation on the work of Miela Reina

a still from György Kepes – Interthinking Art + Science by Márton Orosz, 2023, courtesy of the director

On the occasion of the 20th edition of AMACI, Trieste Contemporanea presents the documentary György Kepes – Interthinking Art + Science, directed by Márton Orosz, at a screening from 6 pm.

#GiornataDelContemporaneo #GDC2024

Thursday, 3 October 2024 , 6 pm
a conversation by Pier Aldo Rovatti
(introduction by Alessandro Di Grazia)

Young European Artist Trieste Contemporanea Award (YEATCA)

deadline
30 November 2023
11:59 pm (Italian time)

The call is open to young artists under the age of 30 (born after 30 November 1993) and born in one of the following countries: Albania, Austria, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Germany, Hungary, Italy, Kosovo, Latvia, Lithuania, Moldova, Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia, Slovenia and Ukraine.

The 2023 YEATCA call will expire on 30 November 2023
There is no fee for participation and applications must be submitted online.
The winner will be asked to plan a 2024 solo exhibition at Studio Tommaseo in Trieste.
Exhibition production budget includes the publication of an exhibition catalogue edited by an art curator. YEATCA 2023 artists’ travel and accommodation expenses for attending Trieste exhibition installation and opening will also be paid by the organization.

SEE PREVIOUS EDITIONS

SEE THE RESULT

Trieste Contemporanea celebrated Leonor Fini’s birthday on 30 August , 2024 with a Secret Party for Leonor Fini. Now follows an appointment for children to learn about the surrealist artist: Readings for Little Lolò. The volunteers of Nati per Leggere are inviting all families with children from 4 years of age to take part into a special event, which will take place on Sunday 22 September, from 10.30 am to 12 noon, at via del Monte, 2/1.
During the event, participants will take a journey through a twentieth-century Trieste, and will imagine to read today’s stories to a little girl from the past, the young Lolò. The inspiration for the readings will be Corrado Premuda‘s book Un pittore di nome Leonor. Da Trieste a Parigi  (2015, Editoriale Scienza), which explores the wild youth of Leonor Fini.

Activity:  After the readings, children will take part in a theme-based creative workshop with the writer Costanza Grassi.

Participation is free, but reservation is required.
Reservation: Send a message (preferably via WhatsApp) to 3493256747, including the child’s name and age, as well as the name of the accompanying parent or other adult.

An image of the first screening of the documentary film Leonor Fini Mais où est Leonor? at Studio Tommaseo, 2009 (courtesy Trieste Contemporanea and Videoest)

libraryline–brainwork
film screening The Curator’s Room. Igor Zabel: How to Make Art Visible?
conversation by Urška Jurman, Program Director of the Zabel Association
at 6 pm

On 19 September at 18.00 at Studio Tommaseo in Trieste, screening of the documentary The Curator’s Room. Igor Zabel: How to Make Art Visible? . Directed by the award-winning Slovenian director Damjan Kozole, and produced by Vertigo Institute in Ljubljana, the documentary examines the great transformations of time and the role of the curator in the global art context and, through interviews and testimonies of important protagonists of the art world, such as Zdenka Badovinac, Francesco Bonami and Viktor Misiano, it explores the main exhibition projects curated by Igor Zabel and his role in Slovenian art history from the late 1980s to the early 2000s.

The film screening is offered by Trieste Contemporanea as part of the libraryline-brainwork programme carried out by the Library of the Trieste committee. These are in-depth meetings with contemporary art curators, artists and representatives of important European cultural institutions or projects who talk about their ‘work in progress’ or those of the organisation to which they belong. Thanks to the participation of director Urška Jurman, the evening is dedicated to presenting the activities of Igor Zabel Association for Culture and Theory in Ljubljana, founded in 2008 by Zabel family and ERSTE Foundation. This private Slovenian institution stands out for its commitment to promoting visual art and culture in Central, Eastern and South-Eastern Europe through studies dedicated to Igor Zabel, residencies and fellowships for art curators and artists. The association is also responsible for awarding the prestigious Igor Zabel Award for Culture and Theory, which honours outstanding protagonists whose work supports, develops or investigates the visual art and culture of this region of Europe.
This Trieste event is made possible thanks to the cooperation of Igor Zabel Association for Culture and Theory and Vertigo film production company from Ljubljana. The working language (including film subtitles) is English.

Igor Zabel (ph. Borut Krajnc) and Igor Zabel’s office, 1997, photo by Lado Mlekuž, Moderna galerija, Ljubljana. Courtesy Igor Zabel Association for Culture and Theory

Igor Zabel (1958–2005) was during his entire life actively involved in many fields of theory and culture – as an art historian, modern and contemporary art curator, writer, literary and art critic, columnist and essayist, translator, and mentor for new generations of curators and critics of contemporary art. In his theoretical and curatorial work, he advocated an in-depth consideration of the political and social subcurrents that can contribute to a better understanding of art and, at the same time, insisted on the ability of art to tease apart the very substrata that so importantly determine it.

Urška Jurman is an art historian and a sociologist of culture. She is active as a curator, editor, writer, and producer in the filed of contemporary art.
Since 2013, she has been the programme director of the Igor Zabel Association for Culture and Theory in Ljubljana.

Damjan Kozole is a Slovenian director who directed, among others, Spare Parts (2003), nominated for the Golden Bear at the 53rd Berlin International Film Festival and ranked among the ten most important films of New Europe by ‘Sight & Sound’ in 2008, Slovenian Girl premiered in 2009 at the Toronto IFF and distributed worldwide, and Nightlife (2016), winner of the Best Director award at the 51st Karlovy Vary IFF. In 2012 he received the Lifetime Achievement Award at the MedFilm Festival in Rome. He is a frequent author of documentaries dealing with visual arts, such as Ulay’s journal from November to November, a feature-length documentary about the artist Ulay (2012), or Two or Three Things I know About Her about the artist Zora Stančič (2010).

Film details
The Curator’s Room
Igor Zabel: How to Make Art Visible?
Slovenia, 2018, colour/black-white, 64 minutes

Director: Damjan Kozole
Scriptwriter: Urška Jurman
Photography: Matjaž Mrak
Editor: Jurij Moškon
Sound: Julij Zornik
Music: Laibach (Von Sonnen Untergang)
Producer: Danijel Hočevar
Production and distribution: Vertigo
Co-production: RTV Slovenia, Igor Zabel Association for Culture and Theory
Supported by: Slovenian Film Centre

Trieste Contemporanea is pleased to present in Gorizia,
with the co-organisation of the Municipality of Gorizia,
Seats of Understanding, 15th Trieste Contemporanea International Design Competition related to the themes of GO! 2025

Saturday 31 August 2024

18.00
Sala Bianca – Palazzo Attems Santa Croce (Piazza del Municipio 1)
conversation to present the competition and the catalogue of selected projects

speakers: Councillor Sarah Filisetti, Municipality of Gorizia; Nicla Indrigo, ADI – Association for Industrial Design; Barbara Fabro, Central European Initiative; Drini Berati, winner of the CEI Award; Giuliana Carbi Jesurun and Alice Debianchi, Trieste Contemporanea

19:00
Showcases of the Municipal Office of via Garibaldi 7
opening of the exhibition of the competition-winning projects

the exhibition will be open until 12 September 2024

read the catalogue: https://www.triestecontemporanea.it/publication/seats-of-understanding/

The results of Seats of Understanding, the 15th Trieste Contemporanea International Design Competition at the Sala Bianca of Palazzo Attems Santa Croce in Gorizia. Photograph by Agnese Divo (courtesy Trieste Contemporanea)

The results of Seats of Understanding, the 15th Trieste Contemporanea International Design Competition at the Sala Bianca of Palazzo Attems Santa Croce in Gorizia. Photograph by Agnese Divo (courtesy Trieste Contemporanea)

From left: winner of the InCE 2024 Award Drini Berati, Senior Executive Officer of the Central European Initiative (InCE) Barbara Fabro, President of Trieste Contemporanea Giuliana Carbi Jesurun, photograph by Agnese Divo (courtesy Trieste Contemporanea)

The results of Seats of Understanding, 15th International Design Competition Trieste Contemporanea in the windows of the Municipal Headquarters in via Garibaldi Gorizia. Photograph by Agnese Divo (courtesy Trieste Contemporanea)

The results of Seats of Understanding, 15th International Design Competition Trieste Contemporanea in the windows of the Municipal Headquarters in via Garibaldi Gorizia. Photograph by Agnese Divo (courtesy Trieste Contemporanea)

Friday 30 August 2024, 18.30

introduction by Elettra Maria Spolverini
conversation with Alessandro Marinuzzi and Massimo Premuda

Still from the documentary film on Leonor Fini Mais où est Leonor?, 2009, (courtesy Videoest)

Friday 30 August at 18.30 at Studio Tommaseo in via del Monte 2/1, on the anniversary of Leonor Fini‘s birthday (Buenos Aires, 30 August 1907 – Paris, 18 January 1996), Trieste Contemporanea will dedicate to the artist the seventh edition of the Secret Party for Leonor Fini.

The year 2024 with Leonor Fini is marked by the 100th anniversary of André Breton‘s Manifesto of Surrealism (the first Italian edition was published in 1945 in Venice by Edizioni del Cavallino): the very particular surrealism of Leonor, who did not like to be associated with this artistic movement and who felt, rather, closer to Magical Realism, was defined by the brilliant and unpredictable Jean Cocteau ‘unreal realism’, specifying that “everything supernatural is natural for her”.

2024 focus of this Trieste event for Leonor Fini, conceived in 2009 at Trieste Contemporanea and then organised over the years also at Stazione Rogers by the writer and journalist Corrado Premuda – who had very effectively defined Leonor Fini “a character whose life is identified with art, to the point of making her the muse and first spectator of herself” – will be the diverse and multiple expressions of the theatricality of the surrealist painter who grew up and trained in Trieste. Alessandro Marinuzzi, speaking at the Secret Party, will investigate theatre and theatricality, as well as her disguises and experiences as a set designer, costume designer and ballet librettist, which were essential elements of Fini’s entire creative journey. The director from Trieste will intertwine, almost in a ‘testimony behind-the-scenes’, these interests of Fini with the biographical research carried out by Premuda and the narrative and theatrical texts written by him on the character Leonor Fini. This attempt to reconstruct the genesis of the special research, study and collection devoted by Premuda to the artist will start from books and documents on Leonor Fini’s life, artistic works and literary and theatrical ‘variations’ preserved in the Premuda Fund, donated last summer to Trieste Contemporanea Library. The event on 30 August will be opened by the director of Trieste Contempornea Library Elettra Maria Spolverini who will converse with the curator from Trieste, Massimo Premuda, on the updates and numbers of this precious book and documentary fund, which has been enriched during the year with acquisitions and donations of texts and documents: the Party will therefore be an opportunity to view the new additions – of particular interest the new contributions from the Roman archive of Giovanna Stuparich Criscione – and to thank the numerous contributors.

(1940 – 2024)

Gabriella Cardazzo and Leon Tarasewicz, 2009 (courtesy Grzegorz Dąbrowski)

The contemporary art world in Europe is currently in deep mourning, having lost one of its noble figures. Gabriella Cardazzo passed away in Trentino on the 4th of August, 2024, at the age of 85.
A Venetian gallery owner, contemporary art curator, photographer, filmmaker, and videographer, Gabriella took on the role of director of the Galleria del Cavallino in Venice at a very young age, alongside her brother Paolo, following the death of their father in 1963. (Editor’s note: The Venetian gallery became part of Italian contemporary art history thanks to their father, Carlo Cardazzo, who opened it in 1942, after establishing the Edizioni del Cavallino in 1935. In 1946, Cardazzo also opened the Galleria del Naviglio in Milan).
The siblings divided their responsibilities, working with emerging artists and forming enduring friendships. Paolo became a pioneer of video art in Italy, promoting, with his sister’s assistance, the first Italian videomakers and facilitating their interactions with international counterparts. Notably, the video art meetings organised in the mid-1970s in the Istrian town of Motovun have become significant milestones in the history of international video art. Gabriella, from the outset, was keen to exhibit British and American artists in Venice. She spent significant time in these countries, scouting talent and promoting exhibitions abroad for Italian artists. Her long-standing collaboration with the Richard Demarco Gallery in Edinburgh was particularly notable. The story of both siblings is one of virtuous friendships that lasted over time, marked by a natural generosity in the idealistic, collaborative atmosphere typical of the alternative cultural scenes of the 1970s. Gabriella documented these times as a photographer: her splendid 2020 book “Il tempo del cavallino” offers breathtakingly intimate portraits of great artists such as Joseph Beuys, Brian Eno, Dan Graham, Tadeusz Kantor, Les Levine, Patrick Procktor, and Joe Tilson. The book began as a collection of notes on photographs that had been digitised, intended to be added to the documents of the Fondo Cardazzo–Archivio del Cavallino, housed at the Fondazione Cini in Venice (which includes the archives of her father and brother, and hopefully, will soon include Gabriella’s personal archive, donated by the family).
Among all her connections, Tadeusz Kantor held a special place for Gabriella Cardazzo. They met in Scotland in the mid-1970s, introduced through their mutual friend Richard Demarco. (Editor’s note: In 1976, the Polish director’s production “The Dead Class” won first prize at the Edinburgh Festival), In 1985, Gabriella, who had been producing a series of videos about contemporary artists, travelled to Kraków, where Kantor allowed her to film a documentary about him. Over the next two years, she, along with Duncan Ward, followed Kantor’s international tours as if she were part of his theatre company. She eventually presented him with the edited film, which he greatly appreciated. The resulting documentary, “Kantor,” directed by Gabriella Cardazzo and Duncan Ward (London, 1987, 40 minutes), became one of the most profound and immersive explorations of Kantor’s complex theatrical world.
In the 1990s, Gabriella founded the cultural association ArtSpace, which operated for many years in Friuli. In 2011, it became an associate partner of the Trieste Contemporanea Committee. Gabriella’s fascination with 20th-century Polish art led to significant initiatives at Trieste Contemporanea, including in-depth studies on Tadeusz Kantor (from 2010 to 2020) and introducing Italian audiences to the work of Stanisław Ignacy Witkiewicz (2013). In 2021, she established the Paolo Cardazzo Award, an award for mid-career artists to produce a new project – still a rare type of prize in the Italian visual arts scene.
In recent years, Gabriella created and produced international projects that brought together artists’ reflections and emotions on socially relevant themes. For example, her research projects “À la frontière…! Old and New Borders in Europe” (2016) and “The Search for Identity in the Time of the Selfie” (2019), were first presented in individual sessions at Trieste Contemporanea before being exhibited in full at various public venues across Europe.
Gabriella Cardazzo, who chose to remain distant from the clamour of the art world, was always a contagious and attentive observer of contemporary developments and an extraordinary guide in recognising the spiritual dimension of art. Her friends and colleagues express their deep gratitude for her generous teachings, as well as their admiration and respect for the unique charm she brought to her work.

From left: President of Trieste Contemporanea Giuliana Carbi Jesurun and the winners of the Gillo Dorfles Award 2024 Slavko Petek and Dora Mihinjač, photograph by Agnese Divo (Courtesy of Trieste Contemporanea)

Until 31st July 2024, the Studio Tommaseo in Trieste (via del Monte 2/1) is hosting the exhibition of the finalists of the 15th edition of the International Design Contest Trieste Contemporanea, founded in 1999 by the Italian scholar of aesthetics and design Gillo Dorfles with the aim of showcasing the most original contemporary design offerings from the countries of Central and Eastern Europe.

The catalogue of the works of the finalists and the winning projects will soon be presented in Gorizia, where the exhibition will be held at the Sala Dora Bassi in Via Garibaldi 7 from 31 August to 12 September 2024.

The Seats of Understanding ideas contest is an initiative in line with the GO! 2025 – Nova Gorica and Gorizia European Capital of Culture 2025 project, in which the organising bodies of the two cities declared that they “share the same commitment: being the European Capital of Borderless Culture”. Participants were asked to design an urban furniture and potentially iconic object: a seating installation, such as a functional bench, to be placed in both Nova Gorica and Gorizia, representing symbolic meanings related to the historical location of both cities.
The four awards of 2024 edition – for a total of € 10,000 – have been selected by the international jury of Trieste Contemporanea as the best proposals submitted on the theme of Seats of Understanding for their respective award area.

Linda Baissero (Croatia) wins the BEBA Award  for the youngest participant selected. Her “Flumen” bench is inspired by the two railway bridges in Nova Gorica and Gorizia, Solkanski Most and Ponte Ferroviario, which cross the Soča/Isonzo river. The design represents the union of the two bridges into one, evoking the union of the two cities into a Capital of Culture without borders.

The new KATHLEEN FOREMAN CASALI FOUNDATION Award, for the best project by designers born in Trieste, was awarded to Paola Pisani (Italy), who presented her bench “Seidenstrasse” inspired by gelsibachiculture, a traditional activity in Nova Gorica and Gorizia that has historically made the two cities a point of reference for silk production and processing. “Seidenstrasse” – or Silk Road – evokes the shape of a cocoon, a place par excellence of metamorphosis, transformed into a community space.

The CEI Award, for the best project from a country participating in the Central European Initiative that is not a member of the European Community, was awarded to Drini Berati (Albania) for his bench “The Weaver’s Seat”. The curved shape of the bench mirrors the flow of the Soča River, symbolising the intertwined destinies of the two cities. At dusk, the bench undergoes a metamorphosis, lighting up with a warm glow, inviting moments of quiet contemplation.

The Croatian group composed of Slavko Petek and Dora Mihinjač wins the GILLO DORFLES Award for the best design in the 15th edition of the contest. Their “Go sit” proposal consists of a series of seamless metal tubes. The backrest symbolically represents both the border that divides the two cities and the deep cultural connection between them. The bench is designed to be used from either side, emphasising the symbiotic relationship between the two cities.

The projects of 11 finalists selected by the jury will also be on show: the group Cristiano Antonutti and Matteo Mizzaro (Italy), Davide Benvenuti (Italy), Azzurra Brugiotti (Italy), Denny Candotto (Italy), Cristian De Marchi (Italy), Doris Forsthuber-Miedaner (Austria), the group Mateusz Góra and Agata Gryszkiewicz (Poland), the group Jurij Ličen (Slovenia) and Taole Chen (Austria), Karol Murlak (Poland), the group Federico Morescalchi and Leonardo Pilati (Italy), and Paul Rajakovics (Austria).
The curators of the final exhibition are the members of the international jury panel of the contest composed by Giuliana Carbi Jesurun (Trieste Contemporanea), Barbara Fabro (Central European Initiative), Nicla Indrigo (ADI – Association for Industrial Design), Giulio Polita (architect and architectural historian) and Maja Vardjan (MAO – Museum of Architecture and Design, Ljubljana).
The fifteenth edition of the prestigious contest has been organised by the Trieste Contemporanea Committee under the umbrella of GO!2025 Nova Gorica – Gorizia, with the support of the Regione Autonoma Friuli Venezia Giulia, with the patronage of the Central European Initiative, the ADI – Association for Industrial Design, the City Hall of Gorizia, and the City Hall of Nova Gorizia, with the support of the Kathleen Foreman Casali Foundation of Trieste and the BEBA Foundation of Venice, and with the collaboration of the MAO – Museum of Architecture and Design in Ljubljana, the KCB – Cultural Centre of Belgrade and the Studio Tommaseo of Trieste.

Linda Baissero, "Flumen". Winner of the BEBA Award, 2024

Paola Pisani, "Seidenstrasse", Winner of the Kathleen Foreman Casali Foundation Award, 2024

Drini Berati, "The Weaver's Seat", Winner of the CEI Award, 2024

Slavko Petek e Dora Mihinjač, "Go sit". Winners of the Gillo Dorfles Award, 2024

Presentation of the year-long research curatorial project by Michela Lupieri, which received the support from the Italian Council programme (2023) and has been developed with the collaboration of the following cultural partners: Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin; Akademie der bildenden Künste, Wien; AdA Archiv der Avantgarden – Egidio Marzona SKD, Dresden; Libreria Martincigh, Udine; Trieste Contemporanea, Trieste.

The jury of the 15th International Design Contest Trieste Contemporanea Seats of Understanding composed of Ms Giuliana Carbi Jesurun (Trieste Contemporanea), Ms Barbara Fabro (Central European Initiative), Ms Nicla Indrigo (ADI – Associazione per il Disegno Industriale), Mr Giulio Polita (architect and architectural historian) and the jury president Ms Maja Vardjan (MAO – The Architectural Museum Ljubljana) has been able to convene today, the 17th of June 2024, and decided as follows:

SELECTED PROJECTS
(which will then be published in the online catalogue of the competition, together with the awarded projects, and exhibited at the final contest show)

project “Ongo!ng” – group Cristiano Antonutti and Matteo Mizzaro (Italy)
projet “Idem” – Davide Benvenuti (Italy)
untitled project – Azzurra Brugiotti (Italy)
project “Stela” – Denny Candotto (Italy)
project “Dialogue” – Cristian De Marchi (Italy)
project “The traveller’s stone” – Doris Forsthuber-Miedaner (Austria)
project “Better together” – group Mateusz Góra and Agata Gryszkiewicz (Poland)
project “Concrete Connection” – group Jurij Ličen and Taole Chen (Slovenia/Austria)
project “Beyond the Ghost Wall” – group Federico Morescalchi and Leonardo Pilati (Italy)
project “Balance-Boards” – Karol Murlak (Poland)
project “Rolling seats for understanding” – Paul Rajakovics (Austria)

AWARDS
BEBA AWARD (€ 1.000) for the youngest selected participant to Linda Baissero (Croatia) – project “Flumen”
KATHLEEN FOREMAN CASALI FOUNDATION AWARD (€ 2.000) for the best project by a Trieste-born designer to Paola Pisani (Italy) – project “Seidenstrasse”
CEI AWARD (€ 3.000) for the best design from one of the non-EU CEI countries to Drini Berati (Albania) – project “The Weaver’s Seat”
GILLO DORFLES AWARD, for the best project (€ 4.000) to the group Slavko Petek and Dora Mihinjač (Croatia) – project “Go sit”

go to the 15th International Design Contest Trieste Contemporanea main page.

in the image details of some designs from latest editions: F. Gigone – A. Gigliotti (2012); D. Ljubić – K. Čendak (2014); D. Uhlíř (2016); J. Landsiedl (2018); O. Vereshchagin (2021)

Young European Artist Trieste Contemporanea Award 2023
Mark Chehodaiev
Welcome to Khandwala
curated by Alice Debianchi

finissage Saturday 8 June 2024 at 5 pm
Studio Tommaseo, via del Monte 2/1, Trieste

5 pm presentation of the exhibition catalogue with the curator Alice Debianchi and the artist Mark Chehodaiev
From 5.30 pm to 8 pm collection of food, medicines, and clothes with the Comunità di Sant’Egidio FVG, the association Linea d’Ombra and the organization No Name Kitchen Trieste

Exhibition view, Welcome to Khandwala, 2024, photograph by Agnese Divo (courtesy Trieste Contemporanea)

Studio Tommaseo is pleased to announce that on Saturday 8 June 2024 it will host the finissage of the solo exhibition of Mark Chehodaiev, winner of the Young European Artist Trieste Contemporanea Award 2023, awarded every two years since 1999 to artists under thirty from Central Eastern Europe.
The exhibition, curated by Alice Debianchi, presents an unedited project that reflects the current situation of the Silos in Trieste. The artworks are the result of a trip that the young Ukrainian artist made to Khandwala – Silos emblem – a parallel city located near the Porto Vecchio of Trieste and populated by over two hundred people. In Pashto – an Iranian language spoken in Afghanistan and Pakistan – “khandwala” means “broken house” or “house in ruins”, but in Trieste it is the arrival point for migrants travelling along the Balkan route: starting from Asia and travelling overland along a long and hostile route between Greece, Albania, Croatia and Slovenia, they arrive in Trieste, a crossroads and point of departure for other European countries.
In the exhibition space of Studio Tommaseo displays a series of souvenirs made by Chehodaiev after entering the Silos in Trieste – a huge ruined building without electricity or running water – will be on display: “good memory” plates to preserve the memory of the site and tell the story of its transformation into a shelter.

At 5 pm the curator Alice Debianchi, together with the artist Mark Chehodaiev, will present the catalogue of the exhibition Welcome to Khandwala. Then, from 5.30 pm to 8 pm, Trieste Contemporanea, in collaboration with the Comunità di Sant’Egidio FVG, the association Linea d’Ombra and the organization No Name Kitchen Trieste, will organize a collection of food, medicines and clothes. The goods collected will be donated and distributed to migrants who arrive in the city of Trieste after travelling the Balkan route and find shelter in the Silos.
Donors will receive as gifts (subject to availability) the souvenirs by Mark Chehodaiev exhibited at Studio Tommaseo.

Donated items:
Canned pulses (chickpeas, beans, lentils);
Shelf-stable milk;
Seed oil;
Tomato puree;
Basmati Rice;
Black tea and spices (Biryani Masala, Cinnamon, Cardamom, Cloves, Coriander, Cumin, Turmeric, Garam Masala, Paprika, Black Pepper, Chilli, Ginger): they are easy to buy at the Asian Mini Market Ciao Azmat in via Udine, 19/B, 34132 Trieste (TS);
White sugar;
Underwear (summer socks size 41 to 44, men’s underwear size S or M);
Trainers (sizes 41 to 44);
Over-the-counter medicines (ibuprofen, paracetamol).

If you would like to donate money, you can contact directly the three organizations that actively support migrants in Trieste.
Comunità di Sant’Egidio FVG trieste@santegidiofvg.org
Linea d’Ombra lineadombra.odv@gmail.com
No Name Kitchen Trieste nnktrieste@gmail.com

presentation of the book storia dell’arte in europa by decio gioseffi in lucca

Go to the website of the Istituto Italiano per gli Studi Filosofici

LIBRARYLINE TRIESTE CONTEMPORANEA
COMMEMORATING THE TRICENTENNIAL OF IMMANUEL KANT’S BIRTH
DISCOURSE INITIATION
FEATURING BEATRICE BONATO, ALESSANDRO DI GRAZIA, MARCO PACINI
THE RIGHT TO LIE
DATE: TUESDAY, MAY 21, 2024 | TIME: 6:00 PM
VENUE: STUDIO TOMMASEO, VIA DEL MONTE 2/1

Carle Vernet, Portrait of Immanuel Kant, circa 1792, watercolor on paper, oval 10.6 x 8.2 cm. (credit: Staatliche Museen zu Berlin, Gemäldegalerie / Christoph Schmidt / CC BY-SA 4.0)

 

Three centuries since the birth of Immanuel Kant, does his philosophical legacy still resonate in our contemporary world? This is the central inquiry driving the upcoming series of LIBRARYLINE events proposed by the Trieste Contemporanea Library (and typical for their in-depth exploration alongside visual art). Amidst the ever-evolving landscape of thought and technology, these gatherings will delve into Kantian philosophy, particularly in addressing the nuances of truth, falsehood, and the complexities of ethical decision-making in our digital age.

The inaugural conversation, Tuesday, May 21st, at 6:00 PM, will be held at Studio Tommaseo in Trieste, located at via del Monte 2/1. Drawing inspiration from the text “The Right to Lie”, which collects the long-distance dialogue that took place between Benjamin Constant and Immanuel Kant, this conversation will explore the intersections of morality, truth, and contemporary ethical dilemmas. Facilitated by philosopher Alessandro Di Grazia, the panel will feature esteemed guests including Beatrice Bonato from the Italian Philosophical Society – FVG Section, APS, and Marco Pacini, journalist and curator of the festival Vicino/lontano.

Reflecting on Kant’s strict moral framework and Constant’s pragmatic approach amidst the backdrop of the French Revolution, the conversation will navigate the complexities of foundational values in today’s society. In an era dominated by technological advancements and the proliferation of information, the quest for truth contends with utilitarian imperatives, challenging traditional notions of justice and ethical conduct. As technological capitalism and digital platforms reshape our socio-political landscape, questions surrounding sovereignty and morality emerge as vital points of inquiry, underscoring the urgency of philosophical discourse in navigating our rapidly evolving world.

Join us for an enlightening exploration of Kantian morality and its implications for contemporary society, as we embark on a journey of intellectual discovery and ethical reflection.

Carle Vernet, portrait of Immanuel Kant, ca. 1792, watercolour on paper, oval 10.6 x 8.2 cm. (credit: Staatliche Museen zu Berlin, Gemäldegalerie / Christoph Schmidt / CC BY-SA 4.0 )

 

The cycle of contributions opens on Tuesday 21 May at 6 p.m. at the Studio Tommaseo in Trieste, via del Monte 2/1.

SEATS
OF
UNDERSTANDING
15th
international
design
contest
trieste contemporanea

Below are the most frequently asked questions by candidates.
We urge candidates to carefully read the Rules on the Trieste Contemporanea website, where they will find all the information they need to take part in the competition.

1. Are structures with semi-removable or electrical parts accepted?
There are no limits. Candidates are free to choose how to carry out the project but should justify their choice in the rational text of the application form. All the information can be found in article 4 of the Rules.

2. Should the design object be transportable, adaptable, and universal, or permanent, static, and site-specific?
The design project for the competition should be conceived as a permanent object.

3. Should the project be designed to be reproduced in a small series?
According to article 2 of the Rules, the project should be thought to be reproducible in a small series.

4. Are there any preferred materials to use?
No, the choice is up to the candidates. Please read article 2 of the Rules where some suggestions are given, e.g., on durability and minimum maintenance.

5. Should the candidates propose specific locations for the seating in both cities?
The choice of location is entirely up to the candidates. Suggestions for locations are welcome.

6. What are the specific symbolic meanings and cultural and historical values associated with Nova Gorica/Gorizia that candidates should consider in their projects?
Among the many historical and symbolic meanings of these two border cities, candidates are invited to choose the meanings of interest to them in order to conceive their project.

7. Is it possible to submit a multi-page PDF file of no more than 5 MB, or should candidates submit a single-page PDF file of no more than 5 MB?
Yes, there is no page limit, but the file cannot exceed 5 MB. All the information can be found in article 4 of the Rules.

8. Is there a specific format for the PDF material to be submitted (A3, A4)?
The format is up to the candidates. The images of the selected and winning projects will be printed for the final exhibition and the catalogue.

9. Is it necessary to take photographs of the urban furniture in the chosen places or is it enough to mention them?
It is a candidate’s choice.

10. What specific criteria will the jury use to evaluate the submitted designs?
The jury will select the winning projects based on the quality of the presentation, both the PDF of the project and the rational description. Candidates are recommended to pay close attention to the clarity of the description in both documents and to justify their choices in the rational description.
The decision of the jury is final. All information can be found in article 2 of the Rules.

11. Are there any limitations or considerations that candidates should be aware of?
No, there is nothing more than what is already written in the Rules.

12. Is there an economic budget for the installation of the new urban design?
There is no economic budget for the ideas phase of the competition. At the end of the competition, the winning designer will be contacted to discuss any possible feasibility of the project (see article 7 of the rules).

13. Is it possible to enter a group not fully composed by members born in the elegible countries?
No, any competing group should consist exclusively of members born in these countries: Albania, Austria, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Hungary, Italy, Moldova, Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia, Slovenia, Ukraine. Albania, Austria, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Hungary, Italy, Moldova, Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia, Slovenia, Ukraine, as indicated on the Rules and the application form.

For all other enquiries please contact info@triestecontemporanea.it

go to the 15th International Design Contest Trieste Contemporanea main page

in the image details of some designs from latest editions: F. Gigone – A. Gigliotti (2012); D. Ljubić – K. Čendak (2014); D. Uhlíř (2016); J. Landsiedl (2018); O. Vereshchagin (2021)

The Agencies We Need.
11th CEI Venice Forum for Contemporary Art Curators. Continental Breakfast 2024.

The meeting is a CEI Co-operation Activity and a Continental Breakfast 2024 project, organized by Trieste Contemporanea under the patronage of the Italian Ministry of Foreign Affairs and International Cooperation, the Italian Ministry of Culture, the Central European Initiative, the Italian National Commission for UNESCO, the Regione del Veneto, the Comune di Venezia, the Comune di Trieste, the Ca’ Foscari University of Venice, and the University of Trieste. It is made possible with the support of the Central European Initiative and the Regione Autonoma Friuli Venezia Giulia, and in collaboration with the Academy of Fine Arts in Venice, the KCB Cultural Centre of Belgrade, and the Juliet art magazine.

Venice, 20 April 2024 – The eleventh CEI Venice Forum for Contemporary Art Curators took place in Venice yesterday, an event that is biennially awaited as a moment of updating and discussion on the curatorial practices of art professionals in Central Eastern Europe in the period of pre-opening of the Venice Art Biennale. The meeting conceived and organized by the Trieste Contemporanea Committee and supported by the Central European Initiative took place at the Academy of Fine Arts, the Venetian educational institute of reference for the sector, also home to an exhibition linked to the Venice Biennale which inaugurates officially its 60th edition this morning.
The Agencies We Need –  this is the theme and title chosen for 2024 by Branko Franceschi, director of the Museum of Modern Art in Zagreb, appointed convenor of the eleventh edition of the Forum by its curator Giuliana Carbi Jesurun –  gave voice to authoritative curators and art professionals from Central Eastern Europe. Ioana Ciocan (Romania), Klaudia Fagu (Albania), Marin Ivanović (Bosnia and Herzegovina) Michal Koleček (Czech Republic), Róna Kopeczky (Hungary) Alexandra Lazar (Serbia), Tevž Logar (Slovenia) Martina Yordanova (Bulgaria), Vanja Žanko (Croatia) –  among them three art professionals that also are commissioners or curators of the national pavillions of Bosnia and Herzegovina, Hungary and Romania for the Biennale Arte 2024 – fully met expectations, discussing illuminating case studies in relation to the world of new independent initiative in Eastern European countries (such as the Association of Art Galleries Serbia and the Easttopics and Secondary Archive platforms or the Croatian agencies Nomad, and Romanian Art Safari or the Bulgarian artists’ residence latrus ) and also highlighting the unprecedented dual role of many CEE curators who are both working for public institutions and initiating independent initiatives of high social value for the regional communities to which they belong.
Furthermore, the attentive and large audience present at the Venice Academy decreed an ex aequo between Lera Kotsyuba (Ukraine) and Teodora Talhoș (Romania) regarding the first edition of the Young Art Critic Award Trieste Contemporanea, an initiative launched through an open Call by the Trieste organization precisely on the occasion of the eleventh CEI Forum, and which achieved a great success among CEE critics under 35 and a great quality in the texts submitted – announced the representatives of the jury present at the meeting. The two winners will soon be busy reviewing an art exhibition in their country for Juliet art magazine, published in Trieste since 1980.

go to previous Forum Editions

[last update: 20 April 2024]

SEATS
OF
UNDERSTANDING
15th
international
design
contest
trieste contemporanea

We are pleased to announce that the jury panel of the 15th International Design Contest Trieste Contemporanea will be composed of Ms Giuliana Carbi Jesurun (Trieste Contemporanea), Ms Barbara Fabro (Central European Initiative), Ms Nicla Indrigo (ADI–Associazione per il Disegno Industriale), Mr Giulio Polita (architect and architectural historian), Ms Maja Vardjan (MAO–The Architectural Museum Ljubljana).

go to the 15th International Design Contest Trieste Contemporanea main page

Update on Young Art Critic Award
Date: 10 April 2024, 12:15

The jury of the Young Art Critic Award Trieste Contemporanea announces its final decision of excluding Dušan Josip Smodej from the Award finalists shortlist. Consequently, Mr. Smodej’s participation as a speaker at the 11th CEI Venice Forum for Contemporary Art Curators has been cancelled.

Read the last press release
Date: 10 April 2024, 20:05

go to the 2024 Forum main page

[last update: 12 April 2024]

The Award judging panel, composed of art historians and contemporary art curators Giuliana Carbi Jesurun and Branko Franceschi, and Nicoletta Zanni, historian of art criticism, reviewed submissions on 2 April, 2024 and selected the three curators who will be speakers at the Venice Forum on 19 April, 2024. They are: Ms Lera Kotsyuba (Ukraine), Mr Dušan Josip Smodej (Slovenia), Ms Teodora Talhoș (Romania).

10 April 20.05
The jury met again into an extraordinary session on 10 April, 2024 for discussing Dušan Josip Smodej inclusion in the shortlist and announced its final decision of excluding him from it. Consequently, 2024 Award finalists that will be speakers at the Venice meeting are: Ms Lera Kotsyuba (Ukraine) and Ms Teodora Talhoș (Romania). read the press release

go to the 2024 Forum main page

[last update: 12 April 2024]

The Agencies We Need.
11th CEI Venice Forum for Contemporary Art Curators. Continental Breakfast 2024.
Venice, Academy of Fine Arts, Dorsoduro 423, Academy Auditorium
Friday, 19 April 2024 [1:45 – 6:00 pm]

The Speakers

IOANA CIOCAN | Romania
Commissioner of Romania for the Participation in the 60th Edition of the Venice International Art Biennale. Awarded Eisenhower Fellowship, Eastern European Program and the Order of Cultural Merit, for promoting culture and national identity in Romania. Member of the Founding and Organising Committee of The Museum of the Atrocities of Communism and member of the Scientific Committee of the Cotroceni National Museum. University lecturer, PhD (tenured position), University of Bucharest.

KLAUDIA FAGU | Albania
She is a young culture manager and curator born in Tirana living between Padua and Tirana. She graduated in Economics and Administration of Arts and Culture at the University of Venice, and in 2023 was part of “Curating with Care” alternative education program in curating organized by Tirana Art Lab, and has since started to collaborate with Adela Demetja and Tirana Art Lab. Fagu writes articles of art exhibitions and cultural events for Ekphrasis Blog, and has worked alongside Italian and artists of Albanian origin. She co-founded Zanë Kolektivë and has coorganized cultural events like Portovecchio Festival, Suoni in Peschiera in Padua and the art exhibition “Vazhdë” in Tirana.

BRANKO FRANCESCHI | Croatia
He is the director of the National Museum of Modern Art in Zagreb, Croatia. From 2015 – 2020 he was director of the Museum of Fine Arts in Split, Croatia, from 2008 to 2010 he was a director of the Croatian Association of Visual Artists HDLU in Zagreb, from 2004 to 2008 executive director of the Museum of Modern and Contemporary Art in Rijeka, Croatia and from 1987 to 2004 was a program director at the Miroslav Kraljevic Gallery in Zagreb, Croatia. Trained as an Art Historian at the University of Zagreb, from 1987 he initiated and curated numerous exhibitions of contemporary art for the exhibition spaces in Croatia and beyond. He was commissioner/curator for the Croatian pavilion at 16th Sao Paulo Biennial (2004) and 55th Venice Biennial (2013), and its curator for the 52th Venice Biennial (2007) and 11th International Architecture Exhibition, Venice Biennial (2008), co-commissioner of the ARK D-0 Biennial, Konjic, BIH and Helsinki Photography Biennial (2014), member of the curatorial team of the International Biennial of Young Artists, Bucharest (2006, 2012). In 2005 he initiated Biennial of Quadrilateral in Rijeka, Croatia.

MARIN IVANOVIĆ | Bosnia and Herzegovina
He is an art historian, museum professional, and scholar specializing in modern and contemporary art of South Eastern Europe. Previously a director of the Museum of Modern Art in Dubrovnik, he is now the director of the Museum of Modern Art in Mostar. He also teaches 20th-century art, theory of art, and visual communications at the universities of Mostar and Osijek and is the author of many papers, essays, and critics, as well as several books. He was appointed Commissioner for the Pavilion of Bosnia and Herzegovina at the 60th International Art Exhibition – La Biennale di Venezia.

MICHAL KOLEČEK | Czech Republic
He is a curator of contemporary art and art historian dealing with topics focused on cooperation with communities, developing the potential of shared places, contextualizing cultural memory and reflecting on environmental aspects. Head professor of the master program of Curatorial Studies at the Faculty of Art and Design of the J. E. Purkyně University in Ústí nad Labem. Since 2016, director of the Ústí nad Labem House of Arts.

RÓNA KOPECZKY | Hungary
She is a curator and art historian based in Budapest since 2004. Between 2006 and 2015 she was curator at the Ludwig Museum – Museum of Contemporary Art in Budapest. Since 2015, she has been the artistic director of acb Gallery in Budapest. She is co-founder of Easttopics, a platform dedicated to representing the Central and Eastern European contemporary art scene.

LERA KOTSYUBA | Ukraine (YACA)
She was born in Donetsk and she is an emerging curator, editor, and art critic based in Toronto, Canada. A citizen of, and working on, the land of the Dish With One Spoon Wampum covenant, Lera works toward shared responsibilities around the built environment, and strives for anti-capitalist systems of community.
Lera has written and presented on craft, architecture and the Arts & Crafts movement, and has curated a solo show of ceramicist Kathy Kranias’ work, entitled Matrilineal Hauntings in 2022. She is currently the Managing Editor of Studio Magazine.

ALEXANDRA LAZAR | Serbia
She is a curator and art historian based in London and Belgrade. She is committed to foregrounding artistic and cultural practices that work from a position of difference, resulting in talks at Tate Britain, the Courtauld, the Ashmolean, Insiders/Outsiders, the ESU, and exhibitions spanning the BFI London, Tate Archive London, MSU Rijeka as well as numerous galleries and independent spaces. From 2019-23 she has curated Wiener ART collection in Belgrade, where she was in charge of commissions and acquisitions of art, as well as commissions of art historical texts and VRs of historic performances. As the founder of the Association of Art Galleries of Serbia (AUGS) she coordinates AUGS TALKS, promoting the curatorial and artistic practices from CE Europe.

TEVŽ LOGAR | Slovenia
He works as an independent curator, editor, author and advisor. He has curated or co-curated a number of group and solo exhibitions and collaborated with institutions, galleries and collections, such as: Museum of Modern and Contemporary Art, Łódź; The Fondazione Sandretto Re Rebaudengo, Turin; Kunsthalle Praha; TBA21, Vienna; The Ovidiu Șandor Collection, Timișoara; Kunsthalle, Bratislava; James Gallery, New York; American University Beirut; CAC Geneve; Kontakt Collection, Vienna and others. He curated Jasmina Cibic: For Our Economy and Culture for the Slovenian Pavilion For at the 55th Venice Biennial. He is a co-founder of the Ulay Foundation in Amsterdam, where he now sits as a member of the Advisory Board. He lives in Rijeka, Croatia.

TEODORA TALHOȘ | Romania (YACA)
She is a curator, cultural manager and writer interested in the concepts of “periphery” and “outsider”, as well as ways of expressing non-violent resistance in contemporary art. She holds a degree in Art History from the University of Vienna and a Masters in Curatorial Studies from the Städelschule and Goethe University in Frankfurt am Main. She has curated several exhibitions in Germany and Romania. Since 2022 she is based in Timișoara, Romania, where she develops intercultural artistic projects with a focus on local communities.

MARTINA YORDANOVA | Bulgaria
She is a curator and researcher based in Sofia. She has a background in Communication and media sciences (BA, MA) and postgraduate study in curatorial studies from several European educational institutions. Since 2020 Yordanova works at the National Gallery in Sofia, Bulgaria. Martina Yordanova has also been co-directing the 25th Biennial of Humor and Satire in Art in Gabrovo in 2022. She is the initiator and curator of “1m2 Art”, a project based in Veliko Tarnovo in which each month a different artist from the local art scene presents their work in a space no bigger than its name. Together with the cultural space TAM in Veliko Tarnovo she manages the visual arts program of the organization. She has been the curator of Ritual Gatherings Festival happening at the seaside in Bulgaria in 2022. In 2023 she initiated Iatrus Residency Program in Veliko Tarnovo, which aims to present collaborations in various disciplines with international creative practitioners. Currently she is Jury Member and Ambassador of Sofia Art Fair taking place in October 2024.

VANJA ŽANKO | Croatia
She is a cultural manager with over fifteen years of experience managing exhibition spaces, cultural organizations, and artist studios. She founded Nomad ten years ago in Zagreb to bring together artists, public institutions, as well as private and corporate collections to collectively promote contemporary artists from Croatia and neighboring countries in cultural institutions across Croatia and Europe.Through the maintenance of structured connections, the office is dedicated to creating value that contributes to the long-term improvement of the status and reputation of artists, institutions, and collectors. Institutions that she has collaborated with include the National Museum of Modern Art Zagreb, Camera Austria Graz, Kunsthaus Zürich, Tate Modern London, the United Nations, the Venice Biennial, Academy of Fine Arts Zagreb, Angewandte Vienna, and IUAV Venice.

go to the 2024 Forum main page

[last update: 10 April 2024]

The Agencies We Need.
11th CEI Venice Forum for Contemporary Art Curators. Continental Breakfast 2024.
Venice, Academy of Fine Arts, Dorsoduro 423, Academy Auditorium
Friday, 19 April 2024 [1:45 – 6:00 pm]

The Agencies We Need

The inertia often observed within traditional public cultural institutions in response to the rapidly evolving contemporary cultural landscape, shaped by electronic communication and changing public sensibilities, highlights the necessity and potential for non-institutional initiatives to take action. This need is particularly acute in Eastern Europe, once part of the socialist bloc, where fossilized public institutions and practitioners not only have proved to be disinterested, slow or incapable to adapt to new communication technologies, marketing paradigms, and the demands (and pitfalls) of the cultural industry, but also to struggle to keep pace with art market developments and art collecting ambitions of emerging wealthy class. Concurrently, global shifts towards democratic norms and multiculturalism have reshaped the operational landscape of cultural systems worldwide. In this context, creative and enterprising individuals see challenges not as barriers but as opportunities for innovation. They embody an implicit institutional critique, forging unconventional connections within an increasingly fragmented cultural ecosystem. These initiatives serve as dynamic agents at the intersection of artistic creation and public engagement, adept at devising novel methods of cultural promotion and presentation. Their dynamic approach enables them to swiftly respond to aspirations of both regional community and artists. Distinguished from profit-driven private galleries and their ranking of values, these agencies prioritize cultural enrichment and maximize fluidity and efficiency of the region’s space for culture. With this topic for the 2024 Continental Breakfast conference discussion, we pay tribute to its founder Trieste Contemporanea championing Central European visual culture with unparalleled dedication since 1995. Agencies, shaped by the personalities of their initiators, come into existence, develop, and operate in specific formats, spanning from individual freelance endeavors to expansive institutional structures. They operate with a shared commitment: to address cultural needs in ways that benefits all stakeholders. The 11th CEI Venice Forum for Contemporary Art Curators aims to shine a spotlight on emerging visionary agents who are catalysts for their region’s cultural evolution, providing them with a platform to share inspirations, goals, experiences and projects.

Branko Franceschi
Convenor, 2024 CEI Venice Forum for Contemporary Art Curators

[last update: 3 April 2024]

The Agencies We Need.
11th CEI Venice Forum for Contemporary Art Curators. Continental Breakfast 2024.
Venice, Academy of Fine Arts, Dorsoduro 423, Academy Auditorium
Friday, 19 April 2024 [1:45 – 6:00 pm]

programme
[1:45 – 6:00]

1:45 – registration/admittance
2:00 – welcome speeches and introduction
Paola Bristot. Professor of History of Contemporary Art, Academy of Fine Art in Venice.
Barbara Fabro. Senior Executive Officer of the Central European Initiative.
Giuliana Carbi Jesurun. CEI Venice Forum curator. President of Trieste Contemporanea.
Branko Franceschi. CEI Venice Forum convenor 2024. Director of the National Museum of Modern Art, Zagreb. Croatia.
2:30 – Marin Ivanović. Commissioner and curator of the Pavilion of Bosnia and Herzegovina at the 60th Biennale Arte Venezia. Director of the Museum of Modern Art in Mostar. Bosnia and Herzegovina. – Museum as a Remedy: Art in a City Scarred by War.
2:45 – Michal Koleček. Professor at the Faculty of Art and Design at Jan Evangelista Purkyně University in Ústí nad Labem and director of the Ústí nad Labem House of Arts. Czech Republic. – Gardening of Soul. Caring for Place and Community in an Age of Blurred Responsibility.
3:00 – Tevž Logar. Independent curator, writer and advisor, Rijeka / Ljubljana. Slovenia. – When in Doubt, Go to a Museum.
3:15 – Alexandra Lazar. Curator and art historian. Founder of the Association of Art Galleries Serbia, Belgrade. Serbia. – A Futureproof Gallery: Building an Agency Model of Ethical Practice.
3:30 – Róna Kopeczky. Curator of the Hungarian Pavilion at the 60th Biennale Arte Venezia. Artistic director of acb Gallery, Budapest and co-founder of Easttopics. Hungary. – Cooperation Initiatives in and for Central and Eastern Europe. Easttopics and Secondary Archive.
3:45 – Vanja Žanko. Founder and co-director of NOMAD-The Croatian Office for Contemporary Art, Zagreb. Croatia. – Nomadic Narratives: Cultivating Togetherness in Contemporary Art.
4:00 – Martina Yordanova. Curator and researcher at the National Gallery, Sofia. Creative director at the Foundation for Contemporary Art and Media and at the Iatrus Residency Program in Veliko Tarnovo. Bulgaria. – Between Institutional and Independent Curating.
4:15 – Ioana Ciocan. Commissioner of the Romanian Pavilion at the 60th Biennale Arte Venezia and director of Art Safari, Bucharest. Romania. – Romania and the Venice Biennale.
4:30 – Klaudia Fagu. Associate collaborator of Tirana Art Lab-Center for Contemporary Art. Albania. – Tirana Art Lab: Working Steadily within Insecurities.
4:45 – Teodora Talhoș. Independent curator and writer, Timișoara / Frankfurt am Main. YACA finalist. Romania. – Caring about Each Other in Times of Unrest and Violence.
5:00 – Lera Kotsyuba. Curator, editor, and art critic, Donetsk / Toronto. YACA finalist. Ukraine. – The Synagogue at Babyn Yar: There will be Singing.
5:15 – debate and closing remarks

read about the speakers
go to the 2024 Forum main page

[last update: 12 April 2024]

SEATS
OF
UNDERSTANDING
15th
international
design
contest
trieste contemporanea

In view of supporting the preliminary project studies of participants in the 15th International Design Contest (read the Rules of the competition), Trieste Contemporanea is organising a second webinar to answer all requests for information and details on the competition on Wednesday 24 April 2024.

The webinar will be held online on 24 April 2024 at 5 pm.
Anyone interested can register through the online form.
Once you’ve registered, you’ll receive an email with a link to the webinar.

in the image details of some designs from latest editions: F. Gigone – A. Gigliotti (2012); D. Ljubić – K. Čendak (2014); D. Uhlíř (2016); J. Landsiedl (2018); O. Vereshchagin (2021)

In view of supporting the preliminary project studies of participants in the 15th International Design Contest (read the Rules of the competition), Trieste Contemporanea organises a visit to Nova Gorica and Gorizia (13 April 2024).

The visit to Nova Gorica and Gorizia will be held on Saturday 13 April 2024 from 11 am to 5 pm.
Registration closed

Here is the PROGRAMME for Saturday 13th April 2024:

11.00
Meeting in front of Palazzo Attems-Petzenstein (Piazza Edmondo de Amicis, 2, 34170 Gorizia GO; for those arriving by car, you can possibly park the car free near the Synagogue, Via Graziadio Isaia Ascoli, 19, 34170 Gorizia GO; we then will use a dedicated little bus).

11.00 – 13.00
Palazzo Attems: Visit of the Collection – Valico Rafut: visit of little Museums of Prepustnica and Smuggling– Kardelja square (City Hall, Drama Theatre, Library) – Transalpina square.

Lunch break 13.00 – 14.00

14.00 – 17.00
Solkan – Borgo Castello – via Rastello and free walk through Gorizia

17.00
Piazza Vittoria (and return to Palazzo Attems)

We gratefully acknowledge the special collaboration of
Goriški Muzej Kromberk
Musei Provinciali Palazzo Attems-Petzenstein
 

in the image details of some designs from latest editions: F. Gigone – A. Gigliotti (2012); D. Ljubić – K. Čendak (2014); D. Uhlíř (2016); J. Landsiedl (2018); O. Vereshchagin (2021)

On the occasion of the 50th birth anniversary of Corrado Premuda
Torta numero zero (cake number zero)
First study by Alessandro Marinuzzi and Davide Rossi
for an adaptation of the novel Prematurità by Corrado Premuda

Reading by Alessandro Marinuzzi
with Davide Rossi
with Romina Colbasso, Veronica Dariol, Tommaso Sculin
and with the participation of Sara Alzetta

Corrado Premuda

On the occasion of the fiftieth anniversary of the birth of Corrado Premuda, on Saturday 16th March at 6 p.m. Trieste Contemporanea organises at Studio Tommaseo (via del Monte 2, Trieste) a preview of the reading of Torta numero zero (Cake number zero), a first short study by Alessandro Marinuzzi and Davide Rossi for the adaptation of the novel Prematurità (prematurity) by the Trieste writer who died suddenly in July 2022.

SEATS
OF
UNDERSTANDING
15th
international
design
contest
trieste contemporanea

In view of supporting the preliminary project studies of participants in the 15th International Design Contest (read the Rules of the competition), Trieste Contemporanea organises two webinars to answer all possible contestants’ requests for information and details on the competition (on 20 March 2024 and 24 April 2024), as well as a study visit to Nova Gorica and Gorizia (13 April 2024).
Anyone interested can register through the online form.
The first webinar will be held online on 20 March 2024 at 5 pm.
Once you’ve registered, you’ll receive a detailed email with a link to the webinar.

in the image details of some designs from latest editions: F. Gigone – A. Gigliotti (2012); D. Ljubić – K. Čendak (2014); D. Uhlíř (2016); J. Landsiedl (2018); O. Vereshchagin (2021)

An image of the 9th CEI Venice Forum for Contemporary Art Curators from Central Eastern Europe at Academy of Fine Arts (courtesy Trieste Contemporanea)

OPEN CALL
Young Art Critic Award
Trieste Contemporanea

WHY?
To highlight the specific activity of art criticism by contemporary art curators, a call is open to young contemporary art curators by Trieste Contemporanea on the occasion of the 11th CEI Venice Forum for Contemporary Art Curators.

WHO?
Are you a young contemporary art curator? Are you under thirty-five years old and born in Central Eastern Europe? Do you want to be a speaker at the 11th CEI Venice Forum for Contemporary Art Curators, which will take place during the vibrant international pre-opening days of the Venice Biennale?
Apply by sending Trieste Contemporanea your review of an art exhibition by March 24, 2024!

WHAT TO DO?
Send Trieste Contemporanea a review of a contemporary art exhibition that you consider the most important/interesting you have visited between February 2022 and February 2024, anywhere in the world, and explain the reasons for your judgment.

THREE YOUNG CURATORS AT THE FORUM
The three best reviewers will be selected by an international judging panel and invited to participate as speakers at the 11th CEI Venice Forum for Contemporary Art Curators from Central Eastern Europe in Venice: they will have the opportunity to address the international audience of the Forum and benefit from a lively exchange with colleagues and professionals present at the meeting. Their travel and accommodation will be covered by Trieste Contemporanea. The text submitted for the call will be their intervention (or the basis of it: in English, a 15 minute speech).

THE FORUM
The eleventh edition of the CEI Forum in Venice will take place on Friday, April 19 at the Academy of Fine Arts in Venice and can be attended by the public in person and online via streaming. The meeting is organized by Trieste Contemporanea with the patronage and support of the Central European Initiative (CEI), the patronage of the Italian National Commission for UNESCO, the support of the Autonomous Region of Friuli Venezia Giulia, and in collaboration with the Academy of Fine Arts in Venice and Juliet art magazine. Go to the CEI Venice Forum main page

THE YOUNG ART CRITIC AWARD TRIESTE CONTEMPORANEA
The audience at the Forum will vote for the best of the three speeches to award the Young Art Critic Award Trieste Contemporanea.

PUBLISHING IN THE JULIET ART MAGAZINE
The three finalists will also be offered by Trieste Contemporanea the opportunity to publish in the Italian contemporary art magazine «Juliet» a text on an artist, an exhibition, or a contemporary art institution from their own country (5000 characters).
Go to Juliet magazine

HOW SHOULD THE REVIEW FOR THE CALL BE?
The proposal to be submitted by the deadline of Sunday, March 24, 2024, is a text in English of up to 8000 characters to be sent to the email info@triestecontemporanea.it by that date (with the e-mail object: “Call for Young Curators”). The text must have a title and have to be accompanied by an information sheet of the selected exhibition (country, city, venue, opening dates, title, exhibiting artist/s, curator/s, organizing body/bodies, etc.) and possibly by images with captions. Contact details of the candidate and a brief curriculum vitae including place and date of birth and citizenship should also be enclosed.
As to its content, beside the evaluation and interpretation of the exhibited works in terms of appropriateness and originality (compared to the trends in contemporary visual art discourse), the review should concern also the appreciation/discussion of the curatorial thesis presented in the exhibition (based on the criteria used by the young reviewing critic for their personal provisional recording of ongoing trends and emerging stimuli). This latter attention to the curatorial concept of the exhibition under review must in any case be developed by the three finalists in their contribution to the Forum.

The event of  altriformati at Trieste Contemporanea is an opportunity to present a brand new young Venetian curatorial group linked to experimental cinema and video art.
We will talk about it together on Friday 2 February at 6 pm, opening a new stimulating libraryline window dedicated to the latest generation of curation, its research perspectives, method and organizational work. We will hear from Alice De Santis and Filippo Perfetti, respectively president and artistic director of altreformati. The presentation will also be accompanied by a selection of the éphémères and publications produced.

A portrait of Giovanni Paternolli and the logo of his publishing house

The lecture by Ms Gallarotti will be held (Italian language) on January 25th, at 6 pm at Studio Tommaseo, as a part of the libraryline activities coordinated by the director of the Trieste Contemporanea Library Elettra Maria Spolverini.

The call for the Young European Artist Trieste Contemporanea Award received 210 applications from 21 countries.
The jury, composed of Giuliana Carbi Jesurun (art historian and curator of contemporary art, Trieste), Maurizio Pellegrin (artist, New York) and Janka Vukmir (art historian and curator of contemporary art, Zagreb), met on Thursday 28 December 2023 to examine the applications: we are pleased to announce that the winner of the 2023 edition of the Award is Mark Chehodaiev (1997, Ukraine).

William Kentridge, Zeno Writing, 2002, film still, courtesy William Kentridge Studio, Johannesburg

The 2023 international video art marathon VideoNotte will take place on Friday 15 December in nine Trieste cultural and exhibition spaces that are active in promoting contemporary art. The seventh edition of this much-loved initiative by Trieste public and organized by Casa dell’Arte in Trieste, with the support of the Kathleen Foreman Casali Charitable Foundation, invites those interested to a nighttime video walk to celebrate the 100th anniversary of the publication of Italo Svevo’s La coscienza di Zeno which went to press for Italian publisher Licinio Cappelli in 1923 (Svevo’s novel was firstly translated in English in 1930 with the title “Confessions of Zeno”).
Trieste Contemporanea, Studio Tommaseo and Associazione L’Officina, co-founding members of Casa dell’Arte in Trieste, are offering at VideoNotte #7 for Zeno Cosini – this is the extended title of the 2023 event – the unmissable opportunity to watch William Kentridge’s animated film Zeno Writing, kindly granted for the occasion by the great South African visual artist, film and theatre director and draughtsman whose work deals with stories of violence, erasure, memory and loss.
This part of VideoNotte programme is made possible thanks to the courtesy of the William Kentridge Studio in Johannesburg and that for Italy of Lia Rumma Gallery in Milan and Naples, and thanks to the collaboration of Associazione Viva Comix in Pordenone.
The screening of Zeno Writing is a première for Trieste and is scheduled, from 8 pm until midnight, at Studio Tommaseo in via del Monte 2/1. It will be preceded, at 7:00 pm, by a conversation with art historian Paola Bristot introducing the film made by William Kentridge in 2002 and contextualising the work in the production of the artist, who in fact loves Italo Svevo very much, an author to whom he has dedicated several works throughout his career.

Zeno Writing (2002, 35 mm animated film transferred to video and DVD, 12’’) emerges as a postscript to the theatre piece Confessions of Zeno, based on the novel by Italo Svevo, and produced for documenta 11 (Kassel, 2002). Like the novel and play, the film obliquely renders our faintly desperate attempts to write an unstable world into order, to understand and control what is treacherous and nonsensical. The lines at the end of the film: “Smoke, Ashes, Fable? Where are they all now? Perhaps they are no longer even fable”, are taken from Herodotus, quoted by Ryszard Kapuściński in his book The Emperor: Downfall of an Autocrat. The film won the Biennial Prize of the 6th Sharjah Biennial in 2003.
Drawings, photography, direction: William Kentridge
Music: Kevin Volans
Sound design: Wilbert Schübel
Editing: Catherine Meyburgh

The 2023 international video art marathon VideoNotte will take place on Friday 15 December in nine Trieste cultural and exhibition spaces that are active in promoting contemporary art. The seventh edition of this much-loved initiative by Trieste public and organized by Casa dell’Arte in Trieste, with the support of the Kathleen Foreman Casali Charitable Foundation, invites those interested to a nighttime video walk to celebrate the 100th anniversary of the publication of Italo Svevo’s La coscienza di Zeno which went to press for Italian publisher Licinio Cappelli in 1923 (Svevo’s novel was firstly translated in English in 1930 with the title “Confessions of Zeno”).

Read also Videonotte programme at Trieste Contemporanea’s

Vladimir Nikolić will be present on Thursday 30 November in Trieste in a special event as part of the sixteenth edition of the “Piccolo Festival dell’Animazione” by Viva Comix. The event (at Studio Tommaseo at 6 pm) is organised as part of the Trieste programme of the Festival: an unmissable opportunity for the animation audience to dialogue with the Belgrade-born artist and to watch and comment on some of the cornerstones of his renowned video production with the artist himself, Festival curator Paola Bristot and Giuliana Carbi Jesurun, who invited Nikolić to present his video installation “Rhythm” in a solo exhibition (which can be visited until 29 November at Studio Tommaseo). Read more about the exhibition Rhythm.
The selection of projections planned during the PFA conversation features the videos “Painting” from 2009 and “An Act in Space” from 2013, two works in which the Serbian artist is particularly close to the process of constructing an animation video.

Vladimir Nikolić, An Act in Space, video, 2013, 3’45”, still from video, courtesy of the artist

The Piccolo Festival dell’Animazione is organised by Viva Comix Association under the artistic direction of Paola Bristot. As the voting for the awards in San Vito al Tagliamento has just closed, the 2023 international festival of animated shorts – over 80 short films in competition but also meetings, exhibitions and shows – offers further appointments in Pordenone, Udine, Staranzano, Gorizia and Trieste. In Trieste, on the evening of 30 November, the PFA programme continues thanks to the partnerships with “La Cappella Underground of Trieste ” at Teatro dei Fabbri (via dei Fabbri, 2/A) where at 8.30 pm, a “Best Off” of the Festival will present the films of Competition 1.

Sound installation
Conversation with Antonio Della Marina

Antonio Della Marina, Fades/Costellazioni, 2023, excerpt from the score  (courtesy of the artist)

On Sunday 3 December Trieste Contemporanea presents Fades/Costellazioni, a day of generative music by the Udine artist and musician Antonio Della Marina, which will take place from 11.30 am to 7.30 pm in the premises of Studio Tommaseo (via del Monte 2/1).

Fades/Costellazioni is a generative sound art work and is designed to be an installation exhibited in a space dedicated to it.

Fades/Costellazioni is a work that should be explored and perceived in its plasticity rather than listened to – Antonio Della Marina tells us, explaining that – the material it is made of, sound, by its very nature does not fill the air uniformly, but manifests itself with voids and solids, areas of thickening and rarefaction (which interpenetrate, blurring one into the other). Thus, by moving carefully within it, it is possible to distinguish and recognise its shapes and their locations in various points of space. In fact, sound is not really matter and it would be more correct to speak of energy, but for the characteristics it takes on in this work and in my artistic research in general, it is natural for me to consider it a modelling material, at the limit of the tangible. Sound cannot be ‘seen’ in the literal sense, but if through hearing and different perspectives I can perceive its volumes, its voids and solids (that is: find its presence in space) then I consider it legitimate to speak of form, of plasticity. Each performance of the work – Della Marina continues – even within a homogeneous language, is never repeated in the same way and never has a beginning or an end: its duration coincides with the time of listening. From a narrative point of view, Fades/Costellazioni appears as a continuum of slow cross-fades between electronic sounds. The sounds are generated by the computer in real time by connecting to an internet page. They are all sinusoidal waveforms, an elementary vibratory form, ubiquitous in the electronic musical language but also in the natural world (the cycles of celestial bodies, sea waves, the colours of light, are all phenomena with wave-like characteristics).

At 11.30 am, the artist will present the project and talk with the public, explaining his artistic activity and the aesthetic motivations behind the work and its content, such as the artist’s fascination with the concepts of fading and blurring.

Given its immaterial nature, Della Marina’s project, now presented in Trieste, has its own score, a book – entitled Fades/Costellazioni – that collects all 88 possible chords of the composition in the form of graphic tables. The chords or “costellazioni” (constellations) are written following the pure interval notation invented by Mexican-American music theorist Ervin Wilson (1928–2016). The fundamental reference note is an “A” tuned to 432 Hz. The installation can be listened to until 7.30 pm.

Antonio Della Marina is an electronic music artist and composer who has been working almost exclusively on sine waves for over twenty years. Influenced by the minimalist avant-gardes of the 1960s and 1970s, he focuses his research on exploring the physical properties of sound and tuning systems derived from the laws of natural harmonics. Active in an intermediate territory between music and plastic art, his compositions are veritable sculptures of sound that he creates using mathematical abstractions and generators that he has built himself.
His works have been exhibited in international art galleries and festivals, including Experimental Intermedia in New York, Logos Foundation in Ghent, Fundaciò Phonos in Barcelona and the Prague Quadrennial. In Italy significant appearances at Angelica Festival, Piombino eXperimenta, All Frontiers Musiche d’Arte Contemporanee, Fondazione Giorgio Cini and the realisation in 2010 in collaboration with Marco Maria Tosolini in the gulf of Trieste of the concert-event A Vista! performance for tugboat sirens and hydrants, words in the wind, sea voice and live electronics.
Since 2011, together with Alessandra Zucchi, he has curated and managed Spazioersetti, an art gallery/laboratory that permanently hosts their sound and light installation. The artistic duo is currently also present at the University of Trieste in the exhibition of the artistic residencies programme promoted on the occasion of the centenary celebrations of the University of Trieste.

streaming of the event on Fondazione Ragghianti’s YouTube channel

The key speaker will be Professor Marco Collareta of the University of Pisa, director of «Critica d’Arte» magazine. The meeting will be introduced and moderated by the director of the Foundation Paolo Bolpagni. The curators of the book Giuliana Carbi Jesurun and Nicoletta Zanni will participate in the initiative.

For general information on the book, published by the University of Trento and Il Poligrafo (Padova), please refer to the XYdigitale website, which also provides a link to the page of the digital version and from which you can access the new atlas of images.

streaming presentation of the call for the 2023 Young European Artist Trieste Contemporanea Award (YEATCA)
Saturday 7th October 2023 at 6 pm

Trieste Contemporanea on the occasion of the nineteenth edition of the Giornata del Contemporaneo  – the event that every year AMACI, the Association of Italian Contemporary Art Museums, dedicates to the promotion of contemporary culture – presents the new call for the Young European Artist Trieste Contemporanea Award (YEATCA) open to European artists under the age of 30.

The presentation will allow for an in-depth examination of the call and will take place in the presence of the members of the initiative’s organising committee and with the online contribution of last editions awardees which will discuss with Giuliana Carbi Jesurun “The position and practices of the young artist in European society in times of crisis”.

The 2023 YEATCA call will expire on 30 November 2023.
There is no fee for participation and applications must be submitted online.
The winner will be asked to plan a 2024 solo exhibition at Studio Tommaseo in Trieste.
Exhibition production budget includes the publication of an exhibition catalogue edited by an art curator. YEATCA 2023 artists’ travel and accommodation expenses for attending Trieste exhibition installation and opening will also be paid by the organization.

THE AWARD AND PREVIOUS EDITIONS

A detail of the installation, I was Born to Fly, by Nada Prlja, (courtesy RAVE)

info:
+39 348.7450871
info.raveresidency@gmail.com
www.raveresidency.art
www.triestecontemporanea.it
www.nadaprlja.com
www.seriousinterestsagency.com

The presentation will take place in the auditorium of the University of Trento in Palazzo Paolo Prodi (via Tommaso Gar 14) starting at 3.00 p.m. and will feature keynote speakers Franco Purini and Claudio Strinati.

The University of Trento has set up a dedicated page on its institutional website, In principio era la linea, from which the programme of the event can be downloaded. The presentation can also be followed in live streaming by accessing the same institutional page of the university.

For general information on the book, please refer to the XYdigitale website, which also provides a link to the page of the digital version and from which you can access the new atlas of images.

Alina Śmietana, Chew on it, video, 2023, video still, courtesy the artist

Young Polish artist Alina Śmietana has been invited to attend from 11 September 2023 an advanced training session following her participation in the Squeeze It competition, to which she submitted her video project “Chew on it”.
The performer will have the opportunity to attend a dedicated masterclass at the Trieste Contemporanea premises, where she will be able to improve and analyse the technical aspects of her video work, as well as find new inspiration by discussing with Vladimir Nikolić and Francesco Scarel in an environment of research and study on visual art and theatrical and multimedia performance, of encounter and exchange characterised by the presence of artists and creative people from Central and Eastern European countries.

Vladimir Nikolić lives and works in Belgrade. His work includes video, video performance, film and photography. He has exhibited works internationally in solo as well as group exhibitions and has taken part in art residency programmes such as Foundation for a Civil Society (New York, 2003), Recollets (Paris, 2007), Otto Prod (Marseille, 2008), 24cc (Rome, 2011), Times Museum (Guangzhou, 2014), IASPIS (Stockholm, 2016) and Tobačna 001 (Ljubljana, 2017). His works are part of international private and public collections, such as the collection of the Centre Pompidou, Paris, the Berardo Museum in Lisbon, the FRAC Poitou Charente in Angoulême, the Museum of Contemporary Art in Belgrade, the Vehbi Koç Foundation Contemporary Art Collection in Istanbul and the MAXXI National Museum of XXI Century Art in Rome. In 2022 Nikolić represented the Republic of Serbia at the 59th Venice Biennale.

Francesco Scarel is an Artscience advisor and science communicator, interested in scientific communication through artistic languages. He received his PhD in Nanotechnology in 2013 from the Institute for Advanced Studies in Freiburg – FRIAS (Germany).

Alina Śmietana is an artist currently finishing her PhD at the Academia Artium Humaniorum of the Nicolaus Copernicus University in Toruń (Poland) and a graduate of Media Art and Visual Education at the Faculty of Fine Arts at the same university. She lives between Poznań and Włocławek.

The initiative is a production by Studio Tommaseo, L’Officina and Trieste Contemporanea in collaboration with Artifragili and Creaa.it and it is co-financed by the Autonomous Region of Friuli Venezia Giulia.

Verbano ceramic cake stand decorated by Leonor Fini, 1950s

Wednesday 30 August 2023, 6.30 p.m.
conversation by Vanja Strukelj
introduced by Elettra Maria Spolverini and Massimo Premuda

On Wednesday 30 August at 6.30 p.m., on the occasion of Leonor Fini’s birthday (Buenos Aires, 30 August 1907 – Paris, 18 January 1996), Trieste Contemporanea will remember the surrealist painter, set designer, costume designer, writer, illustrator and designer who grew up and trained in Trieste: this will be the sixth edition of the Secret Party for Leonor Fini, an event ideated by Corrado Premuda, which in 2023 will focus on a conversation by Vanja Strukelj.
The Trieste researcher will propose a stimulating critical reading of Fini’s work also starting from the books and documents on the artist collected by Corrado Premuda, which will be officially donated to the “Trieste Contemporanea” Library during the celebration.

The promoting committee of the Squeeze It competition met on 3 August 2023 to examine the eligibility of the projects submitted to the fourth edition of the competition.
Due to the non-compliance of these projects with the formal admission and/or artistic design requirements in the announcement, with regret, the decision was taken not to proceed with the compilation of the list of finalist projects for the Awards (Squeeze It Online Award and Franco Jesurun Award).
Having ascertained the impossibility of reaching the final phase of the competition, it was nevertheless decided to report the “Chew on it” project, correctly entered by the Polish artist Alina Śmietana (born in 1996), as worthy of in-depth study and training.
It was therefore decided to invite the performer to attend a dedicated master class which will take place at the Trieste Contemporanea headquarters starting from 10 September with the presence of Vladimir Nikolić.

The jury of the fourth edition of the Squeeze It contest is formed by:
a representative of Artifragili, theatre company
Roberto Canziani, professor in theatre studies, theatre critic and journalist
Giuliana Carbi Jesurun, art historian and curator, Trieste Contemporanea representative
Zorana Đaković Minniti, art historian, curator at the Belgrade Cultural Centre
Emanuela Marassi, artist, BEBA Foundation representative
Alessandro Marinuzzi, theatre director
Vladimir Nikolić, artist and 2023 Squeeze It guest director
Marcela Serli, theatre actress and director
Chiara Tomasi, storyteller and graphic designer
Antonella Varesano, ICT expert (Information and Communication Technologies)
Janka Vukmir, art historian and curator, director of the Institute for Contemporary Art in Zagreb

Mario Sillani Djerrahian, Sul Neckar, 2023, stampa ai pigmenti e smalto, cm 22×30, courtesy l’artista e SPARC*-Spazio Arte Contemporanea

ArtSpace and Trieste Contemporanea collaborated with VeniceArtFactory in the organisation of the exhibition Passeggiata di Scardanelli in Carso (Scardanelli’s Walk in Karst) by Mario Sillani Djerrahian, the latest work by the Armenian-born artist born in Ethiopia and resident in Trieste. The latest works, which follow and continue the portrait of place come me stesso (like myself), a theme the artist has been working on for several years, will be exhibited at SPARC* in Venice. They are inspired by the last 36 years of Friedrich Hölderlin’s life, which the German poet spent, in physical health but suffering from mental illness, in a residence on the Neckar river, going for long walks and writing his poems under the name of Scardanelli.
The show is curated by Giuliana Carbi Jesurun and Gabriella Cardazzo and is produced under the patronage of the Armenian Culture Committee of Trieste.
Passeggiata di Scardanelli in Carso can be visited until 13 August (Monday to Friday, 10 a.m. – 6 p.m., or by appointment at the weekend by writing to info@veniceartfactory.org).

On Monday 5 June 2023 at 7 pm, the Croatian translation of the volume Moneystains by Breda Beban will be presented at the Institute for Contemporary Art in Zagreb. The work is the original screenplay for the film of the same name that the artist would have liked to make in the 1990s. The writing was developed by Beban while the artist was living in London together with the artist Hrvoje Horvatić, and with the participation of the writer and film critic Chris Darke.
The unpublished work of the great artist and videomaker born in Zagreb – who inaugurated the new libraryline series last December, which contains the editorial production of Trieste Contemporanea aimed at publishing unpublished writings by artists, or excellent “observers” of contemporary art, Italian or European – therefore now comes out in three editions: in English (language in which it was written by Breda Beban), in Italian translation and now in the first translation in Beban’s mother tongue thanks to the collaboration of the Zagreb cultural institute which is co-editor together with Trieste Volume contemporary. Giuliana Carbi Jesurun, president of the Trieste Contemporanea Committee, and Dubravka Šantolić Cherubini, who edited the volume, will be present at the Zagreb presentation. The graphic is by Giulia Lantier.

Read more about libraryline
Read moneystains

Breda Beban (1952 – 2012) was an artist, filmmaker and curator/creative producer whose work deals with contemporary notions of subjectivity and emotion that occur on the margins of big stories about geography, politics and love. Breda Beban’s films and photographs are recognized as unique expressions of intimacy, vulnerability and authenticity.
Born in Novi Sad, ex-Yugoslavia in 1952, Breda Beban was raised in Macedonia and Croatia. She studied painting at the Academy of Fine Arts in Zagreb. Starting her career as a painter and performance artist, she began to work with film, video, and photography after meeting her partner and collaborator Hrvoje Horvatić in the mid-eighties. Exiled together in 1991 after outbreak of the war in former Yugoslavia, they travelled from place to place before eventually settling in London, where they continued their collaboration until Horvatić’s untimely death in 1997.
Working independently and/or in collaboration with other artists or filmmaker, she has fashioned a range of productions that have been exhibited at major museums of contemporary art in Europe and the U.S.
Breda Beban lived in London and Sheffield, where she was Professor of Media Arts at Sheffield Hallam University. She passed away in 2012, leaving various projects uncompleted.

Presentation of Moneystains in Trieste (Ph.Agnese Divo)

The recent publication Gentilissima Signora Aurelia (Juliet editrice, Trieste, 2022) will be presented on Thursday 25 May at the Academy of Fine Arts in Venice.

Read more

Friday 12 May and Saturday 13 May 2023 stage the show “Lend me your ears” at the Studio Tommaseo, a performative action, of Pier Paolo Pasolini’s text “Vivo e Coscienza” (1963) and starting from a work by Gian Carlo Venuto.
For information about the schedule of the show, ticket prices and reservations: http://www.arearea.it/arearea/spettacoli/lend-me-your-ears/
or write to info@arearea.it or call 345 768 0258.

Facebook event https://fb.me/e/2EV6lM3By

Must the periphery necessarily be defined in relation to a center, as a city’s Other? Or can we allow ourselves to be inspired by the likes of Pier Paolo Pasolini, who found in the periphery … yes, sex… but also, a site in which life’s drama is enacted and truth made visible? Think of the crow in Uccellaci e Uccellini (1966), prancing the periphery alongside Totò and Ninetto, speaking truth to power (and being eaten for all its efforts.)

Taking its title from Pasolini’s 1963 film La Ricotta, the first of a series of “sketch exhibitions” about Eccentric Peripheries looks at gendered and migratory bodies performing (in) peripheral sites. Contrary to the customary notion of the periphery as somehow empty, negligible and marginal, interesting beings, bodies and forms inhabit and delineate peripheries.

View of the exhibition at the Studio Tommaseo (photo by Agnese Divo)

In Rome, a city with unclear margins, it is sex workers, lucciole, who, through their work at the periphery, map out the borders of the city. When Pasolini lamented the disappearance of the fireflies in his famous 1975 text, he was mourning for a past, where the (his!) idea of simple folk had not yet given way to the spectre of petit bourgeoisie and fascism. But, as Pasolini himself would point out, better times and good people don’t just vanish. Today, for example, essential, though often exploited migrant labour and alternative (feminist) visions of society are actively banished from the public field of vision. In their beautiful, soft and true video and performances, Pauline Curnier Jardin and the migrant trans sex workers from Feel Good Cooperative in Rome insist on reappearing.

In the versions circulating the internet, Pasolini’s poem Profezia from 1968 often appears without its first half, a scathing description of the effects of Northern exploitation  on rural Calabria, focussing instead only on Pasolini’s endearing, though not entirely unproblematic idealisation of the male migratory youth. Root causes of migration are thereby marginalized. Anna Dacqué seeks to activate a peripheral vision onto the poem in three steps: She transcribes the full poem from the internet, mistakes and all, into a calligraphy, adds Sabine Réthorés map, which emphasizes the Mediterranean ecosystem beyond nations and borders, and allows Běla Kolářová’s 1956 photo from the periphery of Prague to reverberate the later image by Federico Garolla of Pasolini playing soccer in Rome (1960). By gathering this material, Anna Dacqué removes the boundaries between center and periphery, performing an act of worlding.

Mary Ellen Carroll’s pristine gouaches might, at first glance, belong entirely to aestetic abstraction. The perspective changes once it becomes clear that the artist painted these works while visiting the periphery of the refugee camps on Lampedusa and Malta and that the grid of ovals is indebted to the plastic netting used there and elsewhere as fencing.

Anna Daučíková’s sketch is the beginning of a research that started in the periphery of Ostrava, a mining city in Czech Republic. Today, most of the miners have been made redundant and the former community centers sprinkled amongst rows upon rows of panel houses have been abanoned. Amidst their ruins and debris, nature is left to run wild, claiming space, creating its own aethetic configuration.

More than simply queer abstractions, Lucas Michael’s neons are one-to-one scale representations of glory holes from the Los Angeles sex club Slammer. As the artist writes: “A hole is usually a vacuum of sorts, it sucks light, and I wanted to contradict this by delineating this darkness with light, thus making it a beacon, a codified signal, an illuminating edge, a lit periphery… And it is in the periphery of urban environments where it is not uncommon to find glory holes in the men’s bathrooms of rest stops —a destination of sorts, functioning as humble fireflies of sexual hope and connection in an abyss of solitude.”

The history of biology is saturated with bio politics. The delineation between binary genders is one example for this. Anna Daučíková undertakes a hybridization the species by smuggling other genders in the form of found photos into the neat cartography of butterflies. This opens the door to speculation: Maybe we are not humans but butterflies? Maybe butterflies want to be fireflies? This collage from 1989 is to be contextualized in a barely post-communist Soviet-Russian environment, which for the purpose of feminist theory might as well be called a periphery. On the other hand, it might exactly be the local circumstances, which, rather than provoking mimicry of Western academia, were conducive to finding a far superior aesthetic form for queer desire.

“The now is a montage of diverse times,” insist Gangart, complicating the curatorial take on periphery as a topographic locality between urban center and rural landscape or between capital and border city. They pose a syncretic scenario which seeks to stay true to the history of place, not by fetishistic reference, but by a practice of conviviality. Thus, an image taken by Geri Pozzar in 1973, showing the queer photographer with his straight friends, inspires a sound score and two entangled tables here and now. The situation invites us to sit and drink wine and read and listen and talk and look at art works, all in an appreciation of the multilayeredness of relationships.

Ruth Noack, Trieste, March 10, 2023

go back to the exhibition page

Squeeze It Contest FAQs

Which requirements are necessary to participate?
The fourth edition of Squeeze It is open to young contestants under the age of 30: so, all participants (group members included) must be born after July 23, 1993. They must be born in EU member states and in CEI member states:
– EU countries: Austria, Belgium, Bulgaria, Croatia, Republic of Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain and Sweden.
– Central European Initiative: Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Hungary, Italy, Moldova, Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia, Slovenia, Ukraine

Can I participate as an individual or as part of a group?
You can participate with only one project, either as an individual or as a group.
Student projects and projects submitted by groups made up of people from the three areas of investigation (Theatre, Visual Arts and Digital Technology) are encouraged.

What to submit?
A project for staging an original and unpublished, low-budget and small format theatrical performance, that encompasses the languages and themes of contemporary visual arts and gives specific attention to the artistic potential of digital technology.
The theatrical performance must fit in a 4m x 4m x 4m space and should last no longer than 16 minutes.

Why preparing a good video clip is important?
This video clip will possibly be selected to be online voted for the Online Squeeze It Award and you can win this award and be invited to attend the workshop in Trieste and if you win the Franco Jesurun Award it will possibly be used as inspiration for the realization of the final video.

What’s the application procedure?
Applications are processed exclusively online through the completion of the form available at www.triestecontemporanea.it.
There is no fee for applying and all the application documents must be in English.

What is the deadline for the application?
The application must be submitted by 11:59 pm of July 23, 2023 (CET time).

How many awards does the contest consist of?
Online Squeeze It Award 2023
– At the beginning of August, a short list of the best video clips submitted together with the application will be chosen by the jury for the online vote.
– These video clips will be announced and published on the website www.triestecontemporanea.it at the beginning of August. The online viewer will be able to vote from 5 to 20 August 2023, 11:59 pm (CET time). The author/s of the video clip which will receive the highest number of online votes will win the award.
– The winner (individual or up to 2 members) will be invited in Trieste to attend the finalists’ workshop, to screen their video in the final evening and attend the award ceremony.
Franco Jesurun Award 2023
– At the beginning of August, it will be communicated the list of the theatrical performances decided by the jury to be performed in Trieste for the Franco Jesurun Award.
– Final Evening and Contest Award Ceremony: The selected finalists will present their theatrical performance in presence of the jury, in Trieste in a Final Evening on September 10, 2023. At the end of the theatrical performances the jury will decide the winner of the Franco Jesurun Award 2023 and the Contest Award Ceremony will be held.
– Production of the winner’s video: From the winning theatrical performance awarded the Franco Jesurun Award, the organizers will produce a video work by the winning applicant/s and the 2023 guest director Vladimir Nikolić.

When will the jury meet and their decision be published?
At the beginning of August, the international jury will meet and
– the list of finalist projects selected by the jury to be performed in Trieste for the Franco Jesurun Award will be communicated
– the video clips selected by the jury for being online voted for the Online Squeeze it Award will be announced and published on the website www.triestecontemporanea.it.

What is the deadline for Online Squeeze it Award voting?
The online viewer will be able to vote until 11:59 pm of August 20, 2023 (CET time).

Who can participate to the workshop in Trieste?
The selected finalists and the winner of the online vote will be invited to participate in a 3-day workshop to be held in Trieste around the date of the finals.

2022SQUEEZEIT_VIDEO upload_instruction

theatre + visual art + digital technology

SQUEEZE IT
4TH EDITION 

Trieste Contemporanea is pleased to host the presentation of the catalogue of Waiting for Kentridge on 20 January at 5pm, an exhibition curated by Paola Bristot and Andrijana Ruzic as part of the 15th edition of the Piccolo Festival dell’Animazione 2021, the international short film festival organized by Viva Comix.

Eredi Boggiano, the new book by Cristiano Berti, published by Quodlibet and winner of the Italian Council (X edition, 2021), will be presented on Friday 13 January at Studio Tommaseo, with an event included in the libraryline activities of the Trieste Contemporanea Library. From 6 pm the author will speak with Giuliana Carbi Jesurun about this new project.

View of the exhibition by Luciana Tămaș at the Studio Tommaseo (photo by Agnese Divo)

Friday 13 January 2023
Eredi Boggiano’s presentation, the book by Cristiano Berti
Studio Tommaseo, at 6 pm

Friday 20 January 2023
Waiting for Kentridge
presentation of the publication dedicated to William Kentridge at the PFA 2021
Studio Tommaseo, at 5 pm

until 17 February 2023
ninnananna (lullaby)
solo exhibition by Luciana Tămaș
Studio Tommaseo, from 5 to 8 pm (Tuesday-Friday)

Photography of the presentation of Moneystains at Studio Tommaseo (ph. by Agnese Divo)

On Saturday 24 December 2022 at 6 pm, Trieste Contemporanea presents the book Moneystains by Breda Beban at Studio Tommaseo. The work is the original screenplay for the film of the same name that the artist would have liked to make in the 1990s. The writing was developed by Beban while in exile in London, together with the artist Hrvoje Horvatić then companion of Breda Beban, and with the participation of the writer and film critic Chris Darke.
This booklet “inaugurates” a new series, libraryline, which from now on will contain the editorial production of Trieste Contemporanea aimed at publishing unpublished writings by artists, or excellent “observers” of contemporary art, Italian or European (therefore also often, as in this case, in the first Italian translation).
The unpublished Moneystains comes out in two editions: in English (language in which it was written by Breda Beban) and in Italian translation. The book is edited by Dubravka Šantolić Cherubini, who is also responsible for the Italian translation, while the publisher chosen to support the Trieste committee is the Institute for Contemporary Art in Zagreb, with which it is already foreseen that in 2023 the Croatian translation. The graphic is signed by Giulia Lantier.

Breda Beban, photo by Ferdy Carabott

Breda Beban (1952 – 2012) was an artist, filmmaker and curator/creative producer whose work deals with contemporary notions of subjectivity and emotion that occur on the margins of big stories about geography, politics and love. Breda Beban’s films and photographs are recognized as unique expressions of intimacy, vulnerability and authenticity.
Born in Novi Sad, ex-Yugoslavia in 1952, Breda Beban was raised in Macedonia and Croatia. She studied painting at the Academy of Fine Arts in Zagreb. Starting her career as a painter and performance artist, she began to work with film, video, and photography after meeting her partner and collaborator Hrvoje Horvatić in the mid-eighties. Exiled together in 1991 after outbreak of the war in former Yugoslavia, they travelled from place to place before eventually settling in London, where they continued their collaboration until Horvatić’s untimely death in 1997.
Working independently and/or in collaboration with other artists or filmmaker, she has fashioned a range of productions that have been exhibited at major museums of contemporary art in Europe and the U.S.
Breda Beban lived in London and Sheffield, where she was Professor of Media Arts at Sheffield Hallam University. She passed away in 2012, leaving various projects uncompleted.

Pablo Echaurren’s tribute to Marcel Duchamp (photo Jacopo Landi, courtesy Giorgio de Finis)

On Wednesday 30 November at 18 at the Magazzino delle idee (Trieste, Corso Cavour, 2) there will be a screening of the film MACRO ASILO: IL MUSEO di tutti by Giorgio de Finis.
The initiative is in collaboration with ERPAC (Ente Regionale PAtrimonio Culturale della Regione Friuli Venezia Giulia) and is curated by Trieste Contemporanea. The documentary film was produced by Azienda Speciale Palaexpo in 2020 and is on the experience of the MACRO ASILO project, conceived and curated by Giorgio de Finis.

Zbyněk Baladrán, The Signature of Certain Things, 2022, still from the film (courtesy Gandy Gallery)

Trieste Contemporanea is pleased to present the film The Signature of Certain Things (UHD, 2022,15’31”) by Zbyněk Baladrán at Studio Tommaseo on Wednesday 23 November at 6 pm. The film will be introduced by Nadine Gandy. The video that the Bohemian artist presents on the occasion of the thirtieth anniversary of the Gandy Gallery, founded in Prague in 1992, is a reflection on the functioning of the art scene in recent decades.

Divided into nine chapters, the film is based on practical experience and the works that are on display in the Gandy Gallery in Bratislava. It examines the relationship between the work of art as a whole, its signs, its signatures, and the institutional background, becoming an authentic essay audiovisual, in digitized 8mm format. Digital manipulation and experimentation with moving images play an important role: the questions addressed on the contradictions of art and its effects in society are in fact commented through the formal means of production of the film itself.
The Signature of Certain Things is presented in Trieste after its participation at the end of October at the 26th Ji.hlava International Documentary Film Festival in Prague, one of the most interesting European festivals for documentary films. The Videospritz event of Trieste Contemporanea is organized in collaboration with the Gandy Gallery.
Trieste Contemporanea welcomes Zbyněk Baladrán back to Trieste a few months after his solo exhibition Out of Control, held at the Studio Tommaseo in May.

From 18 to 20 November 2022

Patricija Gilytė, Lakeside Finish, 2013, video, sound, 7’03”
Eglė Grėbliauskaitė, New Good Floor for Titanic, 2016, video, sound, 5’28”

Vitalij Strigunkov, Waiting, 2015, video, 22’40”

Jonas Mekas, As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, 2000, still from the film

As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty
Directed by Jonas Mekas
United States, 2000
Documentary
Duration: 4 h 48m
The film diaries of Jonas Mekas, 1970-1999, was shot on jittery, mellow 16mm color-reversal stock. Footage of daily life, fragments of happiness and beauty, trips to France, Italy, Spain, Austria. Seasons of the year as they pass through New York. A celebration of life, nature, friendships, feelings.

“My film diaries 1970-1999. It covers my marriage, children are born, you see them growing up. Footage of daily life, fragments of happiness and beauty, trips to France, Italy, Spain, Austria. Seasons of the year as they pass through New York. Friends, home life, nature. Nothing extraordinary, nothing special, things that we all experience as we go through our lives. There are many inter-titles that reflect my thoughts of the period. The soundtrack consists of music and sounds recorded mostly during the same period from which the images came. The piano improvisations are by Auguste Varkalis. Sometimes I talk into my tape recorder, as I edit these images, now, from a distance of time. The film is also my love poem to New York, its summers, its winters, streets, parks. It’s the ultimate Dogma ‘95 movie, before the birth of Dogma.”
Jonas Mekas

“Mekas tells the story off-screen, with the reedy voice of a man approaching 80, who takes quiet amusement in telling viewers every so often that nothing really happens in this film… That is the honest truth, and yet not one of the 288 minutes is boring. The reason may be that Mekas has expunged all traces of intent or purpose from the images. The only guiding rule is coincidence, which the radically skeptical Mekas sees as the only gateway to true reality. Only utterly ungovernable coincidence paves the way for the ecstasy that makes one aware of the beauty in an otherwise normal life.”
Mark Siemens, Frankfurter Allgemeine Zeitung

Read the Lithuanian Videospritz main page

Saturday 8 October at 6 pm and 7 pm on the occasion of the eighteenth edition of the Day of Contemporary AMACI – the event that every year the Association of Italian Contemporary Art Museums dedicates to the promotion of contemporary culture – Trieste Contemporanea hosts two guided tours of the exhibition EFFEMERIDI, with the curator Michela Lupieri.

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On the occasion of the European Heritage Days on Saturday, September 24, 2022, at 7 pm, Trieste Contemporanea will presents the volume H/C-The Harbour for Cultures’ Logbook (Juliet Editrice 2022), reader of the Harbour for Cultures project.
Participants in the meeting will be projects curators Giuliana Carbi Jesurun, Barbara Holub, Elisabetta Porro and Paul Rajakovics and some of the authors of the texts.  This publication has been supported by The Regione Autonoma Friuli Venezia Giulia.
Harbour for Cultures is a participatory project that Trieste Contemporanea, in association with transparadiso and Elisabetta Porro, initiated in 2017 in Venice during the eighth edition of CEI Venice Forum for Contemporary Art Curators.
Drawing inspiration from the real case history of how to convert and reuse the area of the Porto Vecchio (old port) of Trieste and ideally looking for an accessible model of a shared society, the multidisciplinary research and discussion that H/C promoted have been based on both the historical functions of port activities carried out for economic interest (the functions of exchanges of goods, insurance issues and commercial profit) and the idea of ‘suspension’ inherent in the collective imagination of a port (the imaginary of arriving, temporarily belonging and then leaving).
The reader “H/C–The Harbour for Cultures’ Logbook” is the result of the work carried out during the project until 2021 workshops and seminaries, meetings of curators, art exhibitions, contests in the numerous meetings and through the distribution to the citizens of Trieste of an old port map on which to write and draw their own idea of a harbour of cultures.
The texts and images, collected in 288 dense pages, give back the ideas and proposals of hundred of people, suggestions, insights, and perspectives.
Following the inspiring idea of the project, the volume is proposed as an open form of annotations: a logbook.

Amela Frankl, A Large Parcel, 2022, performance, video still (courtesy ICA Zagreb)

Amela Frankl
A Large Parcel, 2022
performance
video 14’42″

In Praška Street, in the center of Zagreb, step by step, barefoot, the artist measures the cadastral parcel number 2427. The dimensions are already known to her. more

Amela Frankl, This Too Shall Pass/I to ce proci, 2017, performance, video still (courtesy ICA Zagreb)

Amela Frankl
This Too Shall Pass/I to ce proci, 2017
performance
5’40”

The performance This Too Shall Pass is based on a story of an exhibit shown in the Memorial Museum of the Jasenovac Memorial Site. This is a ring on which the words This too shall pass are engraved. more

Amela Frankl, A Ballad of Two Grave Blocks, 2015, performance, installation in public space (photograph by Boris Cvjetanović, courtesy ICA Zagreb)

Amela Frankl
A Ballad of Two Grave Block, 2015
performance, installation in public space
video 4’45”

The performance Ballad of Two Grave Blocks was done in Zrinjevac park in Zagreb in 2015. It is a work in which the artist discusses about an inherited family burden and how she tries to cope with it. She refers to the headstones as blocks, to indicate the heavy emotional burden that has been passed on to her. more

Amela Frankl, For a Beginning, 2013, performance (photograph by Boris Cvjetanović, courtesy ICA Zagreb)

Amela Frankl
For a Beginning, 2013
performance in collaboration with Pavao Mašić
video 49’39”

During World War II, Koprivnica synagogue was devastated. The partially salvaged and preserved liturgical items are today part of the permanent exhibition of Koprivnica City Museum. The synagogue’s organ, however, was rescued and moved to the five-hundred-metre distant Franciscan church of St Anthony of Padua. It is still there, and is fully in use. more

The jury of the Young European Artist Award Trieste Contemporanea composed by Daniele Capra, Giuliana Carbi Jesurun, Branko Franceschi, and Emanuela Marassi met on Tuesday, August 30, 2022 and, among 115 eligible submissions from 21 countries, selected 10 applicants who therefore enter the shortlist of Finalists of the Young European Artist Trieste Contemporanea Award 2021. They are Linda Ann Cipriani (Italy), Alexander Janz (Germany), Janez Albert Novak (Slovenia), Hannah Schemel (Germany), Julija Skudutytė (Lithuania), Piotr Sobiesiak (Poland), Luciana Tamas (Romania), Darko Vukić (Serbia), Joanna Wierzbicka (Poland), Giulia Zabarella (Italy).
Among them, the jury decided that Luciana Tămaș (Romania) is the recipient of the Young European Artist Trieste Contemporanea Award 2021.

Believing that the directors of libraries and museums cannot be without specific professional requirements for this crucial role of planning, management and cultural enhancement, Trieste Contemporanea adheres to the appeal addressed to the Mayor of Trieste by more than two hundred citizens with the letter of 30 July 2022 that you can read here.
Since, given the great demand, the promoters of the letter Giuliana Carbi, Veit Heinichen, Ariella Reggio and Nicoletta Zanni have decided to keep the possibility of signing this appeal open, we inform those who have not already done so that:
You can subscribe to the appeal both individually and as a stakeholder group by sending your name and surname (or the name of the organisation / association of people) to the e-mail address firme.biblioteche.musei@gmail.com.
The new signatures will be collected by the first proposers and delivered to the Mayor by October 2022 in addition to those previously collected.

P. S. Since we would like to prepare a conference to discuss more in depth the situation of libraries and civic museums in Italy (also possibly with European comparisons), if you are aware that a similarly serious transition is happening in your city or if, on the other hand, innovative best-practices for the management of libraries and civic museums have recently been adopted, please inform us. Thank you very much for your help.

View of Punto nave exhibition at Studio Tommaseo (photo by Francesco Chiot)

Trieste Contemporanea is pleased to invite you on Monday 18 July 2022 at 6 pm at Studio Tommaseo in Trieste. Italian philosopher Maurizio Ferraris and Belgian-Italian artist Lorenzo Gatti will talk on the treatise Ethics, Demonstrated in Geometrical Order by Baruch Spinoza (the book inspired Gatti’s series of papers Il lettore attraversato that the artist recently exhibited in Trieste).

Maurizio Ferraris is Full Professor of Theoretical Philosophy at the University of Turin and is the president of Labont (Center for Ontology). He is also the director of “Scienza Nuova”, an institute of advanced studies – dedicated to Umberto Eco and uniting the University and the Polytechnic of Turin – aimed at planning a sustainable future, both from a cultural and from a political point of view. Founder of “New Realism”, visiting professor at Harvard, Oxford, Munich, and Paris, columnist of “la Repubblica”, “Neue Zürcher Zeitung”, and “Libération”, author of successful television programmes and over sixty books translated worldwide, in his long career he has determined a new course of thought and studies in at least four areas: hermeneutics, aesthetics, ontology, and the philosophy of technology.

Lorenzo Gatti, born in the Democratic Republic of Congo in 1955, lives and works between Milan and Brussels and has had solo exhibitions in Italy, Belgium and New York and many group exhibitions in various European cities. With Punto nave exhibition, which follows his important retrospective Panoplie curated in Genoa by Viana Conti for Sharevolution contemporary art (2020), the artist has come back in Trieste after his solo exhibitions at Studio Tommaseo Insomnometrie (1992), Edilizia intima and Edilizia abusiva (both 1998).

The Award Ceremony of the Fourteenth International Design Contest Trieste Contemporanea will be held on Wednesday, 13 July, 2022.
The event will be in the form of an online meeting at 5:00 pm (Italian time).

Members of the jury and following 2021 edition’s winning designers will be present:
BEBA AWARD Yuliia Polozova (Ukraine/Poland), CEI AWARD Oleg Vereshchagin (Ukraine) and GILLO DORFLES AWARD Renáta Dezső (Hungary).

The online catalogue, including also the projects by 2021 Special Mention Katharina Halusa (Austria) and by 2021 Selected Designers, will be presented.

The contest has been organised by the Trieste Contemporanea Committee under the auspices of the Central European Initiative (CEI) and of the BEBA Foundation, Venice and in association with L’Officina and Studio Tommaseo in Trieste and the partners of the Continental Breakfast network. It has been funded by the Regione Autonoma Friuli Venezia Giulia and co-funded by the CEI and the BEBA Foundation.
read more on the 2021 winners
read more on the contest and its previous editions

read the announcement
read the catalogue

Emanuela Marassi, Giornale, 1978, handmade paper, tulle and thread, 62×94×6 cm

The personal retrospective of the artist Emanuela Marassi, curated by Massimo Premuda and organized by the Department of Culture of the Municipality of Muggia, opens on Friday 1 July at 6 pm at the Museum of Modern Art “Ugo Carà” in Muggia.

The exhibition can be visited with free admission until Sunday 28 August 2022 at the following times: from Tuesday to Friday 18-20, Saturday 10-12 and 18-20, Sunday and holidays 10-12.

Read more

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Carlo Ludovico Ragghianti and Licia Collobi Ragghianti (courtesy Fondazione Centro Studi sull’Arte Licia e Carlo Ludovico Ragghianti, Lucca)

On Friday 20 May at 6.00 pm Studio Tommaseo will host a talk with the director of the Ragghianti Foundation, Paolo Bolpagni.

View of the exhibition at the Studio Tommaseo (photo by Francesco Chiot)

algebra—from al-jabr. Reunion of broken parts; bonesetter; referring to reduction and balancing, the cancellation of like terms on opposite sides of the equation.
“We aren’t ten, we aren’t a hundred, we challenge the state to count us right!” – Chant shouted at demonstrations in Guatemala (quote from Who Counts? by Diane M. Nelson).
As Friedrich Kittler once remarked, war is the mother of all things – it led to the creation of most technological inventions. This makes us think about the nature of our technological world and understand the tools we use. To speak simply: our civilisation is a society of warriors and their descendants, who profit from permanent military conflict, whether open or concealed. Not even artworks could be realised without the aid of military technology. The boom of digital technology is founded upon the development of weaponry systems. Bone Setting is no exception. The interconnection of the military-industrial complex in the USA creates a global paradigm, as well as the umbrella part of the world hides under, including the space we live in. Thanks to a system of exporting war around the world, the United States has become the greatest war machine, and this despite the fact it hasn’t declared any wars. This applied militarism, along with the effects of the free market, also transforms the language we use. The invention of terms such as “humanitarian bombing” or “humanitarian sanctions” bends and adapts the original meaning of the words and creates the newspeak of the “free” world. It has transpired that democracy can only be “exported” as a product under unequal conditions, i.e. with the assistance of heavy military equipment, enriched-uranium missiles, and the “correct” language.
The United States Department of Defense regularly publishes dictionaries in which the world is translated into and embodied in military terminology. This constantly expanding compendium of acronyms, names, and new words is a handbook reflecting the dominion and aims of what is now the strongest empire in the world. On the basis of these traces and other statements, we can discern the emerging trajectories influencing the future of mankind. After a hundred years of an undoubted military hegemony spreading its influence around the world, the empire is preparing to export its internal problems into the external world. If you want peace, prepare for war – this maxim is taken from Vegetius’ military handbook, written in the late Roman Empire, which the United States have always followed with predictable regularity. The thirteen successive temporal diagrams are a reflection and development of previous ideas. They were created during the state of emergency in the spring of 2020. They were inspired by the strong emotions and materialised fears brought about by the global pandemic. Emotions are messengers of the future, as Timothy Morton put it in a “lockdown” interview. They announce as-yet unarticulated and un-understood realities of our transforming present. I attempted to manifest this fear through the drawings made with a bone. Every bone becomes a mailbox; an address in a world in which data is the fate of its address. I transformed the contents of a dictionary of military terms into cases composed of a certain number of bones. The visual form arises from the alphabetic arrangement and allows us to see, in its own strange way, how taxonomies reflect social hierarchies whilst also unwillingly depicting the machinery of propaganda and expressing normative power.
Paul Virilio described one of the current aspects of globalisation and the emerging planetary consciousness as a synchronisation of emotions. In a single instant, we can all feel the same terror, the same anxiety about the future, or the same panic. Virilio claims the world is moving from a standardisation of opinion to a standardisation of emotion, from freedom of the press to a synchronisation of emotions. This work is a dark foretaste of this process, whatever it may lead to.

extract from Zbyněk Baladrán

Works of the exhibition at the Studio Tommaseo (photo by Francesco Chiot)

Artists project their ideas through the imagination into shapes and signs, imprinting their reflections of reality into materials and codes. They themselves are reflected in their creation as specific autographic expressions of the history of human society in time. They also learn to perceive other autographic phenomena of the world around them. Artists have always worked this way. Some of them, like Vladimír Boudník, attempted to create consistent artistic-political programmes to crown the avant-garde with a synthesis of life and art. Boudník worked directly on the street. He completed wet stains on the walls and extracted entire scenes from his imagination and discussions with passers-by he approached. He describes the situation himself in one of his manifestos of explosionalism: “Each of you will become an artist if you rid yourselves of prejudice and indifference. Our planet will be an inexhaustible jewellery box of shapes and new impulses.” His political programme was imbued with post-war antimilitarism and a belief in a brighter future for humanity as a community of creative cooperation. If we follow Boudník and his methodological enthusiasm for the permeation of various layers of meanings and images, we will discover that the viaduct mentioned above, along with its underpass, is a rich catalogue of innumerable scenes inscribed in the plaster.
But how to begin? We might take a hint from the inscription FOR EUROPE WITHOUT WARS, which we could adopt as a generalising category for the viaduct’s entire card index of possible images. The broader context of the superordinate slogan alerts us to the un-evident nature of peace, the permanent threat of nuclear war, and the total destruction of the Earth. The threat made present by the sign did not concern only wars among people, but also, of course, the destruction of the planet. That distant and inhuman thing we describe with the word “nature” is announcing itself on the battlefield called Planet Earth all the more loudly and visibly, reminding us that nature was never separate from humanity and culture, nor was it ever anything foreign. And it is this alienation encoded within our language and manner of denoting that represents the key to the catalogue under the bridge. With a little hyperbole, we can say that it is enough to redraw and complete the stains. Maps, copied into coordinates, are cartographic constructions of worlds no one had seen in such detail before. Worlds similar to our own, of whose existence we know only thanks to indirect proof and mathematical interpretations, materialise and become comprehensible thanks to the conceptual grid we apply to them. This grid is the manner of naming things and systems. We created institutions that can create entire systems of symbolic representations. It therefore comes as no surprise if in the stains, we can easily see polygons for testing weapons of mass destruction. What else do we do with freshly discovered worlds? Scientific knowledge walking hand in hand with a search for selfish advantage and a multiplication of profits. There are, after all, myriad worlds, and they can be easily ransacked or destroyed without bothering anyone. Bikini Atoll, the Nevada desert, the steppe in Kazakhstan, or other areas that we imagine as being located somewhere other than here are, it would seem, too far away, and nobody minds. So why not mark out a few freshly discovered exomoons for tests that are, from the perspective of Realpolitik, necessary? After all, we care only about our safety and the preservation of our existence! Thankfully, these are only interpretations of wall-stains for now, but we can glimpse in them serious questions brought about by the historical trajectories of human thinking and development concerning the present and the near future.

View of the exhibition at the Studio Tommaseo (photo by Francesco Chiot)

Un viadotto alla periferia della città in cui vivo è una specie di porta di passaggio dalla metropoli, lungo l’autostrada in direzione est della repubblica. Fino a poco tempo fa, un lato era ornato con un cartello blu che dichiarava PER L’EUROPA SENZA GUERRE (ZA EVROPU BEZ VÁLEK), visibile a tutti. Era uno degli ultimi segnali rimasti dopo le campagne di attivismo di stato del regime socialista durante la Guerra Fredda. Era stato messo lì una cinquantina d’anni fa per affermare chiaramente la convinzione antimilitarista della comunità locale. L’insegna era molto probabilmente collegata alla Conferenza sulla Sicurezza e la Cooperazione in Europa (CSCE) tenutasi a Helsinki negli anni Settanta. Trent’anni fa, qualche burlone ha barrato due lettere, cambiando il significato in PER IL PETROLIO GREZZO SENZA GUERRE (ZA ROPU BEZ VÁLEK) ed esprimendo ironicamente e simbolicamente la dipendenza degli stati nazionali europei dall’uso non regolamentato dei combustibili fossili e la fragilità delle loro costituzioni quando si trovino a fronteggiare la lotta egemonica per le risorse. Niente accade proprio così: le lettere barrate erano, fino a poco tempo fa, un memento della Guerra del Golfo e un ricordo dei pozzi di petrolio in fiamme (per non parlare della disintegrazione dell’Iraq conseguente). Quest’anno, durante il secondo stato di emergenza determinato dalla pandemia di SARS-CoV-2, la società di gestione ferroviaria ceca, Správa železnic, ha ridipinto il cartello con una tonalità di grigio che possiamo produrre ripetutamente grazie all’uso dei derivati del petrolio.

Il rettangolo stradale di pantone grigio chiaro, denominato RAL 7035 nella terminologia imperiale, di uso comune nella Repubblica Ceca, dimostra la dipendenza dell’industria locale dall’economia tedesca e l’adozione della nomenclatura tedesca non fa che confermare tale fedeltà. Sembra che grazie alle attività di un’organizzazione statale ancora non privatizzata, sia avvenuta la transizione della comunità locale in una nuova era: dai timori di una guerra nucleare, attraverso l’impatto di una lotta per le risorse naturali, per arrivare ad una conferma minimalista del fatto che le minacce restano invisibili e possono anche essere espresse tramite un solo colore. Chi arriva in città viene così accolto da un rettangolo grigio come espressione di impotenza: anche qui il contagio è presente. È il tempismo perfetto: più dei conflitti militari e del loro impatto, siamo terrorizzati dall’attività di modernizzazione industriale che consuma tutto. La Terra è scossa, in una foresta pluviale devastata da qualche parte in Cina vola, disturbato, un pipistrello (anche se forse sarebbe più corretto dire che un pangolino salta fuori da un mucchio di spazzatura) e così il pianeta è scosso da una prima onda sismica in forma di virus a propagazione esponenziale. Benvenuti nel XXI secolo. Il viadotto rimane un avvertimento dei pericoli e delle paure attuali. Si limita a segnalare in modo più sottile, quasi impercettibile. È un barometro della minaccia, e nel fare questo è relativamente preciso.

Friday, 22 April 2022 [11.00 am – 3.00 pm]
Venice, Academy of Fine Arts, Dorsoduro 423

CONTEMPORARY ART PRACTICES
AT TIMES OF CRISIS.
Continental Breakfast 2022.

1. Lorenzo Fusi (Italy)
2. Beral Madra (Turkey)
3. Marina Gržinić (Slovenia)
4. Konstantin Akinsha (Ukraine)
5-7. Janka Vukmir (Croatia) + Cristiano Carloni and Stefano Franceschetti (Italy)
8. Roberto Paci Dalò (Italy)
9. Anda Rottenberg (Poland)
10. Inese Dabola (Latvia)
11. Ruth Noack (Germany)

Choose your video from the playlist below by pressing the button forward:

Contemporary Art Practices at Times of Crisis.
10th CEI Venice Forum for Contemporary Art Curators. Continental Breakfast 2022.
Venice, Academy of Fine Arts, Dorsoduro 423
Friday, 22 April 2022

THE SPEAKERS:

– KONSTANTIN AKINSHA, Ukraine.
Founding Board Member of The Avant-garde Art Research Project (U.K.).
Konstantin Akinsha is an art historian, curator, and art journalist. The field of his expertise is cultural property looted and destroyed during WW2 and East European modernism. Since 2014 he curated several exhibitions of Ukrainian contemporary art. He runs a blog Culture in Peril. Destruction of the Cultural Property of Ukraine by Russian Occupiers (knstantin.akinsha.com).

– CRISTIANO CARLONI and STEFANO FRANCESCHETTI, Italy
Cristiano Carloni and Stefano Franceschetti studied animation and painting in Urbino (Italy). They are teachers and artists, authors of videos and installations, focusing on the use of techniques designed to explore the optical procedures of vision in the transmutation of material and the temporal shift of the memory.
The long collaboration with Romeo Castellucci and Socìetas Raffaello Sanzio brings their works to the most important avant-garde theaters in the world. Their works have been shown in the Museum of Contemporary Art, Chicago, the Louvre, Paris, the Museum of Modern Art, Strasburg, La Biennale Teatro, Venice, Fondazione Sandretto Re Rebaudengo, Turin, Central Academy of Fine Arts, Beijing, Oxo Tower, London, Martin Segal Center, New York.

– INESE DABOLA, Latvia
Director of strategic partnerships, Riga International Biennial of Contemporary Art.
She is interested in critical thinking, art, cultural and social projects, participatory practices, and artistic interventions. She studied Culture Management at the University of Latvia. She worked for Diena – the biggest media group in Latvia, as a head of the Marketing and Communication department. She founded the Riga-based agency HUGE specialising in cultural and non-commercial projects. Over the last six years, she has been involved with the RIBOCA. Additionally, she has initiated and organised corporate social projects and fundraising campaigns to help children in need. For more than ten years, she was a member of the board of the Children’s Hospital Foundation.

– LORENZO FUSI, Italy
Lorenzo Fusi is an Italian-born and UK-based art historian, contemporary art curator, cultural manager and educator with an interdisciplinary background and twenty-year international experience in the cultural sector. His work to date has focused on social justice and inclusivity, talent development, culture-led regeneration, community-focused placemaking, large scale art festivals and curatorial experimentation.

– MARINA GRŽINIĆ, Slovenia/Austria
Grzinic is a philosopher, theoretician and artist. She works as a Research Advisor at the Institute of Philosophy of the Research Centre of the Slovenian Academy of Sciences and Arts (ZRC SAZU), Ljubljana, Slovenia. Since 2003 she has been a Professor at the Academy of Fine Arts Vienna, Austria.

– BERAL MADRA, Turkey
Working as a critic, curator she founded and directed Gallery BM (1984-1990) and BM Contemporary Art Centre (from 1990), and worked as a partner and the artistic director of BM Suma and Kuad Gallery (2005-2016). Among the international exhibitions she has curated are the 1st and 2nd Istanbul Biennales; the Pavilion of Turkey in the 43rd, 45th, 49th, 50th, and 51st Venice Biennales; the Central Asia Pavilion in the 53rd Venice Biennale; the Azerbaijan Pavilion in the 54th Venice Biennale; the 1st, 2nd, 3rd and 4th Sinopale; and the 3rd, 4th and 5th Çanakkale Biennials.

– RUTH NOACK, Germany
Ruth Noack, an art historian, writer, teacher and exhibition maker, became known to the global art world as curator of documenta 12. Between 2019 and 2022, she acted as Executive Director and Curator of The Corner at Whitman-Walker in Washington, D.C. Leader of a Roaming Academy at the Dutch Art Institute (2015-19) and Head of Curating Contemporary Art at The Royal College in London (2012/2013), Noack has taught at universities and academies for more than 20 years. Her essays have been published in catalogues and journals, such as Afterall and Camera Austria. In 2002/3, she served President of the Austrian AICA.

– ROBERTO PACI DALÒ, Italy
Roberto Paci Dalò is an Italian performance artist, visual and sound artist, composer, and researcher. His work, that explores a remarkable range of media, is presented in museums, theatres, festivals, and biennials worldwide and has been appreciated and supported, among others, by Aleksandr Sokurov and John Cage. He teaches Exhibit and Experience Design at Unirsm where he is founding director of Usmaradio – Research Centre for Radiophonic Studies. His latest book is Ombre (Quodlibet 2019).

– ANDA ROTTENBERG, Poland
Anda Rottenberg is a Polish art historian, art critic, writer, former director of the Zachęta National Gallery of Art in Warsaw and member of the International Association of Art Critics (AICA), International “Manifesta” Foundation and the International “Germinations” Foundation (excerpt from Wikipedia).

– JANKA VUKMIR, Croatia
Janka Vukmir is an art historian and an art critic and curator based in Zagreb. She is a co-founder and the president of the Institute for Contemporary Art, Zagreb, after having been the director of the former SCCA Zagreb. She is the co-founder of the Radoslav Putar Award. She was or is engaged in various organisations such as being a president of CIP Croatian Independent Publishers, executive director ZGRAF 10, member of the executive board of AICA Croatia. Author, editor and contributor to various books and publications, her curatorial work has been presented in Croatian and internationally.

go to the forum’s main page

Contemporary Art Practices at Times of Crisis.
10th CEI Venice Forum for Contemporary Art Curators. Continental Breakfast 2022.
Venice, Academy of Fine Arts, Dorsoduro 423
Friday, 22 April 2022

programme

[11.00–15.00]

11.00 – welcome speeches:
RICCARDO CALDURA, director of the Academy of Fine Art in Venice
BARBARA FABRO, senior executive officer of the Central European Initiative
GIULIANA CARBI JESURUN, president of the Trieste Contemporanea Committee

11.20 – LORENZO FUSI, Italy:
– Moving Targets: Context-Responsive Curation in the Face of Adversity.
11.40 – BERAL MADRA, Turkey:
– Impact of Crisis and How to Keep the Spark Alive.
12.00 – MARINA GRŽINIĆ, Slovenia/Austria:
– Resist, Breathe, Block: Art Contrasted by Life.
12.20 – KONSTANTIN AKINSHA, Ukraine:
– Curating the End of the World.
12.40 – JANKA VUKMIR, Croatia, CRISTIANO CARLONI and STEFANO FRANCESCHETTI, Italy:
– Esso. Shadows Oozing Gold.
13.00 – ROBERTO PACI DALÒ, Italy:
– Amor Mundi.

13.20 – 13.30 – break time

– special contribution by ANDA ROTTENBERG. Poland
13.30 – INESE DABOLA, Latvia:
– RIBOCA3 Has Been Postponed.
13.50 – RUTH NOACK, Germany:
– In the Face of a Crisis – Seeking Nuance.

14.30–15.00 – debate and closing remarks

Watch the videos of each contribution

Over the last two years, a relentless series of challenging events have tested us individually and collectively. The Covid-19 pandemic (accompanied by increasing environmental emergencies, social conflict and open war in several countries) unexpectedly confronted us with a new sense of urgency, foregrounding new and existing socio-political and economic issues that we now must address. The current crisis in Ukraine only augmented a sense of emergency that we are beginning to understand as a permanent state of exception. We are indeed an endangered species and, tragically, our own worst enemy.

The arts, and culture at large, have been severely impacted by the pandemic. Many international exhibitions (such as biennials and periodical museum surveys) were halted or radically transformed to meet new legal public health requirements, demanding from practitioners and institutions to experiment with different engagement strategies and forms of communication. Crucially, we have adapted to living and operating in social isolation. Only a click away from anything we needed, we have nevertheless missed tactility, human interaction and bodily exchanges. War and social upheaval have, on the other hand, recentred our experience in the physical realm, pushing us back to the domain of physical vulnerability, ethical embodiment and body politics.

As someone who had the almost impossible task of curating a biennial at the apex of the Covid-19 pandemic and operating during a regional war that went largely ignored by the international media, I am acutely aware of the implications of making and presenting art in these difficult times. I would therefore like to invite colleagues and allies to share their recent experiences and see if there is something that we can collectively learn from this most dramatic period.

The current scenario only reinforced my conviction that although war is universally deprecated, it is still a defining feature of humanity. It is also clear to me that not all wars have the same relevance to the eyes of the international community and have a comparable impact on the global media. Ideas such as solidarity, intellectual allegiance, institutional support, cultural diplomacy, etc. seem to apply only to certain conflicts and situations. Others go on largely unacknowledged, perpetuating systems of exclusion and political invisibility. The present situation confirms that the art system is only capable of conditional empathy and hospitality: it ostensibly privileges only uncontentious narratives.

This symposium is an invitation to reflect jointly on a urgent questions associated with our profession. At times of crisis, what is our role as artists, curators, cultural mobilisers, intellectuals? And what is the role of the cultural institutions we represent and embody?

As Antonio Gramsci (among others) showed us, these are not easy questions to answer. It is however of the greatest importance to pose them at this historic juncture. Thank you for participating in this fundamental discussion.

Lorenzo Fusi

Convenor,
2022 CEI Venice Forum for Contemporary Art Curators

MAIN PAGE

The jury of the fourteenth International Design Contest Trieste Contemporanea BASICS composed of Giuliana Carbi Jesurun, Barbara Fabro, Emanuela Marassi, Roberto Paci Dalò, Paolo Tassinari and Janka Vukmir met on 10 March 2022 and decided as follows:

SELECTED PROJECTS
(which will then be published in the online catalogue of the competition, together with the awarded projects)

project “reeFree” – group Stefano Avondo and Beniamino Mecca (Italy)
project “RiUovo” – group Manila Baldelli, Elisa Dessena, Sara Pelliccioni and Angelica Vuocolo (Italy)
project “Barnaby” – Andrea Lo Jacono (Italy)
project “Elle” – group Ilaria Picchioni, Andrea Marini and Elena Salvador (Italy)
project “D” – David Síla (Czech Republic)
project “NOVA” – group Markéta Váradiová and Iva Kolorenčová (Czech Republic)

SPECIAL MENTION
project “Braided Textiles” – Katharina Halusa (Austria)

AWARDS
BEBA AWARD (€ 1000) for the youngest individual competitor to Yuliia Polozova (Ukraine) – project “SIGMA set”
CEI AWARD (€ 3000) to Oleg Vereshchagin (Ukraine) – project “Surface Friendly Carrier System”
GILLO DORFLES AWARD, for the best project (€ 4000) to Renáta Dezső (Hungary) – project “Co-ability”.

The date of the online publication of the catalogue and the date of the award ceremony will be communicated.

Shuai Peng, Istinctive reaction, 2020, courtesy the artist

As part of the conversations with the young international talent of contemporary art proposed by Trieste Contemporanea, the next event at Studio Tommaseo involves prof. Giacomo Agosti, professor at the Brera Academy and Chunmeng Yang, a contemporary art curator. On Thursday 24 March at 6 pm the two experts will talk with the artist Shuai Peng.

Amori paralleli (Parallel loves), 2021, still from video

Trieste Contemporanea is pleased to introduce, on Thursday 17 March at 6 pm, the view of 5 short films made during the 2021/2022 shooting and editing course of the IRES (Institute of Economic and Social Research – Istituto di Ricerche Economiche e Sociali) Friuli Venezia Giulia in the context of the PIPOL project (Integrated Employment and Labor Policy Plan – Piano Integrato di Politiche per l’Occupazione ed il Lavoro).

Meri Gorni, Esercizi del vedere (Exercises of Seeing), Corraini Editore 2019, courtesy the artist

Trieste Contemporanea is pleased to invite you, on Friday 25th February at 6 pm, to the presentation of the book Esercizi del vedere by Meri Gorni, with the introduction by Fulvio Dell’Agnese and Laura Safred.
Esercizi del vedere is the latest of Meri Gorni’s artist books. It consists of the relationship between drawings and texts. Through these materials, the artist develops one of the main themes of her artistic work: the boundaries between word and image.These unstable boundaries shift according to the themes, the type of language, the language itself. As the boundaries drawn by men on maps, they are arbitrary. They never entirely define the territories of reality but rather they run through them with the orientation tools constantly used by the artist: remembrance and the great literature of the twentieth century.

Meri Gorni works with drawing, photography, video and installation. She studied philosophy at the University of Milan and developed a creative and original relationship with literature and writers. Drawing and writing have the same root for her, and her favourite tool is the artist’s book, where she experiments different kind of relationships between words and images. One of her most relevant works, Il paradiso? Un libro (Paradise?A book), an installation begun in 2017, is still ongoing. Her books have been presented at Mart, Rovereto,2014; Palazzo Morando, Milan, 2015; Circolo Filologico, Milano, 2018; Casa di Parise, Salgareda, 2018; Chiostro del Piccolo Teatro, Milan, 2019; Palazzo Dandolo Parisi, Venice, 2021. Among the most recent works and books:Esercizi del Vedere (Exercises of Seeing), Corraini Edizioni, 2019; Debito d’amore (Debt of love), Campanotto Editore, 2017; Come promesso (As promised), Corraini Edizioni, 2013. She lives and works in Paderno Dugnano, in the Milanese plain.

Damir Sobota is the winner of the 2020 Radoslav Putar Award, an award for artists in Croatia up to 40 years of age. This 19th edition of the Award was also the first to be held in epidemiological circumstances, with the jury meeting being held online and hybrid for the first time. Giuliana Carbi Jesurun from Trieste Contemporanea was also a member of the jury that year, as one of the few members of the jury who participated in several of its convocations during its twenty-year history. And so has happened that the meeting of the jury and the artist unexpectedly led to an exhibition that had not been previously planned, which we are looking forward to openining. Although again, due to epidemiological reasons and delays, the exhibition is now finally realized with an 18-month delay from the originally planned date. In Trieste Sobota presents works that were exhibited at the final exhibition of the Radoslav Putar Award 2020 in Split, but also are added some recent works that were created after his residency in the Residency Unlimited program in New York and were recently exhibited at the Institute for Contemporary Art in Zagreb, which, as the founder of the Award, uses to organize a solo exhibition by all its winners.

Read here the presentation by curator Janka Vukmir (available also in Croatian).

Damir Sobota is an artist whose interest is concentrated around the possibilities and systems of geometry in the construction of artworks. In Croatia, there is a huge national corpus of works created within the framework of abstraction starting from the 1950s and the works of artists from the EXAT 51 group, which was upgraded over the decades to include exhibitions embraced by the New Tendencies, and later through elementary and primary painting and post-conceptual works from the 70s and on. Sobota, of course, without rejecting domestic sources, is primarily related to the geometric abstraction of international provenance. Born in 1988, he certainly accessed via Internet relevant information and literature and, firstly of course, through his education at the Zagreb Academy of Fine Arts.

His works, as he says, are created in series. Each series concentrates on a few questions, problems or challenges that he asks himself, and that make him decide in advance on the system he will apply to realize the works. He takes decisions based on research, but also intuitively, as he ultimately performs the work.

At Studio Tommaseo, he presents works from two series: Palindrome series – which he premiered in 2020 in Zagreb and which he later exhibited at the Radoslav Putar Award exhibition Finale 2020! in Split – and Systemic Paintings and Objects series – which he presented at the Institute for Contemporary Art in Zagreb upon his return from his residency in New York. For the exhibition in Trieste from the Palindrome series we singled out achromatic polyptychs of paintings / collages. The paintings consist of three separate elements that together form a whole, but in each individual element there is a legible geometric concept of congruence, which, like the linguistic palindrome, reads the same backward or forward. The collage paper was cut and glued in several layers making a balanced but not an identical mirror composition. Also, although they act as a binary composition of positives and negatives, of black and white, each image actually carries multiple tones of grey, blue and ochre.

In the works that composed at the end of 2021 the Systemic Paintings and Objects exhibition held at the Institute for Contemporary Art, Sobota is further developing his interests. The former interest in coloured field, minimalism, geometry, surface or line, now continues with questions of dimensionality and space. In the series of Systemic Paintings and Objects the congruence is only fictional: a reflection of the lines on a reflective, mirroring plexiglass. Machine-made objects bring their industrial anonymity to the works, but, as they return on their surface the image of the environment, visitors find themselves part of the exhibited object, and tucked among its leaves together with the gallery space itself. When I speak of “leaves”, it comes to my mind to associate them to Vojin Bakić’s Razlistane forme (leafy forms), except that Sobota does not speak with the surface but with the edge of the object, which gives concavity and convexity while to the surface are given only lines transmitted by reflection. Although these 3D works could function independently, on specially made pedestals that correspond to the shape of the object itself, they act and respond to the actual continuing lines of objects on the wall. Sobota presents these works on the wall as paintings, but in fact they are collages and even low reliefs on paper glued to MDF board, mimetically painted with wall paint to blend, into the gallery, with the surroundings. Although they are collages, these objects still are reliefs, and paintings (even if they are “collaged” reliefs and paintings). They evoke sotto voce the art history of white monochromes by Ben Nicholson, Agnes Martin, Lucio Fontana and a number of other artists who have dealt with the concept of space. All these objects are placed in the gallery so that, while they are approached, they offer different views in motion in which they intertwine and foster a systematic approach to their geometric components. The works thus gain certain processuality, movement and time, but also the traits of a game – and visitors, if they wish to be in it, may find their own key for reading works and interrelationships.

Novi radovi
Damir Sobota

Damir Sobota dobitnik je Nagrade Radoslav Putar, nagrade za umjetnike u Hrvatskoj do 40 godina starosti, 2020. godine. To njezino 19. izdanje bilo je i prvo koje se održalo u epidemiološkim okolnostima, pri čemu se i žiriranje po prvi puta održavalo online i hibridno. Te je godine članica žirija bila i Giuliana Carbi iz Trieste Contemporanea, kao jedna od malobrojnih članova žirija koji su tijekom dvadesetogodišnje povijesti nagrade u žiriranju sudjelovali u nekoliko njegovih saziva. I tako se dogodilo se ono čemu se uvijek radujemo, da susret žirija i umjetnika neočekivano dovede do izložbe koja nije ranije bila planirana. Iako opet, zbog epidemioloških razloga i odgađanja, izložba se konačno realizirala s 18 mjeseci kašnjenja od prvobitno planiranog termina. Na njoj Sobota predstavlja radove koji su bili izloženi na finalnoj izložbi Nagrade Radoslav Putar 2020. godine u Splitu, ali i s novim radovima, koji su nastali nakon rezidencijalnog boravka u programu Residency Unlimited u New Yorku, te su nedavno bili izloženi i u Institutu za suvremenu umjetnost u Zagrebu, koji kao osnivač Nagrade svim njezinim dobitnicima priređuje samostalnu izložbu.

Damir Sobota umjetnik je čiji interes je koncentriran oko mogućnosti i sistema geometrije u konstrukciji likovnih djela. U Hrvatskoj postoji golemi nacionalni korpus radova nastalih u okvirima apstrakcije počevši od pedesetih godina prošlog stoljeća i radovima umjetnika iz grupe EXAT 51 koji se tijekom daljih desetljeća nadograđivao kroz razdoblje koje obuhvaćaju izložbe Novih tendencija, a kasnije kroz elementarno i primarno slikarstvo te post-konceptualne radove od 70ih godina nadalje, Sobota je naravno, ne odbacujući domaće izvore, ipak primarno vezan uz geometrijsku apstrakciju međunarodne provenijencije. Rođen 1988., imao je dakako na raspolaganju dostupne informacije i literaturu kakvu je omogućio ne samo Internet, i naravno, školovanje na zagrebačkoj Akademiji likovnih umjetnosti.

Njegovi radovi, kako sam kaže, nastaju u serijama. Svaka serija koncentrirana je oko nekoliko pitanja, problema ili izazova koje si sam zadaje, i unaprijed odlučuje o sistemu koji će primijeniti napri realizaciji radova. Odluke donosi temeljem istraživanja, ali i intuitivno, kako na koncu izvodi radove.

U Studio Tommaseo, predstavlja radove iz dvije serije, Palindrom, koju je premijerno predstavio 2020. godine u Zagrebu i s kojom je nastupio na izložbi Finale 2020! Nagrade Radoslav Putar u Splitu, te serijom Sistemske slike i objekti, koju je predstavio u Institutu za suvremenu umjetnost u Zagrebu po povratku s rezidencijalnog boravka u New Yorku.
Za izložbu u Trstu iz serije Palindrom izdvojili smo akromatske poliptihe slika/kolaža. Slike se sastoje od tri odvojena elementa koji zajedno čine cjelinu, ali je i u svakom pojedinačnom elementu čitljiv geometrijski koncept sukladnosti, koji se kao i jezični palindrom može čitati s početka i s kraja jednako. Kolažirani papir izrezivan je i lijepljen u više slojeva čineći uravnoteženu, ali ne sasvim identičnu zrcalnu kompoziciju. Također, iako djeluju kao binarna kompozicija pozitiva i negativa, crnog i bijelog, svaka slika zapravo nosi više tonova sivog, plavog i okera.

Svoje interese Sobota razvija dalje i u radovima na izložbi Sistemske slike i objekti krajem 2021. u Institutu za suvremenu umjetnost. Raniji interes za obojeno polje, minimalnost, geometriju, plohu ili liniju, sada nastavlja pitanjima dimenzionalnosti i prostora. U seriji Sistemskih slika i objekata, sukladnost je samo fikcionalna, ona je odraz linija na reflektirajućem, špiglirajućem pleksiglasu. Strojno izrađeni objekti donose radovima svoju industrijsku anonimnost, međutim kako u svoju površinu uvlače sliku okoline, svaki posjetilac izložbe nađe se dijelom objekta, uvučen među njegove listove, kao i sam prostor galerije. Kad već spominjem razlistanost, spomenut ću, kao asocijaciju i Razlistane forme Vojina Bakića, samo što Sobota ne govori površinom, već rubom objekta, kojemu daje konkavnost i konveksnost, dok površini dodjeljuje samo liniju koji dalje prenosi refleksija. Iako bi mogli samostalno funkcionirati, na posebno izrađenim postamentima koji korespondiraju s formom objekta samoga, oni korespondiraju s objektima na zidu, gdje se zapravo linija s objekta i nastavlja. Sobota te objekte na zidu predstavlja kao slike, ali oni su zapravo kolaži, pa čak i plitki reljefi od papira na MDF ploči, mimetički obojani bojom za zid, da bi se izloženi u galeriji stopili s okolinom. Iako su kolaži, ti objekti su i dalje reljefne, kolažirane slike. One sotto voce prizivaju povijest umjetnosti bijelih monokroma, Bena Nicholsona, Agnes Martin, Lucia Fontane i niza drugih umjetnika koji su se bavili konceptom prostora. Svi su ovi objekti postavljeni u galeriji tako, da dok im se pristupa, u pokretu nude različite vizure u kojima se oni međusobno isprepliću i nude vizure koje otkrivaju sistemski pristup geometrijskim elementima radova. Radovi time dobivaju izvjesnu procesualnost, pokret i vrijeme, ali i igru u kojoj svaki posjetitelj može pronalaziti vlastiti ključ za čitanje djela i njihovih međusobnih odnosa, ako želi participirati.

At the end of the celebrations dedicated to Dante Alighieri, whose 700th anniversary occurred in 2021, Trieste Contemporanea is pleased to present Dante a Varsavia. La mostra che non c’è.

a conversation by Jarosław Mikołajewski
Tuesday 25 January, 6.30 pm
online event on the Trieste Contemporanea website

Rapsodia dantesca e L’amore e l’altre stelle
Video presentation and conversation by Sara Alzetta with Giovanni Spano
Wednesday 26 January, 6.30 pm
Trieste, Studio Tommaseo, via del Monte 2/1
How to access the event:
Reinforced “Super” Green Pass  and ffp2 face mask

YouTube

Damir Sobota, Palindrom 6, 2/3, 2019, collage, paper on canvas, varnish, 100 x 270 cm,  courtesy the artist

25-26 January, 2022
Dante in Warsaw: The exhibition that doesn’t exist
a conversation with Jarosław Mikołajewski
with a contribution by Sara Alzetta

from 28 January to 8 March 2022
Damir Sobota
a solo exhibition by the winner of the 2020 Radoslav Putar Award
in co-production with the Institute for Contemporary Art, Zagreb

25 February 25, 2022
a conversation with artist Meri Gorni and Laura Safred and Fulvio Dell’Agnese

from 12 March to 30 April, 2022
a solo exhibition by Lorenzo Gatti

by March 2022
Young European Artist Trieste Contemporanea Award 2022
the call will be open to under 30 artists’ submissions

by April 2022
Storia dell’arte in Europa by Decio Gioseffi
first presentation of the book

To give the opportunity to participate to the highest number of students, the category most afflicted by the Covid-19 period that Trieste Contemporanea Committee wants to support, it is possible to participate in BASICS, the 14^th edition of the International Design Contest Trieste Contemporanea until the 27^th of February 2022.

BASICS RULES

Inga Galinytė and Denisas Kolomyckis, Tension of relaxation, 2021, performance, in collaboration with Contemporary Dance Association (LT), courtesy of the artists.

Trieste Contemporanea on the occasion of the 17th edition of the Day of Contemporary AMACI is pleased to present on Saturday 11 December 2021 at 3 pm, Lithuanian Videospritz. The event will consist of the screening of video documentation of recent performances by Inga Galinytė and Jurga Juodytė.
Lithuanian Videospritz is a co-production of Trieste Contemporanea and the Lithuanian Culture Institute. It avails itself of the patronage of the Embassy of the Republic of Lithuania in Italy and it is organized in collaboration with the Lithuanian interdisciplinary Artists’ Association.

Lithuanian Videospritz.
Inga Galinytė / Jurga Juodytė

talk 10 December, 6.30pm
screening 11 December,  3 – 8pm

Trieste Contemporanea
via del Monte 2/1
34122 Trieste

Paolo Cardazzo in the seventies (photo by Gabriella Cardazzo)

The award ceremony for the 2021 Paolo Cardazzo Prize took place yesterday in Venice.

The Prize was instituted by Gabriella Cardazzo in memory of her brother. In 2021 it is in its first edition, which relies on the support of the Artspace association and Trieste Contemporanea and the collaboration of Luigino Rossi. It is a prize for the production of an artistic project, a type of prize still quite rare in Italy. It provides for a contribution of € 5,000 to be awarded to an artist under the age of 40, who has been invited to submit for the award a project of an unpublished work that can be created through the different expressive forms of the contemporary.

For the first edition, an international group of expert selectors proposed 18 applications by artists from Bosnia, France, Great Britain, Italy and Serbia.

The selection committee was composed by: Claudio Ambrosini: visual artist and composer. Golden Lion at the 51st International Festival of Contemporary Music at the Venice Biennale (Italy); Mario Sillani Djerrahian: creative photographer and anthropologist of the image, former President of the La Cappella Underground Center in Trieste (Italy); Manuel Frara: researcher between image and sound. He teaches visual arts at the Academy of Fine Arts in Venice in the Chair of Painting (Italy); Carlo Montanaro: film historian. Professor and Director at the Academy of Fine Arts in Venice and founder of the Fabbrica del Vedi in Venice (Italy); Helmutas Šabasevičius: artist who offers new proposals between visual art and theater (Lithuania); Leon Tarasewicz: artist, formerly present at the Venice Biennale International Art Exhibition. He teaches at the Academy of Fine Arts in Warsaw (Poland); Gian Carlo Venuto: professor of visual art and color theory at the Academy of Fine Arts in Venice, Milan and Turin (Italy); Andrzej Wełmiński: actor and set designer. He participated, from 1973 to 1990, in the theatrical performances of the Cricot 2 Company directed by Tadeusz Kantor (Poland); Alberto Zanchetta: art critic and curator. Director of the Museum of Contemporary Art in Lissone. He teaches at the Academy of Fine Arts in Urbino (Italy).
The recruiters were asked for the same form of freedom of choice in identifying new possible perspectives for the realization of a project that brings art back to the center of meanings and values ​​for the human being.

The jury composed of Giuliana Carbi Jesurun, Gabriella Cardazzo, Fulvio dell’Agnese, Luigino Rossi, Catherine Thieck and Janka Vukmir decided to assign the prize ex aequo to the Italian artists Silvia Hell for the project  Non c’è opera d’arte che non faccia appello a un popolo che non esiste ancora  and Giulia Iacolutti for the project Dopamina. Uno studio visivo sugli ormoni dell’amore, artists invited respectively by Alberto Zanchetta and Gian Carlo Venuto. The jury, congratulating on the high level of all the projects received, also decided to report with a special mention the works of Enrico Antonello, Furio Ganz and Mattia Ruffolo, Davide Mancini Zanchi, Miriam Montani, Genevieve Murphy, Francesco Poiana and Dominik Ritszel.

The awards ceremony saw contemporary art experts and authoritative Venetian representatives of the sector present. It was also decided that a catalog of the projects of the winners and the artists who received the mention will be published. As for the exhibition of the winners envisaged by the Award, Trieste Contemporanea will inaugurate the exhibition on 21 October 2022 and the exhibition can be visited until 16 November.

Paolo Cardazzo (Venice 1936 – 2011) from 1966 to 1994 (until 1987 with his sister Gabriella) directs the Cavallino gallery in Venice (opened by his father Carlo in 1942), extending the interest of one of the important Italian historical galleries to experimental experiences of video art. Paolo, using the first not yet professional videotapes at the end of the 1960s, led Il Cavallino di Venezia to be one of the three major Italian centers that in the 1970s dedicated themselves to research and artistic production through this new medium involving Italian artists (Vincenzo Agnetti, Claudio Ambrosini, Anna Valeria Borsari, Pier Paolo Fassetta, Michele Sambin, Guido Sartorelli, Mario Sillani, Luigi Viola) and foreigners (including Marina Abramović, Douglas Davis, Les Levine). The Cavallino then produced (up to 1981) almost 150 works that had a notable national and international circulation, some of which mark the history of this language.

Online (onYouTube) on Saturday 13 November at 6.30 pm a conversation with Valentina Valentini, Benedetta Carpi de Resmini and Tom Rankin.

Gary Brackett and Martin Reckhaus, <em>Job’s Lament</em>, still from the film

Tuesday 2 November at 6.30 pm Trieste Contemporanea (Studio Tommaseo, via del Monte 2/1), hosts an invited preview of the medium-length film Job’s Lament, by Gary Brackett and Martin Reckhaus produced by Loretta Auditorium and The Alchemical Studios NYC.

Director’s notes

A daily business!
You hear and read of the suffering of the people of our planet.
New explanations—of the why—arrive almost instantaneously.
We find ourselves globally united in suffering, or the knowledge thereof.
Who are we?
Information of us is information among us!
The ones enjoying peace wonder who we are on earth as a whole—the people.
We cry out, we lament!
The Book of Job comes, arrives as presence from the ancient past of our cry.
Time has not obscured the pages of the poet.

Deprived of meaning, can we still speak at the abyss of language, to whomever listens?
Are we but a mistake of nature, something made to behave (suggested by many among us), or do we correspond, seeking justice, unknowing, but at heart determined?

These are the matters of Job. His body, the world, broken; only his voice remaining—he demands an answer!

We came across The Book of Job while looking for a present for a friend at the Jewish Museum of Berlin. The scholar Gershom Scholem was our guide in recognizing the heritage of being human in times of crisis.

Martin Reckhaus
Trieste, October 28, 2021

The judging panel for BASICS, the 14th Trieste Contemporanea International Design Contest, consists of international experts and representatives from the Central European Initiative and Trieste Contemporanea:

Giuliana Carbi Jesurun, art historian, Trieste Contemporanea representative
Barbara Fabro, CEI Senior Officer, CEI representative
Emanuela Marassi, artist, BEBA Foundation representative
Roberto Paci Dalò, artist and professor of Interaction design at the University of San Marino
Paolo Tassinari, graphic designer, member of the AGI Alliance Graphique Internationale
Janka Vukmir, art curator, Institute for Contemporary Art, Zagreb

14th
international
design
contest
triestecontemporanea
2021

We are pleased to announce that registrations for BASICS the Trieste Contemporanea 2021 International Design Competition are open!

The deadline for registration is
24.00 (Italian time) of 12 December 2021
EXTENDED until the 27th of February 2022

Registration is free.

Designers from 24 countries in Central Eastern Europe are asked to propose and design a basic object fit for serviceable use consider, iconic of the process of change underway.

The contest is promoted by the Trieste Contemporanea Committee and is under the auspices of the Central European Initiative.

The Trieste Contemporanea website will publish the names of the members of the jury (by 22 October 2021) and the final resolutions (by March 2021).

read the announcement
read the catalogue

The works SELECTED by the jury will be published in an online catalogue on the Trieste Contemporanea website.

BEBA PRIZE 2021, for the youngest designer individually participating, among those selected: € 1000.
CEI PRIZE 2021, for the best design from one of the non-EU CEI countries: € 3000.
GILLO DORFLES PRIZE / FIRST PRIZE TRIESTE CONTEMPORANEA 2021, for the best design 2021: € 4000.

What is Trieste Contemporanea International Design Contest?
The competition is open to all designers born in CEI member states (Albania, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Hungary, Italy, Moldova, Montenegro, North Macedonia, Poland, Romania, Slovakia, Serbia, Slovenia and Ukraine) in compliance with its purposes. The 2021 edition of the contest has been extended to designers born in Austria, Estonia, Germany, Kosovo*, Latvia, Lithuania and Turkey as well. Any groups competing should consist exclusively of members born in the countries listed above. Any groups wishing to participate should fill out the application form with the name of the group leader and list the names, countries and dates of birth of the other group members. (*This designation is without prejudice to positions on status, and is in line with UNSCR 1244 and the ICJ Opinion on the Kosovo declaration of independence)

What do I have to propose to participate in Trieste Contemporanea International Design Contest?
You are asked to conceive an original and innovative item of contemporary design taking into account sustainable development objectives.
While reflecting on new meanings and purposes, which also objects and tools take when addressing sustainable goals or facing contingencies (e.g. as it occurs during an unprecedented outbreak), propose and design a basic object fit for serviceable use you consider iconic of the process of change underway. Read the 2021 call

Can I participate with a project that I have already published online?
NO, the project must be unpublished.

How do I participate in the Trieste Contemporanea International Design Contest?
To participate you have to fill the online form that you find here

Can I participate with my group?
Yes, you can participate with a group of designers. Each member of the group must have been born in the aforementioned countries.

I was not born in one of the foreseen countries but I have the citizenship of one of the above-mentioned countries. Can I take part in the contest?
Unfortunately not! The “Trieste Contemporanea International Design Competition” is strictly dedicated to designers born in these countries and not people who reside permanently in these countries.

What is the registration fee?
The competition does not include any registration fees.

What are the documents I have to send to participate?
the requested material are:

– candidate’s CV;
– a copy of the Identification Document of the single candidate/group leader;
– the project of the design object conceived for the competition (which should be unpublished), containing all the information required for its production;
– an account describing the rationale behind the conception of the new design object created.

How should I send the material to participate in Trieste Contemporanea International Design Contest?
Registration must be completed online at:
www.triestecontemporanea.it
Applications that are incomplete or submitted to the organising committee by any means other than the online system will not be accepted.

What is the format of the file that I can send and what is the maximum weight allowed? 
JPG format, max 3MB for the image or illustrative documentation of the source of inspiration.
For any technical  problems, write to info@triestecontemporanea.it

What document do I have to attach to the application to certify my country of birth?
Identity card (valid) in JPG format.

When does participation in the call expire?
The competition ends: 27 February 2022 by 11.59pm (Italian time).

What are the prizes?

– BEBA PRIZE 2021, for the youngest designer individually participating, among those selected: € 1000.
– CEI PRIZE 2021, for the best design from one of the non-EU CEI countries: € 3000.
– GILLO DORFLES PRIZE / FIRST PRIZE TRIESTE CONTEMPORANEA 2021, for the best design 2021: € 4000.

How do I know if my project has been selected? 
The results of the competition will be available on the website www.triestecontemporanea.it. They will also be announced by the organizers through the international media.

Who is the jury composed of?
The panel of judges consists of international experts and representatives from the Central European Initiative and Trieste Contemporanea.
The Trieste Contemporanea website will publish the names of the members of the jury 22 October 2021 and its decisions by March 2022.
The judges’ evaluations are unquestionable.

Gian Carlo Venuto, Sepolcri imbiancati, 1976 cm 145×145, Lubiam Award 1976 (photo courtesy Ciol)

Read more

Gian Carlo Venuto
Chiaro attivo 1973-1979.
Opere pittoriche a margine di Villa Fulcis.
Musei Provinciali di Gorizia / Palazzo Attems Petzenstein
14 September – 17 October 2021
10am- 6pm closed on Mondays

sarà il mare, courtesy Eleonora Cedaro, (photograph by Ana Laura Pascale)

Sunset timetable at the end of the dock

Wed 22/09 h. 7.02 episode 8 Alessandra Zucchi and Antonio Della Marina

go to the main page: sarà il mare

sarà il mare, courtesy Eleonora Cedaro, (photograph by Ana Laura Pascale)

Sunset timetable at the end of the dock

Mon 13/09 h. 7.20 pm episode 7 Davide Coppola

sarà il mare, courtesy Eleonora Cedaro, (photograph by Ana Laura Pascale)

Sunset timetable at the end of the dock

Mon 30/08 h. 7.46 episode 6 Giulia Iacolutti

go to the main page: sarà il mare

Read more

Info:
info@raveresidency.com
www.raveresidency.com
+39.324.8628511
+39.348.7450871

sarà il mare, courtesy Eleonora Cedaro, (photograph by Ana Laura Pascale)

Sunset timetable at the end of the dock

Mon 16/08 h. 8.11 episode 5 Roberto Fabrizio

go to the main page: sarà il mare

sarà il mare, courtesy Eleonora Cedaro, (photograph by Ana Laura Pascale)

Sunset timetable at the end of the dock

Mon 02/08 h. 8.48 pm episode 4 Marta Melucci

go to the main page: sarà il mare

sarà il mare, courtesy Eleonora Cedaro, (photo by Ana Laura Pascale)

Sunset timetable at the end of the dock

Mon 19/07 h. 8.48 pm episode 3 Elisa Copetti

go to the main page: sarà il mare

preparation of the exhibition I don’t care (about football), 2021

13 July at 6.00 pm finissage of Giulia Iacolutti’s solo exhibition I don’t care (about football).

On the occasion of the finissage Trieste Contemporanea proposes a discussion about relational art with Igor Peres (Marangoni 105), Renato Rinaldi, Lorenzo Scalchi.

Read more about the exhibition

sarà il mare, courtesy Eleonora Cedaro

Sunset timetable at the end of the dock

Mon 05/07 h. 8.57 pm episode 2 Michela Lupieri

go to the main page: sarà il mare

sarà il mare, courtesy Eleonora Cedaro

Sunset timetable at the end of the dock

Lun 21/06  8.58 pm episode 1

Giulia Tollis, a freelance Friulian playwright who works with theatres, companies and training institutions. Co-founder and playwright of Teatro dei Gordi, she co-directs Guinea Pigs Performative Art Laboratory, works with Wundertruppe Collective and teaches playwriting at the Civica Scuola Paolo Grassi in Milan. Since 2014 she has been part of the team of MateâriuM, a laboratory of new dramaturgies dedicated to those who love writing and theatre in San Daniele del Friuli.

go to the main page: sarà il mare

P. Pisani – I. Penov, I’M h, 2020, still video

The evening is dedicated to the screening of the latest video produced by the Trieste artist together with the Macedonian musician, and to a conversation with the authors.

Due to restrictions, two replicas/sessions are scheduled with booking required.
It is an immersive video focusing on obsessive perception and exploring the theme of urban noise pollution. Made in 2020, I’M h originates from careful consideration during the first wave of the pandemic, when the slowdown in human activities unexpectedly brought out the “silence” and thus emphasized the “noises” of the city.

The letter h is the symbol of the quantum, the constant with which Max Planck indicated the minimum action of energy.
Provocatively, Pisani takes inspiration from Planck to open a discussion on the subject of noise pollution: she identifies this constant h of energy in the background noise to which we are continuously exposed (which may also cause sensory damage and psychophysical discomfort, alterations in the biorhythm and so on). The artist tells us that her work aims to induce in the spectators a “silence” that is a state of mind, resistance and resilience: «it is an invitation to an inner journey, a sort of contemporary meditation. It follows a precise visual and sound score that makes it a perfect post-industrial harmony between heaven and earth, male and female, yin and yang. The reference to the mandala, the rosette, the circle, the circadian rhythms takes time out of time, to a point of rediscovered beginning, continuously changing and personal. Each of us is h».

The thirty-minute video offers only two types of images – sky and flowers (enlarged under a microscope) that follow one another incessantly – while the audio track “abstracts” into an extremely dense, almost deafening sound mass an urban landscape saturated by too many sound sources (extrapolating data from a map of environmental recordings and processing them with algorithms, in the sound processing phase, as very low and low sounds).
In the overall audio-visual work, the visual component interacts closely, in a contrasting and deep, visceral way, with a not simple sound part, inspired by the new age. The crescendo of editing, after overcoming the first physically very strong sensory barrier, opens a breach in the world of perception.

Paola Pisani is a multimedia artist who works in the field of plastic, visual and performing arts both in Italy and abroad. She is interested in the combination of nature and culture, in the processes of inclusion and participation and in artistic research in the scientific field. A versatile artist, she expresses herself mainly in immersive installations and theatrical performances focusing on ecology, memory and the feminine. In Trieste she is an active member of Gruppo78 International Contemporary art and a yoga teacher.

Ivan Penov is a musician and multimedia artist who focuses on the dialogue between sound and image, in particular on their interchangeable forms and functions (between sound, as a figurative and narrative element, and moving image, as a musical and rhythmic entity based on time). He uses audio-visual materials based on multimedia field recordings (enhancing actions, situations and processes that he usually finds in rural and everyday environments). His projects address post-global and post-rural issues and often involve composers, choreographers, musicians and visual artists.

Liliana Moro, underdog, 2005

This year sees a remarkable resident artist at 2021 RAVE – East Village Artist Residency, the annual residency program in the countryside of Friuli, which hosts a leading international artist each summer, inviting them to undertake their research in this specific context.
RAVE is a metaproject created by Tiziana and Isabella Pers and Giovanni Marta, which brings together contemporary art with the need to look towards a bio centric perspective and promote the research and diffusion of contemporary art through anti-speciesist thinking.
This year the spirit of RAVE will be interpreted by the outstanding artist Liliana Moro, participant at Italian Pavilion of the Venice Biennale 2019, and many other exhibitions in museums and institutions. Among them: Castello di Rivoli Museo d’Arte Contemporanea, Museo MAXXI and Galleria Nazionale di Roma, PS1 New York, Palazzo Grassi Venezia, Triennale Milano, MoCA Shanghai, Moderna Museet of Stockholm.

Shortly after her arrival, Liliana Moro will meet the public at a talk at Trieste Contemporanea in Trieste, on Saturday 22nd May at 6pm, in conversation with Claudio Libero Pisano, curator and professor of Contemporary Museology at Rome Academy of Fine Arts.
The talk will be introduced by the artist Isabella Pers and by the Trieste Contemporanea director Giuliana Carbi. The event will be on line in live streaming, on Facebook and YouTube channels of Trieste Contemporanea.
Some tickets in presence will be available on Eventbrite platform (https://www.eventbrite.it/e/biglietti-liliana-moro-a-rave-2021-sabato-22-maggio-ore-18-154446817589).

Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world
that “stages” a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is
visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from an use of a minimal language: it is a rather something the artist triggers
both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use.
A prominent element in Liliana Moro’s research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension – both physical and poetical – produced from this relation.

Liliana Moro was born in 1961 in Milan, where she lives and works. She graduated from the Accademia di Belle Arti di Brera a Milan, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di via Lazzaro Palazzi in Milan, active until 1993. Liliana Moro has shown in major international group exhibitions and solo show includine: Documenta IX, Kassel; Aperto XLV Venice Biennale; Castello di Rivoli, Turin, Quadriennale Rome, Moderna Museet, Stockholm , PS1 ,New York , De Apple, Amsterdam, Palazzo Grassi Venice, MAMbo Bologna, MART Rovereto, Triennale Milan; MAXXI Rome, Galleria Nazionale d’Arte moderna Rome, 58° Biennale d’Arte Padiglione Italia, Venice;
Galleria Emi Fontana Milan, MUHKA Antwerpen; Italian Cultural Institute of Los Angeles, Fondazione A.Ratti, Como, Fondazione Zegna All’Aperto, Trivero, Cubo Garutti/ Museion Bolzen, Galleria Francesco Pantaleone Palermo/Milan, Galleria de Foscherari Bologna.

RAVE deals with the role and responsability of contemporary art in relation to the animal issues. RAVE promotes research and multidisciplinary dialogues between contemporary art, science, architecture and philosophy. It is an experimental project that takes place in the countryside in Friuli, in an historical “borgo” inhabited by animals rescued from the slaughterhouse.

RAVE is realized in collaboration with Trieste Contemporanea, ALL/Università di Udine, Gallinae in Fabula, L’Officina, Musiz Foundation, comune di Trivignano Udinese, Comune di Manzano, with the support of the Region Friuli Venezia Giulia. Main partner: Vulcano agency.

INFO:
www.raveresidency.com
info@triestecontemporanea.it

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To watch the movie Return From The Future (43′, HD, 2019) on Tuesday and Friday at 6.30pm. Book your visit by sending an email to: info@triestecontemporanea.it.

Emanuela Marassi, Giornale (journal), 1978, rice paper, tulle and thread, 60×85 cm

On 12 May 2021 the Gandy Gallery will open in Bratislava a solo exhibition by artist Emanuela Marassi. Until 30 July there will be on display in the Slovak capital city for the first time ever, the legendary tulle works by the Italian feminist artist, collected under the exhibition’s title SOFT DIARIES 1978-1981.

Gandy Gallery
Sienkiewiczova 4
81109 Bratislava
Slovakia
www.gandy-gallery.com

Bishkek (Kyrgyzstan): M. Frunze Memorial House Museum, 1967.
courtesy: Ştefan Rusu

We are pleased to invite you at Trieste Contemporanea’s on Friday 7 May, 6 pm, at the opening of Endangered Species: A plea for a Red Book of Soviet Modernism, a first Italian exhibition by Moldavian artist Ştefan Rusu.

The exhibition is the outcome of a research – part of Rusu’s “Insular Modernities” project – focused on socialist architecture from Central Asia, that includes a juxtaposed photo-series of endemic plants and modernist buildings and the documentary film “Return From The Future”. The research was undertaken during an extensive stay and several trips in Tajikistan and Kyrgyzstan between 2013-2019.

Rare and endangered species, biodiversity conservation, protection of Flora and Fauna, Red Book are frequently discussed topics in the last few decades. Soviet Union’s tools used for biodiversity conservation were the Red Data Books. The “Red Book of the USSR” was established in 1974 and was first published in 1978, which included species of rare plants (and species found in the territories of Kyrgyzstan and Tajikistan as well). The last edition of the Red Book was published in 1985. Since then, with few exceptions, the lists have not been revised and the Red Book has not been reprinted. The Flora of Kyrgyzstan and Tajikistan is still incompletely explored. Many plants have never been illustrated, some of them being confined to a few mountain ranges or even to small valleys.

For Ştefan Rusu to put side by side images of soviet architecture from Central Asia (Kyrgyzstan and Tajikistan) and images of rare plants from those countries, imply a different angle of interpretation of architectural heritage: not only as single buildings, but also as a context that needs an approach similar to the one used for endangered species and their protection. Artist’s activity stresses that architectural heritage of the immediate past (as in the case of modernist aesthetics) is directly connected with present and future urban developments and shows that, however, this preservation is problematic in current socio-economic situation and urban context (in some cases even dramatic) because of a lack of social awareness of historic significance and value of these unique monuments: Rusu’s photo-series and the documentary are an attempt to change this perception.
Some buildings, like those depicted in the “Return From The Future” documentary, are listed as national heritage and therefore protected by the state. However, some buildings are in decay and are not maintained and preserved according to their status because of a weak and inefficient application of the law.
The starting point for Rusu’s juxtaposed plants and architectures it has been the Museum of M. Frunze – a modernist building in Bishkek, designed by G. Kutateladze and Y. Karikh in 1967. In this museum’s collection there is an impressive herbarium (about 1200 items) assembled by soviet revolutionary M. Frunze during his childhood. The herbarium is a poetical reference to Frunze’s unfulfilled path to dedicate his life to natural science.

The state of conservation and the need to preserve modernist architecture, such as this Museum in Kyrgyz capital city, is the subject of documentary and exhibition that are now presented in Trieste: Ştefan Rusu continues a path covered by Trieste Contemporanea’s investigation in these topics in the last period – as it was the case of the 2020 exhibitions Stocznia/Cantiere by Polish artist Michał Szlaga and Dismantling Structures by Croatian artist Željko Kipke.

Ştefan RUSU (b. 1964 in Kâietu, Moldova – artist, freelance curator, editor, and filmmaker). Through artistic, performative, installative and documentary projects, critically contextualises the political transformation processes after 1989, and the changes occurring in post-socialist societies, that influenced the way people and communities nowadays relate to the use of public space. In his artistic and curatorial practice analytic interest is focused on the impact of current urban transformations and interventions and on the way the present time is affected by the authoritarian implementation of past political ideologies in urban planning, social policies, economic strategies, citizen education and daily life.
Ştefan Rusu is the editor of: Spaces on the Run (2015), Reimagining the New Man (2014), Chisinau-Art, Research in the Public Sphere (2011), RO-MD/Moldova in Two Scenarios (2008). In 2012 he directed Reclaiming the City, a film commissioned by the 7th Berlin Biennial, which reflects on socio-economic structural changes and the physical transformation of the city following the dismantling of the Berlin Wall and the impact of gentrification processes on public space. In 2018 he participated in TAB Tbilisi Architecture Biennale – “Buildings are not enough” with the site-specific installation Block 89. His recent project, Insular Modernities, explores how phenomena of socialist architecture are maintained and perceived in the peripheries of the former Eastern Bloc and it analyses in various formats (exhibitions, publications, documentaries, social networks, etc.) modernist architecture heritage from Central Asia.

RETURN FROM THE FUTURE
43’, HD transferred to DVD, 2019
Camera: Azat Ruziev
Image editor: Denis Bartenev
Sound designer: Denis Bartenev
Directed by: Ştefan Rusu

The title refers to the plot of the science fiction novel Return from the Stars by famous Polish writer Stanisław Lem (in which pilot Hal Bregg returns from a space expedition after 127 years, a time during which life on the Earth has radically changed): the novel discusses the ideas of social alienation, cultural shock and dystopia, which is synchronized with the current state of the city, and the cosmonaut resembles an architect that returns to the site he created in another century.

Return From The Future is a visual essay on the current state of conservation of soviet modernist architecture of Bishkek city. A particular aspect of this investigation is the changing status of the buildings from its former ideologically charged function and position in the society. E.g., the State History Museum (former V. Lenin Museum) or the Gapar Aytiev Fine Art Museum, which suddenly lost their significance with the collapse of Soviet Union, during which the two buildings and collections have been the main instruments to shape the society and the new man – the builder of advanced socialism according to Marxist thought and principles. The film is an overview of the state of conservation of the buildings listed as national heritage, but also an overview on recent urban changes and transformation occurred in Bishkek after the ’90. Film was produced as part of Insular Modernities, a series of documentaries about modernist architecture in Central Asia.

OPENING BOOKING
To attend the opening of the exhibition, please register at: link: https://www.eventbrite.it/e/biglietti-endangered-species-a-plea-for-a-red-book-of-soviet-modernism-151684072143 and select one of the following time slots:
1. 6pm-6.20pm (interview with the artist);
2. 6.20pm-7pm (film screening);
3. 7pm-7.20pm;
4. 7.20pm-7.40pm;
5. 7.40pm-8pm.

VISIT TO THE EXHIBITION
The exhibition will be open until 15 June 2021, by appointment: please send an email to info@triestecontemporanea.it (if you also want to watch the film, please specify it in your request).
Opening hours at the Studio Tommaseo:
Tue. – Sat. from 5pm to 8pm.
Free entrance.

Autopalo + Gli Impresari, Il Posticipo, 2019, sound installation at Giorgio Ferrini Stadium – Trieste,
photo: Marco Di Giuseppe

“The sound of public space. Sound installation and public art.” on Thursday, 22 April 2021 at 6.30 pm.

Streaming on Facebook and YouTube channels of Trieste Contemporanea.

One Hundred Desires for Harbour for Cultures, 2018, by transparadiso

Thursday 8 April 2021 at 8 pm Giuliana Carbi and Barbara Holub will be guests on the Salonette website:
https://us02web.zoom.us/j/88510432025?pwd=VHI3Q1Q1ZWpxYWFCNWltSU9NZHF2QT09

Read more: https://salonette.at/

On Friday, 26 February 2021, at 7 pm, Trieste Contemporanea presents #Connectimprovisation in a live streaming on https://www.facebook.com/TriesteContemporanea

portrait of Marko Sosič, courtesy Dubravka Cherubini

On Wednesday, 10 February 2021, at 9 pm, Gary Brackett will read the short story “Biography of Fugacity”: an intense portrait of his friends Breda Beban and Hrvoje Horvatić, which the writer and director offered as contribution to the symposium held in Trieste in 2017 on the art and life of Breda Beban.

Thanks to the precious grant of MiBACT in support of publishing, we are happy to inform you that the catalogue of the Trieste Contemporanea library is enriched with new volumes on Eastern European art, aesthetics, iconology and more!

These are some of new titles that you find in our catalogue:

Martino Stierli, Vladimir Kulic, Toward a concrete utopia: architecture in Yugoslavia, 1948-1980, The Museum of Modern Art, 2018

Aby Warburg, Bilderatlas Mnemosyne, Hatje Canz, 2020

Hito Steyerl, Duty free art: art in the age of civil war, Verso, 2019

Klara Kemp-Welch, Networking the Bloc: experimental art in Eastern Europe, 1965-1981, The MIT Press, 2018

Bernd & Hilla Becher, Typologies, Mit, 2004

The catalogue is available online on the Biblioest website.

https://www.biblioest.it/SebinaOpac/.do

Enjoy the reading!

For the Piccolo Animation Festival today at 6.50pm Live Spritz. Giuliana Carbi Jesurun presents the performance of Teresa and Andrzej Wełmiński “Circulus viteosus” which was held at Studio Tommaseo in November. More information at: www.piccolofestivalanimazione.it

Roberto Paci Dalò presents HA on Ö1 Kunstradio – Radiokunst. Live streaming starts at 11:03 pm. Read more: https://haarendtrieste.tumblr.com/

watch now:
www.artspace.it

a TRIBUTE to TADEUSZ KANTOR
a project by Gabriella Cardazzo
in collaboration with Trieste Contemporanea and Interno3
an ARTSPACE production

ARTSPACE is pleased to present a TRIBUTE to TADEUSZ KANTOR produced in collaboration with Trieste Contemporanea and Interno3, which will be available online from 8 December at 6 pm on: www.artspace.it

a TRIBUTE to TADEUSZ KANTOR consists of two video/performances: Italian actor, Luigi Arpini, and Polish actor, Andrzej Wełmiński, have created unique two works in commemoration of the great director Tadeusz Kantor marking the 30th anniversary of his death on 8 December, 1990. Both actors were members of Kantor’s Cricot 2 Theatre company.

THE ABANDONED THEATRE by Luigi Arpini is a clear and very much heartfelt testament, coming from his experience as an actor with Kantor’s theatre productions for 12 years.

With IS IT A NEW IDEA? Andrzej Wełmiński reconstructs an action on stage with reference to the final drawing executed by Tadeusz Kantor, and inserting his own ironic and metaphysical dimension into this imaginary landscape.

biography:
Luigi Arpini graduated from the Alessandro Fersen Theatre Academy in Rome, and from 1980 to 1992 was part of the Cricot 2 Theatre company directed by Tadeusz Kantor. Arpini collaborated with Yoshi Oida on the staging of classic Japanese theatre, and he founded the Alkahest company with several members of the Cricot 2 company. From 1994 to 1997, Arpini was the in- house playwright at the Centro di Sperimentazione e Ricerca Teatrale (Centre for Theatric Experimentation and Research) in Pontedera. He has collaborated with the Studio Nabu Literary Agency in Florence, and with ArtSpace. As of 1997, Arpini has added writing to his theatre work. His book, L’illusione vissuta, viaggi e teatro con Tadeusz Kantor (The Lived Illusion, Travel and Theatre with Tadeusz Kantor) was published by Titivillus Edizioni in 2002.

Andrzej Wełmiński Andrzej Wełmiński is an actor and director. He worked with Tadeusz Kantor from 1973 to 1990, and he participated in all the productions and tournées of the Cricot 2 Theatre. Wełmiński graduated in 1977 from the Graphic Arts faculty at the Krakow Academy of Fine Arts. As an artist, he works with diverse media (drawings, painting, photography, objects and installation), and is associated with the Foksal Gallery, Warsaw, and the Krzysztofory Gallery, Krakow. After the death of Kantor, Wełminski realised several productions, together with his wife, Teresa, and some of the actors from the Cricot 2 Theatre company: “Manjacs or Their Master’s voice” (1993); “America, or Don’t Look Back” (1995), “it’s gone, past gone, and so all the stories will go by…” (2007). In 2012, their “Pages from the Book of…” won the Best Actor and Best Production awards in Bratislava’s Festival Istrapolitana.

download the press release

The “Giornata del Contemporaneo” promoted by AMACI Saturday 5 December on this page and on Facebook

more info: www.bit.ly/AMACI_GDC2020

Trieste Contemporanea hosts from November 7th to December 6th 2020 Circulus vitiosus, an exhibition by Teresa & Andrzej Wełmiński organized by Gabriella Cardazzo and Giuliana Carbi Jesurun. The Circulus vitiosus performance connected to the exhibition will be available on Facebook and on Youtube from Saturday the 7th of November at 6.30 pm. read more about the exhibition

Polish artists Teresa (1955) and Andrzej (1952) Wełmiński use many artistic media and formats, including drawing, painting and photography and the production of theatre shows, art performances, objects and installations, distinguishing themselves for combining theatre and visual art.
In Cracow, Andrzej graduated from the Faculty of Graphics at the Academy of Fine Arts and Teresa from the Medical Vocational School. She worked in a Mental Health Clinic. Andrzej associated with the Foksal Gallery (where he proposed his first show in 1971 under the name of Anonymous Artist) and the Krzysztofory Gallery and from the beginning of his artistic career explored the most different media beside the classical techniques, happening and performance included.
In the 1970s the two artists started collaborating with Tadeusz Kantor and became members of the Cricot 2 Theater. In the 1970s-1990s they took part in all the shows and tours of the company. After Kantor’s death, together with the actors of the Cricot 2 Theater, they staged the plays Maniacs (1993); America or don’t look behind you (1995); It’s gone, it’s gone, and thus all stories shall pass away… (2007).
As theater directors since 1996 they have staged many independent projects which have been presented in various international festivals (i.e. Avignon, São Paulo, Rome, Valladolid, Cagliari, Edinburgh, Bratisłava, Moscow, Sibiu, Chișinău, Teheran).
Their last exhibitions (Suspension condition, Urania, Esse est percipi, 2019) bring together topics, meanings and codes that have been central in their long standing artistic activity to identify and unite elements from both the visual and the performing arts. Their theatre is reciprocally closely linked to visual art (Hubble Bubble and Other Persian Miniatures, 2017; The Comet, 2017; Limbo, 2019 are among their last plays) – and objects and installations conceived for a specific play after their stage use often have a life of their own and are displayed in art shows.
Alongside their artistic activities, the Wełmińskis deliver lectures and workshops on theatre history, theory and practices of Cricot 2 (Rote Fabrik in Zürich, the Accademia Teatro Dimitri in Verscio, the Loughborough University, the Rose Bruford College in London, the University of Washington, the Yale University and the University of Teheran have been among host institutions).
Beside major productions and installations, drawings (which are the true “hidden” protagonists in Trieste) always play an essential role in the Wełmińskis’ artistic world. These annotations of ideas and concepts, not always completed and drawn on worn papers as if they were exhumed from some moldy cellar of the mind, very often serve as leaven for their future projects.

Trieste Contemporanea on 21 October at 7 pm offers a virtual guided tour of BOTH WAYS, the contemporary art exhibition presented in Trieste last September within the EuroScience Open Forum (ESOF2020)  and now available on bit.ly/bothwaystrieste.
BOTH WAYS was conceived in its different parts with a dual perspective and to relate to two fields of knowledge much more similar than it seems, art and science, and two spatial fields, real and virtual, whom relations have recently become much closer.
The occasion of 21 October is to recreate the atmosphere of the exhibition, together with the video designer and creative technologist Antonio Giacomin and the contemporary art curator Giuliana Carbi Jesurun, who will accompany visitors-avatars through the virtual spaces that hosts artists from Croatia, Hungary, Italy, Romania and Serbia.
The BOTH WAYS exhibition collects the experiences of a European project that Trieste Contemporanea started in March 2019 in partnership with the Central European Initiative (CEI) and the Trieste International Foundation (FIT) and co-produced with: University of Rijeka – Center for Innovative Media (CIM) at the Academy of Applied Arts (APURI) and Department of Mathematics (Croatia); Ludwig Museum-Museum of Contemporary Art and Hungarian Museum of Science, Technology and Transport, Budapest (Hungary); Scientifica, Cluj-Napoca (Romania); Center for the Promotion of Science (CPN), Belgrade (Serbia).

BOTH WAYS is supported by the Autonomous Region of Friuli Venezia Giulia, the Central European Initiative (CEI) and the Fondazione Internazionale Trieste (FIT).
Furthermore, the project is co-financed by KKT: Campus Creative Team, Rijeka 2020, European Capital of Culture, 27 Neighborhoods; UNIRI Projects (Rijeka): Interdisciplinary Research and Application of New Media Technologies in Virtual Reality Art; Department of Mathematics-University of Rijeka and The Elsevier Mathematical Sciences Sponsorship Fund (Croatia) | the Hungarian Ministry of Human Capacities (Hungary) | The Administration of the National Cultural Fund (Romania) | the European ARTificial Intelligence – AI Lab project (EU Creative Europe programme) and the Ministry of Culture and Information of the Republic of Serbia (Serbia).

Read more:
www.triestecontemporanea.it/event/both-ways/

Trieste Contemporanea takes part in the conceiving of a new challenging project whose research directions and objectives on 14 October 2020 Giuliana Carbi and Lella Varesano outline for chosen speakers and possible partners invited to gather in an online workshop organised by the Regional Ministry for Employment, Training, Education, Research, University and Family.

go to the meeting schedule and description

Watch a short video of the exhibition

Through the link bit.ly/bothwaystrieste you can still visit BOTH WAYS exhibition which was on display in Porto Vecchio. You can visit it in a splendid Virtual Reality version. By jumping into the portals that you will find indicated in the rooms of the respective countries, you will also see it enriched by the VR exhibitions which correspond to the BW exhibitions physically realized by the BW partners in Belgrade, Budapest, Cluj-Napoca and Rijeka.
Follow the link, transform yourself into an avatar and sit comfortably on the sofa. Enjoy your visit!

read more about BOTH WAYS

Daniele Capra and Teresa Mayr, Studio Tommaseo 2020

On Wednesday 9 September has been presented the catalogue I don`t want to be an onager by Teresa Mayr, winner of the Young European Artist Award Trieste Contemporanea 2019. The catalogue was edited by Juliet Editrice with the design by Studio Sfuso and photographs by Nico Covre.

Read more

photo Marino Ierman, courtesy Trieste Contemporanea

Link to the virtual exhibition: http://bit.ly/bothwaystrieste

Authors
Bojan Crnković, Vedrana Mikulić Crnković (Math Behind the Walk); Ingeborg Fülepp, Dijana Protić, Marko Mrvoš (A Walk in Memories).

Curators: Ingeborg Fülepp, Vedrana Mikulić Crnković / Design and implementation of the mathematical algorithm and VR: Bojan Crnković, Vedrana Mikulić Crnković / Camera 360 video: Tena Bošnjaković (A Walk in Memories), Marko Mrvoš (Downtown Rijeka) /Editing: Marko Mrvoš / Sound design: Matko Baričević / Visual communication design: Korina Hunjak / Poster printing: Ivan Vranjić, APURI / Actors and performers: Denis Kirinčić, Marko the Clown, Naim, Tino Trkulja, horse riders from the Ranch Sivi Vrabac Pette Rocco / Production: University of Rijeka, Department of Mathematics & Center for Innovative Media, Academy of Applied Arts / Co-financed by: KKT (Campus Creative Team, Rijeka 2020, European Capital of Culture); 27 Neighborhoods; UNIRI Projects (Interdisciplinary Research and Application of New Media Technologies in Virtual Reality Art); Department of Mathematics and The Elsevier Mathematical Sciences Sponsorship Fund / Technical support: UNIRI – Academy of Applied Arts and Department of Mathematics.

The Croatian BW section is entirely dedicated to the collaboration of mathematics with art. Curated by Ingeborg Fülepp and Vedrana Mikulić Crnković, respectively professors at the Academy of Fine Arts and at the Department of Mathematics of the University of Rijeka (who are also among the authors of the Rijeka project), and set up by a team of professors and students of both training institutes, the exhibition proposal for Trieste, Outlandish Rijeka, is composed of two interpenetrating projects: A Walk in Memories and Math behind the Walk. The outcome of the collaboration between artists and mathematicians is a virtual walk across the city of Rijeka. In the first project, by scanning a QR code, visitors can extract from the photographs on display the respective 360° videos of different places in the city; in the second, virtual visitors may affect the algorithm that guides them across the city, thus modifying the walk that will be offered to the next visitor.

Read more: https://www.triestecontemporanea.it/en/event/both-ways-2/

photo Marino Ierman, courtesy Trieste Contemporanea

Link to the virtual exhibition: http://bit.ly/bothwaystrieste

Artists
Imre Lepsényi, László L. Révész, KristófLab– Kristóf Szabó, Kálmán Tarr and Ottó Szabó, Zoltán Vadászi, Gyula Várnai, Tamás Waliczky.

Project director: Julia Fabényi / Curator: Anna Bálványos.

The Hungarian video selection offers a brief overview of the history, the relationship and interaction between the sciences and contemporary art in Hungary. At the beginning of this story, science fiction was the main topic dealt by artists with. László L. Révész goes back to this initial period and his video Transfer is based on the idea that the movement of the Earth an be used in transport: Lyon and Szekszárd, a city in a wine region in Hungary, are on the same latitude, so wine transportation to Lyon can be easily solved according to that. Gyula Várnai in LEM resumes an interview with the famous Polish writer of the Seventies Stanisław Lem, who combined science fiction with a deep existential and philosophical reflection. Also Tamás Waliczky questions the past and the birth of photography: he asks himself if new ways of capturing images are possible besides those still in use and if we, in our vision learning process, will change our way of seeing.
Sensitive artists often use the findings of science to shed light on policy issues from perspectives that are unusual for science: Imre Lepsényi measures the energy consumption of cooking various soups, raising the question of how to reconcile traditions and energy saving. Or they “improperly” use scientific instruments, such as medical-diagnostic devices which permit Zoltán Vadászi to make air visible. As many new technologies are now very easily accessible, there is more and more room for interactivity: in Kristóf Szabó’s spaces the viewers control with their own movement the images which are there displayed. The most exciting outcome of art and science interaction occurs when the two types of thinking develop together new objects and tools as a new quality arising from that collaboration. So, an interdisciplinary collaboration led by Kálmán Tarr, in cooperation with Ottó Szabó puppet designer and sculptor, is about developing a head controlled device to move puppets and support the development of disabled children.
(Anna Bálványos)

Read more: https://www.triestecontemporanea.it/en/event/both-ways-2/

photo1: Marino Ierman, courtesy Trieste Contemporanea
photo2, 3: Smallville #2, courtesy Trieste Contemporanea

Link to the virtual exhibition: http://bit.ly/bothwaystrieste

Artist
Roberto Paci Dalò.

Curator: Giuliana Carbi Jesurun / Concept, sound, images: Roberto Paci Dalò / Collaboration: Margherita Wolenski / Interface design, computer programming: Paolo Petrangolini / VR environment: Antonio Giacomin / Production: Trieste Contemporanea, Giardini Pensili, JRC Joint Research Centre – European Commission / In collaboration with: Science in the City Festival-ESOF 2020, FabLab Romagna, CEI Central European Initiative, Usmaradio, Radio Lada, ORF Kunstradio Vienna / With the support of: Regione autonoma Friuli Venezia Giulia / Media partner: RAI Radio Techetè.

BW Italian section presents HA arendtrieste by Roberto Paci Dalò: a work on multiple formats (Interactive Sound – Video Installation / VR environment / Radio) starting from Hannah Arendt and Trieste. Voices are the focus of the project: an immersive and interactive environment creates a real “forest of sounds” intertwining Arendt’s voice with the voices of the city. Visitors themselves become protagonists by activating both sounds and images. Everything is broadcast daily on Usmaradio and Radio Lada and an interactive sound performance – live on Usmaradio – is scheduled, on Sunday 6 Sept., to connect some of the artists performing with the author from their own cities. The project was launched in 2018 at the JRC Joint Research Centre – European Commission together with the philosopher and engineer Nicole Dewandre and various JRC laboratories and scientists. During 2019 Paci Dalò and Dewandre created Radio Arendt, a cycle of workshops between philosophy and radio in Sarajevo, Trieste and Barcelona. In winter 2020 HA arendtrieste will become a radio work commissioned by ORF Kunstradio Vienna.

Read more: https://www.triestecontemporanea.it/en/event/both-ways-2/

photo Marino Ierman, courtesy Trieste Contemporanea

Link to the virtual exhibition: http://bit.ly/bothwaystrieste

Artists
Floriama Cândea, George Crîngașu, Horia Damian, Sorin Neamțu, Mihai Plătică, Laurențiu Ruță, Catrinel Săbăciag, Ioana Vreme Moser.

Curator: Georgiana Buț / Science communicator: Miruna Amza / Artistic director: Miruna Batin / Scenographer: Sergiu Dragotă / Virtual 3d Visuals: Doru Buț / Virtual Space Developer: Bogdan Tănăsoiu / Sound design: Ioana Vreme Moser.

Departures from the Sphere creates an elated perception of our bond with the cosmic realm, through a philosophical and poetic understanding of space. Projecting mental structures and subjective geometries onto the celestial sphere, the exhibited works awaken the viewer through visions and utopias. The indissoluble bond between the inner and the outer world occurs through conceptual links and ideas orbiting around a mostly invisible, but felt and sublimated human presence. Such a boundless domain is explored through the study of form, its transformation, movement, and conceptual meanings, where the sphere, an iconic form of the Universe, appears in various iterations of its perfect shape. From utopian objects and creatures and phantom-like vegetation, to mesmerizing landscapes and symbolic depictions, this section of the exhibition ties intense expressiveness and contemplation with the focused, precise thinking of experimentation and the welcoming of chance in the moment of discovery. (Georgiana Buț)

Read more: https://www.triestecontemporanea.it/en/event/both-ways-2/

photo Marino Ierman, courtesy Trieste Contemporanea

Link to the virtual exhibition: http://bit.ly/bothwaystrieste

Artists
Vladan Joler & Matteo Pasquinelli, Filip Kostić, Kristina Tica (winner of the national art+science AI Lab selection for 2020, Scientific mentor: Miloš Milovanović, Mathematical Institute of the Serbian Academy of Sciences and Arts), Victoria Vesna and collaborators.

Project lead: Dobrivoje Lale Erić  /  Guest curator: dr Maja Ćirić  /  Project & a+s+cpn coordinator: Petar Laušević  / Art director: Slobodan Coba Jovanović / Program and a+s+cpn coordinator: Bojan Kenig  /  IT & technical support: Vladimir Cicvara  /  3D model of the exibition: Antonio Giacomin, Mirjana Utvic  /  PR & communications: Ljiljana Ilić, Sanja Ljumović, Iva Ćetković  /  Video produсtion: Bojan Živojinović.

AI Lab is a product of connecting infrastructures – individuals, as well as an institution of art and science – with the aim to reinforce them in their creative and critical reflection, attentiveness and re-imagining – the mentioned transforming social practices – the status and function of machine learning and artificial intelligence.
The selection of artists proposes considerations of a pervasive digital upload of the self, with the focus on: biology (Victoria Vesna), religion (Kristina Tica), knowledge extractivism (Vladan Joler & Matteo Pasquinelli), and non-commercial world creation with the tools borrowed from gaming (Filip Kostić), as well as visualisation, attentiveness, atmosphericity, and articulation of data, as result of a+s workshops within the platform envisioned by CPN. Instead of being fetishized, machine learning and artificial intelligence are here examined and demystified. The artists and scientists take on a critical attitude toward transhuman turn in the world being transformed, as well as visualise and articulate a complex interdependence of humans and machines, and their impact on culture.
AI Lab presents a creative approach to artificial intelligence as a critical practice, and audience is the witness of abandoning the object-oriented culture towards the systems-oriented culture where change doesn’t stem from the object, but from the way in which objects are being constituted (Jack Burnham, Systems Esthetics, 1968). Curating, positioning the intersection of art and science, here implies to allow the audience to experience a critical creative appreciation of the use and effect of artificial intelligence.The potentialities of artificial intelligence and recent technological paradigms are so far unforeseeable. However, through the lens of Shoshana Zuboff’s surveillance capitalism and her ontology, these potentialities already regulate, control, and exploit human life. AI Lab, promoting creation and critical thinking of artists and scientists, thrives on being an element that generates technological progress, and offers resistance to the techno-positivism and techno-patriarchy imposed by technology as an equal participant in the contemporary ecosystem. (Maja Ćirić)

Read more: https://www.triestecontemporanea.it/en/event/both-ways-2/

Saturday 29 August, Porto Vecchio, Magazzino 27 
7 pm BOTH WAYS vernissage + live video streaming

Wednesday 2 September, 5 pm
Platform http://bit.ly/bothwaystrieste
Guided tour of the VR exhibition: Croatia, Romania
Guest curators: Miruna Amza, Georgiana Buț, Ingeborg Fülepp

Friday 4 September, 6 pm
Platform http://bit.ly/bothwaystrieste
Guided tour of the VR exhibition: Hungary, Serbia
Guest curators and artists: Anna Bálványos, Maja Ćirić, Filip Kostić, László L. Révész , Kristóf Szabó, Kristina Tica and Zoltan Vadaszi.

Sunday 6 September, 5 pm
Porto vecchio, Magazzino 27
Finissage: HA arendtrieste
live performance by Roberto Paci Dalò
+ live radio streaming

read more on the exhibition

Visit the BW exhibition at Magazzino 27
Free admission
Booking required: https://scienceinthecity2020.eu/en/open-exhibitions-at-hall-27-and-hall-28-of-the-trieste-convention-center/

how to reach the Porto Vecchio
by bus: Trieste Trasporti shuttle https://www.triestetrasporti.it/2020/08/una-speciale-navetta-collega-il-centro-citta-con-il-comprensorio-di-porto-vecchio-in- occasion-of-esof2020/
map: https://www.google.com/maps?q=P.+Franco+Vecchio+Trieste,+TS+34135+Italy

Info
Trieste Contemporanea
+39 040 639187
+39 333 531 3442
info@triestecontemporanea.it
www.triestecontemporanea.it

BOTH WAYS opens on 29 August at 7 pm at Magazzino 27 in the Porto Vecchio of Trieste: from 29 August to 6 September this will be the “centre” collecting the experiences of the entire BOTH WAYS project and bringing 27 artists from Croatia, Hungary, Italy, Romania and Serbia.

BOTH WAYS is a contemporary art exhibition within the Science in the City Festival. It is a physically polycentric exhibition, held in five European locations with headquarters in Trieste, as well as a replicated and extended online. read more

A series of in-depth events is scheduled for the duration of the exhibition read the programme

Opening hours
30 August – 1 September: from 10 am to 8 pm
2 September – 6 September: from 8.30 am to 8 pm
Free admission
Booking required

info
Trieste Contemporanea
+39 040 639187
info@triestecontemporanea.it
www.triestecontemporanea.it

By clicking on the link https://www.youtube.com/watch?v=OReHMzOTxgo&t=482s you can see again the current conversation between Alberto Fiorin and Paola Bristot.

Trieste Contemporanea and Viva Comix present in Trieste and online, on Thursday 16 July, at 6.00 pm a conversation between the curator Paola Bristot and the artist Alberto Fiorin.

Many of you were unable to see “Dismantling Structures”, the provocative exhibition by the Croatian artist Željko Kipke, opened on February 22nd and closed for lockdown after a few days. Now you have the opportunity to visit it in our brand-new virtual exhibition environment – we recommend viewing in full screen.

In “Dismantling Structures” Kipke exhibits his latest painted works on canvas that strike 7 icon-buildings of Zagreb characterized by the political, economic and cultural history of the city (for example the parliament, formerly the headquarters of the central committee of the Communist Party). The exhibition, curated by Branko Franceschi, was created in collaboration with the Museum of Fine Arts in Split and the Galerija Kranjčar in Zagreb, under the patronage of the Consulate General of the Republic of Croatia in Trieste.

Read more

https://artspaces.kunstmatrix.com/en/exhibition/1501240/%C5%BEeljko-kipke-dismantling-structures.

Dear Friends,
we are happy to invite you to enjoy the first virtual visit of an exhibition at Trieste Contemporanea!
From today you will be able to visit our exhibitions on display at Studio Tommaseo in Trieste, even while sitting comfortably at home or wherever you want. You will see the current exhibition of the German artist Teresa Mayr, winner of the Young European Artist Trieste Contemporanea Award 2019. In future times you may go back to the ones you liked the most by selecting them from our website archive collection.

From “enter exhibition” button you freely visit the exhibition in the virtual environmental 3D reconstruction of the real room and exhibition’s display (the show can of course be visited “live” in Trieste until 31 July 2020), or from “start guided tour” button you follow a preprogrammed visit. With the arrows you move in space, for example you can go up the stairs. The menu at the top right (=) allows you to enter full screen, obtain and print the list of works, read information on exhibition and the artist.

Teresa Mayr’s show, titled “I don’t want to be an Onager”, is an exhibition project conceived by the artist as the outcome of the Award that Trieste Contemporanea attributes every two years to a Central-Eastern European artist under the age of 30. The 2019 edition has had 290 candidates from 21 countries and marks the milestone of 20 years of the Award, initiated in 1999. Organised by Trieste Contemporanea, curator Daniele Capra, the show collects a series of works on paper which investigate urban spaces’ development and their memory traces, as well as modifications and micro-changes that occur in areas where the public sphere and the intimate one overlap and intersect. The show title is taken from a series of works on display inspired by a surreal conversation between the artist and her sister at a zoo.

Enjoy your visit!

Read more

https://artspaces.kunstmatrix.com/en/exhibition/1236708/teresa-mayr-i-don%E2%80%99t-want-to-be-an-onager

Teresa Mayr, Sp86316F1, 2018, pencil on paper, cm 82 x 146

The opening was broadcast exclusively online with a dialogue between the artist and the curator. You can review the inauguration by clicking here: https://www.youtube.com/watch?v=dth7Tcoed_A&t=351s

Studio Tommaseo is pleased to announce the opening of I don`t want to be an onager, a solo-show by German artist Teresa Mayr winner of the Young European Artist Award Trieste Contemporanea 2019. The exhibition, organised by Trieste Contemporanea, curator Daniele Capra, collects Mayr’s recent works on paper which investigate urban spaces’ development and their memory traces, as well as modifications and micro-changes that occur in areas where the public sphere and the intimate one overlap and intersect.

The opening of the exhibition will take place on Saturday 23 May 2020, at 6.30 pm, exclusively online, and will consist of a live streaming conversation between the artist and the curator: join us on Trieste Contemporanea’s website or at our Facebook page.

From next week the exhibition will be regularly open to the public.  A catalogue, including images of displayed works, will be available for the finissage.

Teresa Mayr (Friedberg, D, 1992) studied at the Dresden Academy of Fine Arts, at the Burg Giebichenstein University of Art and Design Halle (Saale), at the Academy of Fine Arts in Munich and graduated from the University of Berlin in 2019. She lives and works in Berlin.

The Young European Artist Award Trieste Contemporanea is assigned every two years to an artist aged under 30 from a Central Eastern European country. The award gives to the winner the opportunity to conceive a new exhibition project and document it with a publication.

read more
visit the online exhibition

You will find the navigation tree slightly changed:  the sections “news” and “program” remain the same (the latter mainly providing insights into exhibitions), while a new section “projects” gives access to all information relating to our competitions, awards and special projects. You may enjoy in taking a look into our archive, so a crucial field has been added to the 2020 menu in order to allow database search by keywords. Almost all “publications” are available online and for download. We continue cataloguing volumes for our “library” and its Central Eastern European collection can be checked on the online OPAC of the Italian National Library Service. Finally, you will find instructions if you want to subscribe to our newsletter or if you want to support us.

Željko Kipke, Objekt K (Kockica)/ Structure C (The Cube), 2019, oil on canvas, 100 x 180 cm

Newest paintings by the Croatian artist strike Zagreb icon-buildings which have been strongly characterized by political, economic and cultural history of the city (such as the Parliament, former seat of the Central Committee of the Communist Party).

The opening of Dismantling Structures exhibition will take place on 22 February 2020, at 18, at Studio Tommaseo in Trieste: curator Branko Franceschi will introduce the audience to the artistic world of Croatian artist Željko Kipke and will converse with him.

Read more

Romanistan by Luca Vitone (Italy, 2019, 73′, o.v. with english subtitles, italian) will be screened on  Thursday  the 18th of February at Cinema Ariston  at 8.30pm.

INFO:
Cinema Ariston Trieste
viale Romolo Gessi 14, Trieste
t. 040 304222
info@adrianatorregrossa.com
link to the facebook event

Trieste Contemporanea is pleased to invite you, on Wednesday 5 February at 6pm, to the presentation of the book Il Tempo del Cavallino. Mario Sillani Djerrahian, will speak with the author Gabriella Cardazzo.

A solo show by Elisa Vladilo on display from 8 February to 1 March 2020 in Trieste, at Palazzo Costanzi (piazza Piccola 2). Opening: Friday 7 February 2020, 6 pm

You will see colours that are happy.
Elisa Vladilo. Environmental works 1995-2019

Colour has always represented the hallmark of Elisa Vladilo’ research, based on interventions in the landscape, urban spaces and indoor since the mid-Nineties. Favouring pure colour and bright shades of pink, yellow, orange, green and blue, the artist has defined a personal chromatic range to alter or highlight the characteristics of the space, changing its perception and use. The colours Elisa Vladilo has chosen do not belong to the history of the urban project. Rather, they refer to playful chromatic dimensions that introduce moments of magical, playful, fairytale-like suspension in the landscape and the city. The vibrant colours endow the space with an unprecedented communicative potential. They switch it on. Elisa Vladilo proposes a grammar of colour intentionally accessible and direct. Its communicative power is immediately understood. It is a language that can be shared by all, apparently basic and essential.

“The force of colour, the energy it contains, have always been the main feature of my work, a potential for empathy with the world, to get in touch with our soul, directly, without superstructures,” says the artist. The chromatic code Elisa Vladilo defined adds emotional and imaginative shades to the landscape. It sparks amazement, wonder and surprise. The artist chooses sunny tones because they bring joy and vitality. This feeling is far from naive: it has a social potential for lowering the temperature of collective anxiety, possibly generating more serene moods. Elisa Vladilo’s chromatic textures often create spaces of encounter, rest and relationship: welcoming places.

The yellow and orange dots in felt placed on the pavement of Piazza della Repubblica in Trieste suggest relaxing moments (DOTCOMmunity, 2015). The soft blue carpet, also in felt, laid on the Audace pier in Trieste invites people to lie down where they normally would not (My Favorite Place, 2007). The warm and soft material used by Elisa Vladilo inspires a behaviour. The felt and foam used on the pier (the latter to cover lampposts and bollards) rouse a sense that is usually repressed in the urban space, the touch. Sound comes out of a pedestrian crossing (The Sound of Colours, Celje, Slovenia 2010; Venice, 2012; Villach, Austria, 2013) or from bales of hay to which the ear must be put near (Summertime, Trieste 2010). Realized with washable paint or soft materials such as felt, to which sometimes sound is added, Elisa Vladilo’s permanent or mostly temporary works are the matrix of unexpected sensory and relational stimulations. They invest not only the sight, but the whole body.

Colour takes up the nuances of the landscape (Prendo il paesaggio e lo porto con me, Nervesa della Battaglia, 2011) or play on the contrast with the architecture (The Melting Tower, Villach, Austria, 2012). It redesigns the shadows of buildings creating an ambiguous doppelganger (Funny Shadow, Fagagna, 2017) and transforms the streets into a happening (Nel blu dipinto di blu, Trieste, 2013; Melting Street, Pula, Croatia, 2013; again Prendo il paesaggio e lo porto con me). The collaborative nature of many of the artist’s work is important: the painted streets are realized through the participation of the people as a form of playful and liberating appropriation of the city and the landscape. Elisa Vladilo has dealt with a wide variety of places and people that have to be considered an active and central component of her work. The artist’s projects raise questions about the destiny of common spaces and the sense of inhabiting them. The artist takes an open, dialoguing position towards the city. The protagonists of the project Rima d’origine – made for the first time inside Trieste’s Central Railway Station in 2013 – are thirty-one women born outside Italy but residing in Trieste, invited by the artist to write a poem from their country of birth during a public performance.

The exhibition You will see colours that are happy. Elisa Vladilo. Environmental works 1995-2019 proposes for the first time a selection of projects carried out in public space and in the landscape during the last twenty-five years in Italy, Austria, Croatia, Slovenia, Great Britain and Mongolia. Elisa Vladilo’s temporary or permanent interventions are showcased in the exhibition through photographs, videos and drawings.

Alessandra Pioselli

Promoted by Trieste Contemporanea
In collaboration with the Municipality of Trieste

With participated
Banca Generali Claudio Stagni Private Banker
Casa dell’arte Trieste
Fondazione Casali
Sandtex

An exhibition by the Polish artist and photographer Michał Szlaga (1978) will open in Trieste on Saturday 18 January 2020

Homeland is a workshop by the artist Cai Guojie with young asylum-seeking migrants that will be held on Friday 10 January.

friday 13 december 2019 from 8pm to 12am

video art night marathon
8 spaces / 8 videos / 7 association

PROGRAM from 8pm to 12am

Cavò, via San Rocco 1
DMAV, Cavana Stories work in progress, 2019, Italy, curator by Cizerouno

DoubleRoom, via Canova 9
Marco Castelli, Cecilia Donaggio Luzzatto-Fegiz, Il Posto, URSUS multimedia project, 2010, Italy, curator by Gruppo78
+ durational performance Plasma take away di Nina Alexopoulou

JulietRoom, via Battisti 19/a, Muggia
Pavel von Ferluh, Paesaggio urbano, 2019, Italy, curator by Juliet

Knulp, via Madonna del Mare 7/a
Paola Frausin, Levia Monumentalia, 2019, Italy, curator by DayDreaming Project

Studio Tommaseo, via del Monte 2/1
Antonio Mayor Rey, guest director Mirosław Bałka, Hear me, 2019, Italy/Spain
curator by L’Officina, Studio Tommaseo and Trieste ContemporaneaPremio Franco Jesurun, III SQUEEZE IT AWARD
+ video review

Accademia Scaglia, via Rittmeyer 7/a
Riccardo Guarino, Christina Kruml, Giovine Leonardo, Fabrizio Palombieri, Sergio Parovel, Claudia Petacca, Caterina Puhali, Enrico Scaglia, All around the world, 2019, giro del mondo

LeoLab, via dei Leo 6/a
Giovanni Andrea Panizon, La mano tra i fogli, 2013, Italy
monumento per la Cartiera Papale di Ascoli Piceno, committee Province Ascoli Piceno, realization by NSD Trieste

Tivarnella Art, via Tivarnella 5
Lino Budano, Monumento all’emigrato, 2019, Italy

Trieste Contemporanea on the occasion of the Piccolo Festival dell’Animazione hosts an appointment on Tuesday 10 December at 4.00 pm.

Maria Lai, Co’l ciel la terra, Studio Tommaseo,1986 (courtesy Studio Tommaseo)

On Friday, November 29th at 6.00 pm, Studio Tommaseo (via del Monte 2/1, Trieste) will host a conversation by Elena Pontiggia on the occasion of the centenary of Maria Lai’s birth.

Dismantling Structures

A co-production by
Galerija Kranjčar
Museum of Fine Arts/Galerija Umjetnina
Trieste Contemporanea

Galerija Kranjčar
Kaptol 26, 10000 Zagreb
from 7.11.19 to 7.12.19
opening hours:
monday-friday (12am-7pm)
saturday (11am-3pm)
closed on sunday
tel. +27414818400
kranjcar@kranjcar.hr

EFFERVESCIBLE.
SEEKING ONGOING RELEVANCY.
9th CEI Venice Forum for Contemporary Art Curators
CONTINENTAL BREAKFAST 2019
Trieste Session, 25–26 October 2019
programme

FRIDAY, 25 OCTOBER 2019, 4 – 7 pm
CEI Secretariat (Trieste, via Genova 9)

– a public event

4 pm: Welcome Speeches

Barbara Fabro, CEI Senior Officer
Giuliana Carbi Jesurun, Trieste Contemporanea

4 20 pm: Individual Contributions (in English)

Andrea Hummer, general manager, Festival der Regionen (Austria), The Deviancy of Relevancy.
Giulia Iacolutti, artist (Italy), ‘Horror reality’: the Relevance of an Artistic-political Action.
Giovanni Leghissa, philosopher (Italy), Luck in Complexity.
Suzana Milevska, theorist and curator (North Macedonia), Relevancy, Relativity, and Positionality.

5 20 pm: Premiere Screening

“HEAR ME”, video, 8’
a performance by Antonio Mayor Rey
with a special contribution by Mirosław Bałka

Mr Antonio Mayor Rey has been awarded the 2018 Franco Jesurun Award at the third edition of the squeeze it contest for creative young Europeans at the crossing of theatre, the visual arts and the new media. According to the award rules he was awarded the opportunity to have a video made of his performance, guest director Mirosław Bałka.

A 2019 Trieste Contemporanea production | under the patronage of the Accademia Nazionale d’Arte Drammatica Silvio D’Amico | supported by the Regione autonoma Friuli Venezia Giulia | in co-operation with ArtSpace–Venice, Associazione L’Officina–Trieste, Etrarte–Udine, Institute for Contemporary Art–Zagreb, Studio Tommaseo–Trieste, Vitamins of Society–Graz, vivacomix–Pordenone. |in collaboration with Nikamvideo-Udine.

5 30 pm: Round-table Discussion (in Italian)

Giuliana Carbi Jesurun, art historian
Paolo Cammarosano, historian
Guido Comis, director of the ERPAC Villa Manin
Paolo Tassinari, graphic designer
Giulio Polita, architect
Roberto Paci Dalò, artist (chair)

SATURDAY, 26 OCTOBER 2019, 3 – 7 pm
Studio Tommaseo (via del Monte 2/1)

– a working group meeting

Miruna Amza, Scientifica, Cluj (Romania)
Anna Bálványos, Ludwig Museum–Museum of Contemporary Art, Budapest (Hungary)
Giuliana Carbi Jesurun, Trieste Contemporanea (Italy)
Anna Lisa Cesaro, Science in the City Festival ESOF2020, Trieste (Italy)
Maja Ćirić, independent curator, Belgrade (Serbia)
Dobrivoje Lale Erić, Center for the Promotion of Science, Belgrade (Serbia)
Barbara Fabro, CEI Senior Officer, Trieste (Italy)
Ingeborg Fülepp, University of Rijeka–Academy of Applied Arts (APU), Rijeka (Croatia)
Antonio Giacomin, creative technologist and video designer, Trieste (Italy)
Roberto Paci Dalò, artist, Rimini (Italy)
Giulia Riosa, Science in the City Festival ESOF2020, Trieste (Italy)
Paola Rodari, Science in the City Festival ESOF2020, Trieste (Italy)

The Forum is a CEI Feature Event and a Continental Breakfast project. | It is conceived and organised by the Trieste Contemporanea Committee in cooperation with the CEI-Central European Initiative and in collaboration with the Academy of Fine Arts in Venice. | The event is being held under the patronage of the Ministry of Foreign Affairs and International Cooperation, the Ministero per i beni e le attività culturali e per il turismo, the CEI – Central European Initiative, the Regione del Veneto, the Trieste Town Council, the Ca’ Foscari University and the Academy of Fine Arts in Venice, the University of Trieste. | It is supported by the CEI, the Regione autonoma Friuli Venezia Giulia and the BEBA Foundation of Venice. | Special collaborations in Trieste: Trieste International Foundation for Freedom and Progress of Science, in the framework of proESOF 2020 activities, and Juliet Art Magazine.

The production of squeeze-it video Hear me has been carried out under the patronage of the Accademia Nazionale d’Arte Drammatica Silvio D’Amico in Rome and in partnership with ArtSpace–Venice, Etrarte–Udine, Institute for Contemporary Art–Zagreb, L’Officina-Trieste, Studio Tommaseo–Trieste, Vitamins of Society–Graz, vivacomix–Pordenone. It has been supported by the Regione autonoma Friuli Venezia Giulia. Special collaboration: Nikamvideo-Udine.

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INFO
Trieste Contemporanea
P. +39 040 639187
mobile P. +39 333 531 3442
info@triestecontemporanea.it
www.triestecontemporanea.it
https://www.facebook.com/TriesteContemporanea/

read the Italian version

Maurizio Pellegrin, Cactus #2, 2014, objects and cyanotype on paper, courtesy the artist

The Day of Contemporary Art is the major annual event promoted by the AMACI – Association of Italian Museums of Contemporary Art to focus on the art of our times and its public.

The jury of the Young European Artist Trieste Contemporanea Award met on September 15th 2019 to review a total of 290 applications from 21 countries.
The jury was formed by: Gabriella Cardazzo, Giuliana Carbi, Emanuela Marassi, Janka Vukmir.

We are pleased to announce that the winner of  the Young European Artist Trieste Contemporanea Award 2019 is:Teresa Mayr (1992, Germany)

Porto Vecchio and Studio Tommaseo, 25 June

associato al progetto: harbour for cultures

Trieste Contemporanea is pleased to announce that the call of the Young European Artist Award 2019 is now open!

The application must be submitted by midnight (Italian time) on the 19th of August, 2019.

Young artists, your time has come! Bring out all your talent and try to win this edition!

Selma Selman, “Superposition”, 2018, performance, Trieste, photo by Fabrizio Giraldi

Trieste Contemporanea presents this Award with the aim of promoting young artists from Central Eastern Europe on the international art scene.
2019 marks the 20th anniversary of the Award.

The winner will be given the opportunity of conceiving and developing a solo show for the Trieste Contemporanea’s exhibition space in Trieste, Italy, and will have a relevant catalogue published.

There is no entry fee.
The deadline is on the 19th August 2019.

You may be eligible if you were born on or after 18 August 1989 in one of the following countries: Albania, Austria, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Germany, Hungary, Italy, Kosovo, Latvia, Lithuania, Macedonia, Moldova, Montenegro, Poland, Romania, Slovakia, Serbia, Slovenia, Turkey and Ukraine.

Any groups wishing to participate should fill out the form with the name and ID of the group leader and just list names, countries and dates of birth of group members (that also have to be born in the countries to which the call is open and be aged up to 30).

Applicants should complete the online form and attach an updated portfolio (pdf format, max 3MB) and an identification document (pdf or jpg format, max 500 KB).
The portfolio should be composed of the following:
— images, of at least 5 recent works (each of them with caption and a brief description)
— curriculum vitae
— artistic statement (max 500 words)
All texts should be written in English.

All eligible applications will be examined by a judging committee comprising European experts and curators of contemporary art.

application form

read more about the Young European Artist Award

EFFERVESCIBLE.
SEEKING ONGOING RELEVANCY.
9TH CEI VENICE FORUM FOR CONTEMPORARY ART CURATORS
CONTINENTAL BREAKFAST 2019.
EFFERVESCIBLE.
SEEKING ONGOING RELEVANCY.
9TH CEI VENICE FORUM FOR CONTEMPORARY ART CURATORS
CONTINENTAL BREAKFAST 2019.
Venice, Academy of Fine Arts, Thursday, 9 May 2019, 2:30–6:30 pm

THE SPEAKERS:

EFFERVESCIBLE. SEEKING ONGOING RELEVANCY.
CONTINENTAL BREAKFAST 2019.
Venice, Academy of Fine Arts, Dorsoduro 423
Aula Magna (Academy auditorium)
Thursday, May 9th, 2019
2:30–6:30 pm

LIST OF PARTICIPANTS
in order of registration
Ms Erika Olea, artist, apparatus 22, Bucharest – Romania / Brussels – Belgium
Ms Sabina Oroshi, freelance curator, Novigrad – Croatia
Ms Nathalie Agostini, independent researcher (visual art & design), London – United Kingdom
Ms Dina Nurpeissova, artist, Urban Romance, Berlin – Germany
Ms Jagoda Witkowska, student / emerging art curator, Poznań – Poland
Ms Maria Volokhova, director, Volokhova Porcelain, Berlin – Germany
Ms Angela Vitanovska, art historian and curator, Skopje – Republic of North Macedonia
Mr Arnaldo Capo, producer / musician, Urban Romance, Berlin – Germany
Mr Christian Oxenius, independent curator and researcher, Athens – Greece
Ms Lora Sariaslan, curator, University of Amsterdam, Amsterdam – The Netherlands
Ms Shulamit Bruckstein, founding director, Taswir projects, Berlin – Germany / Istanbul – Turkey
Ms Adele Eisenstein, independent curator, Budapest – Hungary / New York – USA
Ms Petra Feriancova, owner, Sputnik, Bratislava – Slovakia
Ms Katarzyna Pabijanek, program officer, Open Society Foundations, Berlin – Germany
Ms Irina Costache, lecturer, University of Bucharest, Bucharest – Romania
Ms Anda Rottenberg, culture editor, VOGUE PL, Warsaw – Poland
Ms Claudia Paetzold, artistic director and curator, IK LAB and CP Art Advisory, Paris – France
Dr Marjorie Allthorpe-Guyton, writer, Critical Muslim Journal, London – United Kingdom
Ms Kate Zilgalve, director, Art Center NOASS, Riga – Latvia
Ms Alyce Mahon, professor of contemporary art and curator, University of Cambridge – United Kingdom
Mr Miroljub Marjanović, editor, SEEcult.org, Belgrade – Serbia
Ms Vesna Milosavljević, editor, SEEcult.org, Belgrade – Serbia
Ms Davorka Perić, art director, Vizura aperta, Zagreb – Croatia
Ms Svetlana Reingold, curator, Haifa Museum of Art, Haifa – Israel
Ms Fran Apprich, professor, curator, communications, entrepreneur, Smart gov, Dubai – UAE
Ms Ksenija Orelj, senior curator, Museum of Modern and Contemporary Art Rijeka, Kastav – Croatia
Ms Katerina Jovanović, project manager, Museum of Modern and Contemporary Art Rijeka, Kastav – Croatia
Ms Franka Košta, assistant curator, Museum of Modern and Contemporary Art, Rijeka – Croatia
Mr Virgil Ştefan Niţulescu, manager, National Museum of the Romanian Peasant, Bucharest – Romania
Ms Paola Zamora, curator, Stockholm art, Stockholm – Sweden
Ms Olla Birman, curator/owner, Birman Art Gallery, Toronto – Canada
Ms Zorana Đaković Minniti, curator, Cultural Centre of Belgrade, Belgrade – Serbia
Ms Irina Machneva Mota, VIP program manager, Marbella Art Fair, Marbella – Spain
Ms Luba Oravcova, communication intern at CEI-ES, Bratislava – Slovakia
Ms Åsa-viktoria Wihlborg,CO, Stockholm, -Sweden
Mr Diego Chersicola, journalist, Trieste – Italy
Mr Giovanni Gabassi, cons, Palmanova – Italy
Ms Renata Stih, professor, Leuphana University, Lueneburg – Germany
Mr Frieder Schnock, professor, Leuphana University, Lueneburg – Germany
Ms Nina Maric, artist, Trieste Contemporanea, Trieste – Italy
Mr Giovanni Paolin, artist liaison, Galleria Continua, Venezia – Italy
Ms Ginevra Zleaschi, student, University, Trieste – Italy
Mr Patryk Walaszkowski, editor, Krytyka Polityczna, Warsawa – Poland
Ms Madeleine Park, curator of Learning, Bomuldsfabriken Kunsthall, Arendal – Norway
Mr Ying Kit, professor of art, University of Louisville, Louisville – USA
Mr Enrico Ricciardelli, co-curator, TAOB, Venice –Italy
Mr Riccardo Legena, indipendent researcher, University of Bern, Bern – Switzerland
Ms Annick Herren, indipendent researcher, University of Bern, Bern, Switzerland
Ms Emanuela Marassi, artist, Trieste – Italy
Ms Gabriella Cardazzo, director, Artspace Association, Venice – Italy
Ms Chiara Tomasi, designer and storyteller, Trieste – Italy
Ms Costanza Grassi, writer, Trieste – Italy
Ms Simona Di Marco, Trieste Contemporanea, Trieste – Italy
Ms Marina Lutmann, Trieste Contemporanea, Trieste – Italy
Ms Dea Slavica, Trieste Contemporanea, Trieste – Italy
Ms Dubravka Santolić, art curator – Croatia / Italy

go to the forum’s main page
[update: 8 May 2019]

EFFERVESCIBLE.
SEEKING ONGOING RELEVANCY.
Venice, Academy of Fine Arts, Dorsoduro 423
Aula magna (Academy auditorium)
Thursday, May 9th, 2019
2:30–6:30 pm

PROGRAMME:

2:15–2:30 pm – registration

2:30–2:50 pm – welcome speeches and introduction
Giuseppe La Bruna, director of the Academy of Fine Arts, Venice
Paola Bristot, Academy of Fine Arts, Venice
Barbara Fabro, senior executive officer of the Central European Initiative
Giuliana Carbi Jesurun, president of the Trieste Contemporanea Committee

2:50–3:45 pm – first session
Raluca Voinea, curator and art critic (Romania) – There is not (yet) too much (contemporary) art around.
Neva Lukić, curator and writer (Croatia/The Netherlands) – Recognizing the Language.
Beral Madra, director of BM Contemporary Art Center, Istanbul (Turkey) – Relevance of Truth in Contemporary Art.
Ana Peraica, independent curator (Croatia) – 50 years of returning – new documents on Red Peristyle (1968).
Iara Boubnova, commissioner of the Bulgarian Pavilion, Biennale Arte 2019 (Bulgaria) – title to be confirmed

3:45–4:30 pm – second session
Paci Dalò Roberto, director, composer, visual and sound artist (Italia/San Marino) – Darkness Tales.
Alicia Knock, curator of the Albanian Pavilion, Biennale Arte 2019 (France) – title to be confirmed
Janka Vukmir, director of the Centre for Contemporary Art, Zagreb (Croatia) – It is relevant to rebel.
Maja Ćirić, independent curator (Serbia) – Game Changers & Changing Art Games.

4:30–5:25 pm – third session.
Young voices: curators from the Trieste Contemporanea Open Call
Nataša Radojević, art historian and curator (Serbia) – Western Balkans Visibility & Diversities in a global context: Memory. Trends. Future.
Thomas Ba, art curator (Italy) – Digital Phenomenology.
Veronica Mazzucco, art curator (Italy) – curating/caring. A tool for rethinking dominant models.
Sabina Damiani, independent curator (Slovenia/Croatia) – Hybrid explorations: art as a vehicle to understanding environmental issues.
Jakub Gawkowski, independent writer and curator (Poland/Hungary) – Where we all ride bamboo bicycles.

5:25–6:10 pm – fourth session.
Around Italy: curators’ voices from the Q-rated workshops
Giulia Civardi, art curator (Italy) – Late to the party: on urgency.
Chiara Ianeselli, PhD researcher, IMT Lucca (Italy) – The Water Drop Effect.
Matteo Binci, researcher and art curator (Italy) – Poor Images and Social Movements.
Lucrezia Calabrò Visconti, independent curator (Italy) – Attentiveness: how to strike in the economy of presence.

6:10–6:30 pm – closing discussion

go to the forum’s main page

We congratulate the 6 young curators that will speak at the 9th CEI Venice Forum for Contemporary Art Curators.
Due to the call’s selection they are the following:

Thomas Ba (Italy)
Sabina Damiani (Slovenia/Croatia)
Jakub Gawkowski (Poland/Hungary)
Saimir Kristo (Albania)
Veronica Mazzucco (Italy)
Nataša Radojević (Serbia)

(update: 23 April 2019, 20:32)

Sara Rajaei & Neva Lukić, still from the film The motel in the well, 2016

screening of the short films:
The motel in the well​ by Sara Rajaei & Neva Lukić, 2016, 23’04”
A composition in blue, red & other colors by Sara Rajaei, 2017, 15’34”
conversation between Neva Lukić and Sara Rajaei

Trieste, Studio Tommaseo (via del Monte, 2/1)
Thursday, 28 March 2019, 6.30 pm

The event is supported by:
CBK Rotterdam (Centre for Visual Arts Rotterdam)

Are you a contemporary art curator under the age of 35, born in one of the CEI countries (*)? You could have the opportunity to meet international curators and experts and share your thoughts on art at the 2019 CEI Venice Forum, due to be held on 9th May 2019 at the Academy of Fine Arts in Venice.
(see Forum’s main page)

If participating in a selection for 6 young curators to speak at the CEI Forum interests you, send us the following by April 21st, 2019:

– an ABSTRACT of an art initiative that you are organising in 2019 or that you would like to organise in the period 2019-2020 (max 500 words + some images of the works by artists involved).
– your ANSWERS to the questionnaire below (max 500 words).
– a brief CV of yours.

If you are selected, you will be informed by email, by April 23rd 2019.
Your documented travel costs and accommodation (up to 250€) will be refunded.
Forum’s working language will be English.

QUESTIONNAIRE

1. From which point of view are you looking at the facts of today’s contemporary art?

2. What effervescible is there in the air, which significant new trends?

3. Who is a young artist who you are interested in?

4. Can you point out an artist from your country who should absolutely be present in a new updated handbook on European contemporary art?

5. What is positively new in the last years development of the art world/system?

6. What ongoing action you know you would define good public policy for contemporary art? Or what should not be missing yet to be done?

7. A book or an essay that every curator should read?

8. A topic for an exhibition or (historical) research you believe should absolutely be developed now?

(*) CEI Member States: Albania, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Hungary, Italy, Moldova, Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia, Slovenia, Ukraine.

INFO
Trieste Contemporanea
info@triestecontemporanea.it
phone +39 040 639187
(Mon.-Sat. 17-20)

Elisabetta Di Sopra and Fiora Gandolfi in dialogue with Daniele Capra

screening of Pietas by Elisabetta Di Sopra

conversation between the author, Fiora Gandolfi and Daniele Capra
Trieste, Studio Tommaseo (via del Monte, 2/1), Thursday, March 7, 2019 at 6.30 pm

Trieste, Studio Tommaseo (via del Monte, 2/1)
Friday, March 1, 2019, 6 pm

The final stages of the “Competition for the realization of a monument in memory of the empress Maria Theresa in the Ponterosso square in Trieste” are enlivening these days the debate in the city. Who will win? In addition to what decided by the jury of the competition, it will be up to the popular vote, scheduled for March 10th 2019, to decree which of the 5 finalists will be commissioned to make the sculpture.
Trieste Contemporanea, in the spirit of its service for cultural discussion of visual contemporaneity, is pleased to invite you on Friday 1 March at the Studio Tommaseo (via del Monte 2/1) to speak directly with the authors of the projects that are contending the realisation of this important public art work.
Speakers will offer a brief account of the motivations, the themes proposed, the implementation technique of each project or any other in-depth explanation of the tables and maquettes currently on display at the Palazzo dei Leo (home of the Civic Museum of Oriental Art, via San Sebastiano 1). The conversation will stimulate questions from possible voters and a more general reflection on the topic of monuments in the contemporary era.

Speakers: the groups: Evelina Bette, Mauro Trani, Giancarlo Stacul; Nicola Facchini, Eric Gerini, Elena Pockay; Paolo Ferluga, Lorena Matic; Giovanni Andrea Panizon and STARassociati; and Davide Skerlj.

SATURDAY, 16 FEBRUARY 2019

6 pm: ROUND TABLE with Giuliana Carbi Jesurun, Gabriella Cardazzo, Giorgio Conti, Fulvio Dell’Agnese, Remo Rostagno, Stefano Triberti;
6.30: pm PERFORMANCE by Remo Rostagno.

read more in italian

LUIGI ARPINI
MARC CAMILLE CHAIMOWICZ
GIULIA IACOLUTTI
IAN MCKEEVER
SAMIR MEHANOVIĆ
CRISTIANA MOLDI RAVENNA
LEON TARASEWICZ
ANDRZEJ and TERESA WEŁMIŃSKI

LUIGI ARPINI
Io vado dove sto tornando, 2018
(I’m going where I’m coming back from)
text
“If man were never to vanish like the smoke over Toribeyama, but lingered on forever in the world, how things would lose their power to move us. The most precious thing in life is its uncertainty.”, Kenkō Yoshida.
“People would sacrifice anything, rather than their negative emotions. The fact is that most people live immersed in their negative “Self”. If one were to take their negative emotions away from them, they would simply collapse and fade away in puff of smoke. What would our lives be without negative emotions? What would happen to what we call “art”, to cinema, theatre, to most novels?” P. D. Ouspensky.
Nothing would happen. They would not exist. This voyage we call searching – where are we planning to take it? Does our will really exist? No, it does not. This myth of a personal search for identity should be dispelled: in nature where we are, of which we are a part, our identity just happens. Our effort is to support its energy, not to use a volitional sense of duty and be able to change things. I’m going to where I’m returning. Along a line that is not straight, rigid. It’s a circular line – maybe spiral, I do not know … I’m just going to where I’m returning. What happens during, before or after, I have to try only to assume it. To live with it and let it go. (Luigi Arpini)
Luigi Arpini graduated from the Alessandro Fersen Theatre Academy in Rome. He became part of the Cricot 2 company, directed by Tadeusz Kantor (1980-1992), and collaborated with Yoshi Oida on the staging of texts regarding classical Japanese theatre. With some members of Cricot 2 he founded the Alkahest theatre. Between 1994-97 he was a playwright at the Centre of Experimentation and Theatrical Research of Pontedera. He collaborates with the Studio Nabu Literary Agency of Florence and with the ArtSpace group. Since 1997, his literary activity has been added to the theatre. He published The illusion of life, travel and theatre with Tadeusz Kantor (Titivillus Edizioni 2002).

MARC CAMILLE CHAIMOWICZ
Café du Rêve, 1985
installation, 2 photographs, book, text
The influence of Chaimowicz’s work is hard to pinpoint, but everyone familiar with his art agrees that it is substantial. Is it his imagined rooms, so evocatively furnished as to suggest a story? Or his classic drawings, suggestive of abstracted body parts or fractured parentheses that appear on everything from wallpaper to murals to fabric? His persistently joyous sense of colour? Most likely, it is Chaimowicz’s anarchic lack of distinction between public art and private life that makes him a pioneer and also an enigma. (from Gaby Wood, This Artist’s House is Not a Home, “The New York Times Style Magazine”, March 15, 2018).
Marc Camille Chaimowicz (Paris, 1947) whose father was Polish Jewish and mother was French Catholic was born in post-war Paris. When the artist was eight years old, the family moved to London, where he still resides. His work (painting, drawing, collage, sculpture, installations, furniture, lighting, ceramics, textiles and wallpaper) challenges the category divisions between art and design. His works can be found in the collections of the MOMA, the Tate Modern and the Victoria and Albert Museum. His first solo exhibition in a US museum is currently in the permanent collection at the Jewish Museum in New York.

GIULIA IACOLUTTI
Casa Azul, 2016-2017
photography project
Casa Azul is a socio-visual project on the life story of five trans women held in one of Mexico’s male prisons. The project shows the process of identitary construction and the bodily practices of people whose bodies are considered doubly abject because of their identity and their condition of isolation. The trans inmates, forced to dress in blue, nicknamed the prison “the blue house”, evoking the imprisonment suffered by the bodies themselves. Through printing processes that allow the use of the stereotypical colours of the genre (the blue that evokes passive identification and the rose that speaks of the self), Casa Azul shows the eternal binary struggle that these people must face to be what they are: women.
Giulia Iacolutti is a documentary photographer and visual artist. Her work is mainly dedicated to personal projects between Italy and Latin America. Devoted to narrative research, in addition to photography, she uses different languages and media to explore political-socio-cultural themes related to the struggles of identity resistance. Her work has shown in Argentina, Colombia, Italy, Mexico, Spain and the United States. Her most recent awards include nominations for the Joop Swart Masterclass, the 6×6 Global Talent Program and the Foam Paul Huf Award.

IAN MCKEEVER
untitled, 2018
text
I’ve always found it impossible to resemble myself from one day to the next, Philippe Ricord.
Whether inside your own skin or outside it, the more one tries to be perfect in the world, even for one moment, the less he will be. (Ian McKeever)
Ian McKeever started painting in 1969 in London, renting a studio from SPACE after graduating in English literature. His first solo exhibition came four years later at the ICA in London. In 1989, he received the prestigious DAAD scholarship in Berlin, followed in 1990 by a major retrospective exhibition at the Whitechapel Gallery in London. In the early years, his work concentrates on landscapes, reflecting his many trips to places like Greenland, Papua New Guinea and Siberia. The direct references to the landscape decline in the mid-80s when his work becomes more abstract, displaying interest in the human body and architectural structures. Over the years, the quality and the presence of light become increasingly important in his painting. He has held various teaching positions: he was a guest professor at the Städel Akademie der Kunst in Frankfurt and a Professor of Drawing at the Royal Academy Schools in 2006-2011. Since 2001, he has been a visiting professor of painting at the University of Brighton.

SAMIR MEHANOVIĆ
Through Our Eyes, 2018
film, 70’
Shocked by the way in which the Syrian war is reported in the West, I asked myself how close do we ever get to the true human stories of those caught up in the war? For me, the suffering of the Syrian people brings back so many memories of the war in Bosnia 20 years ago. As a young man growing up in the Bosnian war zone between 1992 and 1995, I was likewise shattered by war. At that time I experienced daily bombings, being cut off from basic supplies, seeing young people and children injured and killed. I still feel traumatised today by those memories.
When I arrived in Edinburgh with my theatre company in 1995, my basic human instinct for survival proved stronger than my desire to return home. I became a illegal immigrant. I was scared, hiding like a mouse, scared of being sent back to the war zone.
I remember a September day walking the street of Edinburgh as a genuinely homeless person while the Scottish rain seeped into my bones. For me that day was harder than three years in the war zone. I spent most of the time loitering in a shopping centre, being questioned by security guards, feeling hungry. Finally, late in the evening, I found a good person who took me into his home. He advised me to register as a refugee, and thereby I became a member of UK society.
This explains why I felt such a strong urge to make it possible for today’s refugees to tell their stories, and why I felt compelled to make this film, “Through Our Eyes” (Samir Mehanović)
Samir Mehanović is a film and theatre director, producer and screenwriter. Born in Tuzla, Bosnia, he has lived in Scotland since 1995. He shot this film three years after making “Silent War in Beqaa Valley” in 2014. After obtaining his MA in Film and TV at the College of Art in Edinburgh, he started his career with the short –film “The Way We Play”, BAFTA 2005 Award. He made the documentary film about the Srebrenica massacre “The Fog of Srebrenica” on commission from the BBC, and won the IDFA award in 2015.

CRISTIANA MOLDI RAVENNA
untitled, 2018
text
My identity is characterized by the shape of my head, of my skull. Round like my grandfather’s skull, my paternal grandfather, like a Roman’s… descending from a family farmers and horse merchants who traded with Hungary for centuries, from groups of Romans who had settled in the Po Valley and at Annone Veneto, perhaps at the time of Julius Caesar.
The skull is telltale of the life-death transition. In my ‘making of art’ I always tend towards the circular, a movement within words or texts that I write, so that it reproduces a complexity or a novelty of thought that must find synthesis in various forms of expression.
I have collected images of my family where my grandfather’s native identity can be clearly seen. I obtained an image from the 1600s: a plaque displaying a series of particularly round skulls around its perimeter. It is located in the cloister of Santo Stefano’s church in Venice. I recently found a little coat, guarded with love, belonging to me when I was a year old and my head, as can be seen in the accompanying photo, almost shaved, reveals the spherical shape: my first coat, light blue and the lining of pink and light blue squares, and golden round metal buttons. I remember exactly how that lining felt. The senses guide us, the memory of the senses is the trace of our identity. (Cristiana Moldi Ravenna)
Cristiana Moldi Ravenna‘s research is mainly focused on linguistic coding both visual and literary. Between 1978 and 1985 she and Guido Sartorelli co-curated several exhibitions on the decoding of cultural messages in cities (in 1984 alone “Semiopolis”, “The city as an advertising medium”, “The city as an instrument of communication”). She has published books of poetry, texts for the theatre. One of these, “Primo grillo Secondo grillo”, which mixes mathematical symbols with onomatopoeic annotations, won the National Theatre and Science Award in Manerba del Garda in 1996. She has written books on Venice, most notably “Secret Gardens in Venice” with Tudy Sammartini and Gianni Berengo Gardin, Arsenale, 1989.

LEON TARASEWICZ
Gerusalemme, 2018
text
[…] under one sky […] the Torah, the Gospels, and the Koran whisper their truths amid ancient stories. It has been this way for ages, and it is this way today.[…] …and I do not know of another city as such, which would be as controversial as it is desirable in the history of humanity. […] …when I lived on Mount Zion, I was completely paralyzed. Gehenna was down the road, and on the horizon, the Sacred Grove where Christ once taught. Golgotha was located four hundred meters from the house where I lived. …and how to paint in such a situation, how to find yourself in such a reality? …I walked the ancient streets for a long time, gathering my thoughts, avoiding various people, […] I felt like a child deceived by the iconography of Orthodoxy and by the sacred images of Catholicism. …because here, I did not find any dark chiaroscuro icons against a golden background, or Roman blue shades. Everything was saturated with the mystical warmth of yellow and orange, and the shades were complementarily purple. …this moment caused me to revise my imagination, and the F I got for a drawing I made for religion class no longer taunted me; during my childhood, I painted the Red Sea using a red crayon, because how else could I have possibly drawn it? (Leon Tarasewicz, June 2018)
Leon Tarasewicz (Waliły, Podlasie region, Poland 1957) is one of the leading contemporary Polish painters. Despite the identification with his place of origin, evident in the references to nature and the landscape of his early works, the artist systematically covers the tracks that could indicate the genesis of his work. Gradually, the structure of his paintings inspired by nature becomes a captivating and sensual playing area of pure, intense colours, spread out in parallel strips. On the surfaces of his large-format works the only determining elements are colour, texture and light.

ANDRZEJ and TERESA WEŁMIŃSKI
Esse est percipi 2
installation, paper, resin, monitor, video
Several cardboard boxes (5-7) are placed in non-significant places in the exhibition space: in a corner, under the stairs, etc. Each box has a hole from which an observer’s eye follows us. The installation refers to the early work of the Polish duo on the themes of identity, individualism, unstable conditions of the viewer (from observer to voyeur), and is also inspired by the Isolate Systems and issues related to the impartiality of the observer (Schrödinger: we are not neutral looking at reality, but we influence it). The title refers to the George Berkeley’s investigation of “being observed” (the existence of something depends on being perceived).
Teresa Wełmińska is an actress and director. She graduated from the Medical Vocational School of Krakow. From 1976 to 1990 she collaborated with Tadeusz Kantor and performed in the Cricot 2 Theatre. Since 1992, together with Andrzej Wełmiński, she realizes artistic projects, shows and theatre workshops.
Andrzej Wełmiński is an actor and director. He worked with Tadeusz Kantor from 1973 to 1990, and participated in all productions and tours of the Cricot Theatre 2. He graduated in 1977 in Graphic Arts at the Academy of Fine Arts in Krakow. As an artist he uses various media (drawing, painting, photography, objects and installations) and is associated with Foksal Gallery and Krzysztofory Gallery. Together with his wife Teresa, he has co-authored numerous shows represented in European theatres and festivals, including “Pages from the Book of…” (2012), for which he was awarded Best Actor and Best Production at the Istrapolitana Festival in Bratislava.

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Trieste, Studio Tommaseo (via del Monte, 2/1) 
31 January 2019  6:30pm

Did I ever leave you? Was I ever able?, by Giulia Sgrò
for “Trieste Campo Marzio_una realtà possibile” 

CLAUDIO AMBROSINI
CRISTIANO BERTI
PATRICK FAIGENBAUM
GIOVANNI FLOREANI
MANUEL FRARA / INTERNO 3
DANIELA GATTORNO
LADA NAKONECHNA
MARIO SILLANI DJERRAHIAN
MARIJANA VUKIĆ PENDE

CRISTIANO BERTI
Cristiano Berti, 2003
7 photographic portraits
The people portrayed are six cognomens of the artist, in addition to a fictional character, a theatre critic named Cristiano Berti, played by the English actor John Steiner, in the movie “Tenebre” by Dario Argento (1982). The repetition of the name and surname, dissolves identity. Cognomens open the door to anonymity. The sense of uncertainty is further accentuated by the presence of even a fictional character.
Cristiano Berti (Turin, 1967) is an artist who mainly works with photography, video and installations. Among his recent solo exhibitions: Uqbar, Berlin, 2017; Villa Croce Museum of Contemporary Art, Genoa, 2015; Alert Studio, Bucharest, 2014; Mole Vanvitelliana, Ancona, 2012. Among his group shows: Récits des Bords de l’Eau, 4ème Biennale Internationale de Casablanca, 2018; Black Disguises, Museum of Modern and Contemporary Art, Rijeka, 2017; Residual, New Art Exchange, Nottingham, 2015; I never got to Ph.D, Ballhaus im Nordpark, Düsseldorf and Smuggling Anthologies, Museum of Modern and Contemporary Art, Rijeka, 2013. He teaches at the Academy of Fine Arts in Macerata.

PATRICK FAIGENBAUM
a work from the series of photographic portraits
in black and white of Italian noble families (1983-1991)
The photo is that of the noble Florentine Guicciardini family taken in front of their archives at their estate in the Tuscan countryside. Faigenbaum conceived the idea of creating portraits of Italian noble families in their ancestral homes in 1983, while returning from his first trip to Italy: starting in Venice, then continuing in Florence and Rome (where he was a resident scholar at the French Academy – Villa Medici from 1985-87), and completed in Naples, in 1991. Having already taken similar portraits of the Parisian nobility, Faigenbaum felt that meeting aristocratic families in their estates allowed him to create more complex compositions in addition to offering a methodical research, which gradually became an exploration, a reconstitution, a collection of memory.
Patrick Faigenbaum (Paris, 1954) gained international fame in the field of contemporary photography in the ‘80s, precisely with this series of portraits. His works are regularly exhibited in France and abroad and are part of public collections (from the Metropolitan Museum of Art in New York to the Centre George Pompidou in Paris, from the Reina Sofia Museum in Madrid to the Vancouver Art Gallery). In 2013 he won the Henri Cartier-Bresson Award for his work “Kolkata”. He has been teaching at the École des Beaux-Arts in Paris since 2001.

GIOVANNI FLOREANI, DANIELA GATTORNO
Effimere, 2019
a reflection in poetry and music (Daniela Gattorno – poems by Wislawa Szymborska; Giovanni Floreani – sound research and songs)
In the photo of the crowd / my head is the fourth from the edge / and maybe the seventh from the left / or the twentieth from the bottom
(taken from “A Photograph of a Crowd” by Wisława Szymborska)
Friulan Giovanni Floreani started his musical journey through the beat music of the tumultuous ‘60s in Mestre (Venice). He became interested very quickly in experimentation (Area, Perigeo, Aktuala) and in the British and American avant-garde musicians (Frank Zappa, Van der Graaf Generator, Brian Eno). At the end of the ’70s he approached the vocal and musical authenticity of folk music. Since then, he has moved between research and experimentation proposing open projects in collaboration with artists such as Yang Jing, Pierre Favre, Latif Bolat, Paul Tofani Krsna Prema, Tony Pagliuca.
Daniela Gattorno (Genoa, 1964) is an actress, a theatre director and children’s playwright. At the beginning of her artistic career, she perfected juggling and aerial acrobatics with the Orfei Circus. In the early ‘90s, she began her theatre activity in Trieste, and since 1995, has maintained an intense street theatre activity, going on to contribute to the creation of theatrical and musical events for the Cultural Association Furclap. Since 2001, she has collaborated with La Contrada – Teatro Stabile in Trieste and, as of 2017, is President of the Amici della Contrada Association. Gattorno has played various roles in TV productions and movies, including starring in the 2015 film “Un Bacio” by Ivan Cotroneo, Indigo Film production.

MANUEL FRARA / INTERNO 3
Primary selfie: take this software and make your selfie, 2018
installation, 9 wall elements
Your identity today is a new identity.
Your identity is accelerated by the social media.
Your new identity is a self-portrait out of control.
Your identity is your new image in its most unconscious form.
Your identity has increased till its collapse through your profile on Whatsapp.
On Facebook, on Instagram.
On Twitter, on Telegram, on Linkedin, on Xing and on Renren.
On Google Plus, on Disqus, on Snapchat.
On Meetup, on Vine, on Tumblr.
On Twoo, on Vk.
On Medium, on Pinterest, on Youtube […]. (Manuel Frara)
Manuel Frara lives and works in Venice. Since 1996 he has been known under the pseudonym “Interno3”, which is the name of his project of interaction between high-tech and low-fi. In 1997 he graduated from the Academy of Fine Arts, where he has taught since 2007. In 2007 he participated in “DiVA” New York, and in 2008 his solo show “A Beautiful Day” was installed at the Galleria Contemporaneo in Mestre, and again at the Abertay University of Dundee, Scotland. In 2009, he took part in Isola mondo, a collateral event for the 53rd Biennale di Venezia. He was artist and curator for the 2005-2014 editions of Art Stays, International Festival of Visual Arts, Ptuj (Slovenia).

LADA NAKONECHNA
Ich bin eine osteuropäische Künstlerin, 2019
installation, video projection
Identity is manifested through gestures and acts in public areas, it is revealed in political activity.  It does not require additional work (such as an organizational support or a special constitution).  It is the conscious need in the political struggle. (Lada Nakonechna)
Lada Nakonechna (Dnipropetrovsk, Ukraine, 1981) lives and works in Kyiv. She is an artist, a curator (member of curatorial and activist union Hudrada) and an educator (co-founder of the Course of Art, an independent educational program in Kyiv). Since 2005 she has been part of the R.E.P. group. In 2015 she co-founded the Method Fund. She has participated in numerous international and Ukrainian exhibitions, including exhibitions at the Museum of Modern Art (Warsaw, 2015), Kunstmuseum Wolfsburg (Germany, 2015), Galerie für Zeitgenössische Kunst (Leipzig, Germany, 2015), National Art Museum of Ukraine (Kyiv, 2012), CSW Zamek Ujazdowsky (Warsaw, Poland, 2012, solo show).

MARIO SILLANI DJERRAHIAN
Portrait of the MAXXI as myself, 2018
Portrait without sound like myself, 2018
2 portfolio of 101 photographs
To walk into a landscape means to live for a certain time in the photo that I take, making it, therefore, a portrait of myself. I do not document a place, as it is not the subject of the photo. The subject is my traversing that point and knowing I am there when I shoot 101 photos. How do I take a photo? With a few technicalities. Automatically. Adjusting only the framing, which has to be the most trivial. It does not count the single shot, but the time used (which I note as evidence of having been there for those 101 fractions of time). I get an endotic, internal landscape. One that is lived in: I am linked to the world by my simple action. As an ancient Chinese painter said, a beautiful view (and also a beautiful photograph) is a standing outside, whereas walking through the landscape one senses their own soul. (Mario Sillani Djerrahian)
Mario Sillani Djerrahian (Addis Ababa, 1940) is a photographer, a performer and a videographer. He has exhibited in Italy and abroad (recently in Yerevan, Graz, Moscow, Messina, Venice). He teaches photography and has worked for theatres in Trieste and Milan. In Trieste he founded the Centro Fotografico Gamma, the Radioattività radio, the Edizioni Centro G publisher, the Gruppo 78. He was president of La Cappella Underground, collaborated with the Centro Arte Viva. He was a visiting lecturer at Sheffield Polytechnic (1976, 1978 and 1986) and conferences on his body of work were held at the Università Cattolica, Milan (2001) and at Ca’ Foscari University, Venice (2001, 2004, 2008). He was awarded the 1989 CRAF Friuli Venezia Giulia Photography Award for Research Activity.

MARIJANA VUKIĆ PENDE
The First layer, 2018
installation, latex, graphite, coal, plexiglass
The artist’s approach to carbon graphite evolves during the process of studying this material’s properties in relation to the human body. Therefore, other materials are combined with the graphite in order to create a new organic, living element, which resembles our skin, which covers us, protects us. Together with the power of the graphite’s chemical kinetic energy, this new element evokes the potential energy we humans have forgotten that we have.
Marijana Vukić Pende (Dubrovnik, 1973) studied sculpture and contemporary music, and graduated from the Academy of Fine Arts, Venice in 2008. In 2005 she participated in Atelier Aperti, Academy of Fine Arts in Venice, 51st Venice Biennale. In 2008 she was an artist in residence at the Atelier Frankfurt – Kulturamt Frankfurt am Main. Her work has been shown in several collective exhibitions in Croatia and Italy and three times at the Gliptoteca Triennial of the Croatian Academy of Sciences and Arts, Zagreb. Solo shows: Museum of Modern and Contemporary Art, Rijeka, 2016; Gliptoteca, Croatian Academy of Sciences and Arts, Zagreb 2017; Museum of Contemporary Art of Istria, Pula 2017; Palazzo Costanzi, Trieste, 2018.

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Trieste, Studio Tommaseo, via del Monte 2/1
from 12 to 24 January 2019
opening hours: Tue.-Sat. 5-8 pm
free admittance
info: info@triestecontemporanea.it
phone: +39 040 639187

all images: courtesy by the artists and Trieste Contemporanea

ERICK DEROOST
MAŁGORZATA DMITRUK
DIEGO ESPOSITO
KATJA FLEIG
LAURE KEYROUZ
SONIA SQUILLACI
GIAN CARLO VENUTO

DIEGO ESPOSITO
untitled, 2018
drawing and collage on paper
A map with an Earth constellation and a Celestial constellation in search of an orientation of the self by imagining the umbilical cord that once united these two realms in a Cosmic Brotherhood. The active view by a non-limiting gaze. A terrestrial and a cosmic map at the same time: to see the Universe and become one. A spiritual path. (Diego Esposito)
Diego Esposito (Teramo 1940) lives and works between Milan and Venice. His sculptural works, starting from the project-in-progress “Longitude / Latitude” began at the Center for Contemporary Art Luigi Pecci in Prato, Italy (2001), have been installed at the Museo Emilio Caraffa, Cordoba, Argentina (2010), at the Centro Cultural Ccori Wasi, Lima, Peru (2011), at the Muryokoin Temple, Japan and at the École supérieure d’art et de design Marseille, France (2015), at the Giorgio Cini Foundation, Island of San Giorgio Maggiore, Venice, Italy (2016); at the University of Teramo, Italy, and in Satka, Russia (2018).

KATJA FLEIG, ERICK DEROOST
Fusion Two, 2012
video, 14’ (artist: Érick Deroost; dance: Katja Fleig / enCo.re;
video shooting and editing: Philippe Lucas)
We are in a foundry in the Loire-Atlantique, an extraordinary landscape for a choreographer. The dedicated workers are focused on the glowing-hot metal while the artist improvises a dance performance. Their parallel worlds and movements meet in a singular “pas de deux” that brings out the richness of differences between the identities of a worker and an artist. These identity differences bind humans to one another.
Erick Deroost, lives in Rennes. He is interested in the duality of nature and culture. Over the last ten years, alone or in collaboration with other visual artists and architects, he has realised installations exploring the relationship of people living in a city with the environmental issues. To raise citizens’ awareness on domestic waste sorting and sustainable development, he was commissioned to realise 5 monumental installations in 5 municipalities located south of Rennes. Other sculpture-installations have dealt with the themes of recycling and energy saving.
Katja Fleig, German-born choreographer and dancer, created her enCo.re company in 2003 in Rennes and has developed an interdisciplinary creation process, working a dozen pieces in collaboration with: choreographers, dancers, actors, musicians, writers, video artists, visual artists, translators, DJs. Since 2008, the relationships and exchanges between the artist and the public have been at the centre of her research, of which some examples are the “KF née en Février” and “CKF” performances for public spaces, and the “Visite chorégraphique” project, tailored to 15 specific public sites. She collaborated with director Alexander Kutchevsky in the “Blockhaus” theatre-landscape project. The performances “Enjeux associés” were realised in 8 locations in Brittany in connection with the works of artist Robert Schad. Together with Gilles Amalvi and Julie Seiller, she is now working at “Engelsam, en jeu”, a dialogue with Paul Klee’s 1939-40 drawings with angels.

LAURE KEYROUZ
Adopt a friend, 2018
installation (10 desks and chairs, 10 school smocks, 1 table, 2 blackboards, 1 artist’s book) performance (drawings Laure Keyrouz; calligraphy Ahmad Alaa Eddin; translations Silvia Galluccio, Janetta Ledell, Niu Xin, Maruša Mugello Lavrenčič; performers Sami Samuela Barbieri, Silvia Galluccio, Laure Keyrouz, Janetta Ledell, Betta Porro, Ivana Sarazin, Adriana Torregrossa.
“Adopt a friend” is an event created by Enas Elkorashy focused on the letters and drawings exchanged between 10 children from Damascus and Aleppo and some Italian students. After studying the drawings, I wrote a poem in Standard Arabic, as if it were written by one of the children. Some verses are directly inspired by the letters. The key to the work is the analysis of the most significant deprivation suffered by these children due to the war and destruction in Syria: the loss of the school and the sadness felt in being unable to return to the classroom. The 10 desks represent the children, as if they were present. On the desks I wrote the words “my soul swims, on a burnt sheet, it buries a poem in the East, and tears the twilight in the West”. The performance is built around my reading of poetry in Arabic, from the artist’s book “Poetry for my school – I pour myself into the scent of a flower” that I created specifically for the installation. A first version of “Adopt a friend” was held in 2017 at the “Made in … Art Gallery” in Venice. (Laure Keyrouz)
Laure Keyrouz, a poet and a visual artist from Lebanon, has carried out an intense activity of interventions in public spaces (installations / lettering and performances, writing and reciting poetry in Arabic) over the last few years. She is working on her PhD at the University of Nova Gorica on the current mutations of artistic expression (HybridMedia) as found in contemporary art and literature in Lebanon. Since 2014, she has been teaching Arabic Language and Translation at the University of Trieste.

SONIA SQUILLACI
17 rose e qualcuna in più (17 roses and a few more), 2019
mixed technique on paper (detail)
For many years the artist has focused on a few selected subjects from a domestic setting. Fruits of nature, be they aubergines or other vegetables, are taken out of their context to acquire mysterious attributes. Each time, their archetypal characteristic is extolled but they are not easily recognizable at a first glance. This is mostly remarkable in her works on Plexiglas and carborundum.
Sonia Squillaci (Cormons, Gorizia, 1975), artist and teacher, graduated in painting at the Academy of Fine Arts in Venice. Her paintings, drawings, engravings, sculptures and artist’s books have shown in Italy and abroad. Her most significant shows include: “Biennale 2011. The State of the Art”, curated by Vittorio Sgarbi, Magazzino 26, Trieste; “Broderies” curated by Fabio Belloni, Villa Aboca, Sansepolcro, Arezzo, 2011; “Stimmate della Speranza”, installation, Church of San Girolamo, Cervignano del Friuli (UD) 2012; “Group 78 – Trieste Oaxaca Torreon”, curated by Maria Campitelli, La Calera Museum of Oaxaca, Mexico, 2013.

GIAN CARLO VENUTO
Identità, 2014
model, mixed media
This work is based on the very old Chinese game of TANGRAM, which divides a square into seven parts, those parts assume a volume, occupy a space of infinite facets and creative combinations, which embrace my continuous, unceasing search for identity, conducted in a defining but never definitive way. The SQUARE is a spatial module in which, or by which, I have often structured my works with an infinite variety and possibility of combinations and HARMONY that derives from it. SEVEN is a number with a particular meaning, it is the only one among the first ten numbers that cannot be multiplied or divided within the group, a number, present also in the Bible, that takes on a mystical meaning and indicates completeness and correct arrangement. (Gian Carlo Venuto)
Gian Carlo Venuto (Codroipo, Udine, 1951) has taught at the Academies of Fine Arts in Venice and Turin, as well as at the Brera Academy in Milan. He has always loved Lorenzo Lotto, Pontormo and Parmigianino, but also Rilke’s poetry. Painting for him originates as a fresco — even when technically it is not — living the layers of time, thought and matter as plaster during carbonation.

An extract taken from the performance Action – Evolution by Antonio Mayor Rey (photo Paola Pisani)

The winner of the Franco Jesurun Award 2018 is the Spanish Antonio Mayor Ray, 21.

In front of a large audience, the 2018 contest’s jury, composed by Roberto Canziani, Giuliana Carbi Jesurun, Emanuela Marassi, Alessandro Marinuzzi, Roberto Paci Dalò, Bastien Poncelet and Janka Vukmir, decreed the winner on the final evening of Saturday 15 December at Studio Tommaseo in Trieste.

The major Award of SQUEEZE IT 2018 goes to the theatrical action Action – Evolution by Antonio Mayor Rey which prevailed over the other finalists’ ones (Femminata by Clara Ingargiola and Valentina Ghelfi) and Bauhaus 100 (by Lilla Tóth and Johanna Eperke Kiss).

Antonio Mayor Rey will have the honour  to work in May 2019 to the video production of his theatrical proposal, planned by the organisers as the main award of the competition, with the great Polish artist Mirosław Bałka who accepted to be guest director of it.

Claire Froës is the winner of The SQUEEZE IT ONLINE AWARD with her video clip Untitled (Soloshow) that obtained the largest amount of online votes.

SQUEEZE IT is dedicated to Franco Jesurun, theater actor and gallery owner who founded the Studio Tommaseo and Trieste Contemporanea. The contest, biennal and established in 2014, is open to young under 30 European artists that conceive an original small-format theatrical action at the intersection of theatre, visual arts and information technologies.

The contest is organised by the Associazione L’Officina-Trieste, Studio Tommaseo-Trieste and Trieste Contemporanea; under the patronage of the Accademia Nazionale d’Arte Drammatica Silvio D’Amico-Rome; funded by the Regione Autonoma Friuli Venezia Giulia; in partneship with ArtSpace-Venezia, Etrarte-Udine, Institute for Contemporary Art-Zagreb, Vitamins of Society-Graz, vivacomix-Pordenone.

watch the video clip submitted to the competition by the artist as a demo of the first part (4′) of his theatrical proposal

associato al progetto: squeeze it contest

MARCO GORGOGLIONE
Ultima Aestate (at the end of summer)

The performance is an elaboration of mourning, of the trauma of separation and loss.  It is a journey that explores the meaning of things that pass, such as the end, the sense of emptiness, absence.  It is a dialogue with those who no longer exist and at the same time with themselves, different and distant voices that reappear and become co-present, to recover what is lost and what is left.

Marco Gorgoglione was born in 1995 in Basilicata. He lives in Pisa where he studies Italian literature.  In 2017, he is a founding member of Yawpisti, a movement which aims to share contemporary poetry in Tuscany and all over Italy.  In 2018 he is a finalist in the national poetry slam competition in Genoa.  He collaborated with both Italian and international poets within the “Pisa book festival” exhibition.

EVA KOKALJ
Svet pripada hrabrim (the world belongs to the brave ones)

In the poetry of Eva Kokalj, the subject always comes first.  When she involves her own inner world, she is searching for a port of dreams that had collapsed.  She is exploring passages of transition of the outer world into the human being and describes falls and rises.  She writes of abundance and independence, of how from the inside she flows into the world and, the other way around, how the world leaves itself (the leaves).  It is a shrewd, but courageous discovery of who we are, what our true essence is, what is our silence, and when all this becomes the absence of words.  How to talk about anything in that silence?  The answer is:  Talk about love.

Eva Kokalj (1989) is a Slovenian poet, a performer and a theatre director.  She often uses her own poetry in her music and/or videos.  She performed three concerts as singer-songwriter.  Also, she wrote and directed two theatre shows that had been performed in Glej theatre in Ljubljana and one that has been performed in her hometown, Celje. She took part in Slovenian national slam poetry contest twice.

YASMIN HAFEDH
“What more can I say?!”

Hafedh will try to draw the bridge between spoken word poetry and rap.  Feminism always comes up when she performs, the big anti-s as well!  Antifascism, antiracism, antisexism.  For respect and peace.  Word by word. Talking sense.

Yasmin Hafedh lives in Vienna, where she attended the stages since the age of 15 as a poet.  She started participating poetry slams in Vienna (since 2007), while she was going to school.  At that time, she became an editor of Literaturzeitschrift & Radieschen and a member of the 1MM Freestyle Session, a bi-weekly freestyle session.  In 2009 she was the first woman in a final of the Ö-Slam (Austrian Poetry Slam Championship), which then won in 2013.  Hafedh is one of the best known Austrian slampoets.

GABRIELE STERA e MARTINA STELLA
Dorso Mondo

Dorso Mondo is a poetry, electronic-music and video-art performance, extracted from the homonymous book-cd, upcoming by Squi(libri) publisher.  In the landscape of abstract geometries produced by Martina Stella’s video projections, Gabriele Stera combines with poetry the buzz of the electromagnetic fields in the room to tell about an insomnia, an inter-spatial trip, a shipwreck, a life day.

Gabriele Stera ( Trieste, 1993), poet and sound artist, and Martina Stella (Trieste, 1992), visual artist, live in Paris where they study respectively Aesthetics and Photography and contemporary art. Their first collaborative art-work, Dorso Mondo, merges poetry, music, illustration and multimedia performance, and will be published by Squi(libri) in 2019.

Femminata – by Salvatore Cannova, Clara Ingargiola and Valentina Ghelfi, Italy

Femminata talks about domestic violence, telling the story of a Woman who can’t do anything but forgive his man. Femminata is the life of all the women submissive on abusive men, is the life of all the women that perish under that violence.

Salvatore Cannova (Palermo, 1993), starting his education as a singing and piano student, advanced in theatre at the “Scuola dei mestieri dello spettacolo”, the Teatro Biondo acting school directed by Emma Dante in Palermo, at the drama course “Il varco del racconto” directed by Chiara Guidi (Societas Raffaello Sanzio) and at the Bernstein School or Musical Theatre in Bologna.  He is now studying his BA at the University of Palermo.  He performed for theatre, often directed by Emmma Dante, and for movie and television. In 2017 he wrote his first play, “Elementi”, Aletti Publisher; in 2018 he directed for the stage “La famiglia Mangiapane racconta i grandi classici”, Teatro Biondo production; and in 2019 co-directed  the shortmovie “SUPO”.

Clara Ingargiola (Mazara, Sicily, 1994) graduated in 2017 from the Accademia Nazionale del Dramma Antico, Siracusa.  She performed as coreuta in the classical dramas at the Greek Theatre in Siracusa (2015-2017); in 2015 she took part in “Medeia Medeias Medeia”, directed by Nicasio Anzelmo at the Ancient Theatre of Segesta, and worked with Moni Ovadia and Mario Incudine, (“Alla ricerca di una terra straniera più amica della nostra”, “Le Supplici”) ; in 2017 (“Le Troiane”) and 2018 (“La favola del figlio cambiato”) she worked with Matteo Tarasco; in the same year she collaborated with the roman company “Gruppo Jobel”.

Valentina Ghelfi (Piacenza 1994), begun studying drama with Mariangela Granelli.  After her degree, she attended the acting school of the Piccolo Teatro in Milano.  After finishing School on July 2017, she worked with the Swiss company V XX Zweetz and the company LumeTeatro, and with directors Carmelo Rifici and Giorgio Sangati.  She studied on-camera acting with Pupi Avati and Tim Kent and worked for TV and some shortmovies.  During the school years, she also explored modern dance performing.  In Summer 2018 she published her first poetry book: “Los Senores ed io”.

Action – Evolution – by Antonio Mayor Rey, Spain

A performance where philosophy about evolution is the protagonist and a young man delves into his more personal self to invite the public to reflect on the evolutionary process of humans from a perspective where sexuality marks the way and towards a future where technology will became the keeper of human essence.

Antonio Mayor Rey (Madrid, 1997).  Education: baccalaureate from the Instituto Padre Piquer, Madrid and from CEAC; courses at the ESNE Escuela Universitaria de Diseño, Innovación y Tecnologia, Madrid and at the Escuela de Empresa, Madrid.  In 2016-2017 he is community manager for the Spanish M80 radio (Empresa Grupo Prisa) and model for several Spanish fashion companies.  In 2018 he performs his first performance at the Centro de Artes Vanguardista La Neomudejar in Madrid.

Bauhaus 100 (Shade of Bauhaus) – by Lilla Tóth (group leader), Noémi Endresz, Johanna Eperke Kiss, Kinga Ördög, Diána Polgár, Hungary

The theme is the 100th birthday of the Bauhaus Design School. Shade of Bauhaus is a game of shadows, geometric figures and bodies.

SQUEEZE IT, the contest for young Europeans at the crossroads of three creative languages (theatre, visual arts, information technologies) is approaching the final phase and now arriving at the awarding of the best semi-finalist video clip.

The candidates for the SQUEEZE IT ONLINE AWARD 2018 are ready!

Watch their videos and vote for your favourite one.
Through the Facebook “I like” button underneath, you can vote on this page until 11:59 PM of December 3, 2018 (Italian time)
The winner will travel to Trieste to take part in the amazing Squeeze it Workshop 2018.

After the closing of online votes the winner of the squeezeitonline Award turned out to be Ms Claire Froës, France.

read more

Lightform
by Annachiara Felcher (group leader), Stella Iovine, Elisa Mansi, Tiblets Quaini, Enrico Regattin
Italy

Each member of the group inserts in turn a slide inside an old slide projector, screening a QR code, and through a phone application reads the descriprion the QR code refer to.  With a marker the other members in the meantime trace edges of the image projected.  At the end of the action a drawing is created which is formed by shapes of all projections.

Untitled (Soloshow)
by Claire Froës
France

Everything is reduced to minimum.  The public is in front of an empty stage.  At the antipodes of a classical theatre, place of the highest body, where the sound and the light participate to fill the space, to create the narration, there is no actor on the stage, no apparent physical incarnation, but a projected text and a diffused voice.  It’s about creating emptiness and playing with darkroom’s experience and the silence it generates.

Femminata
by Clara Ingargiola and Valentina Ghelfi (and Salvatore Cannova)
Italy

MATUREFemminata talks about domestic violence, telling the story of a Woman who can’t do anything but forgive his man.
Femminata is the life of all the women submissive on abusive men, is the life of all the women that perish under that violence.

Action – Evolution
by Antonio Mayor Rey
Spain

A performance where philosophy about evolution is the protagonist and a young man delves into his more personal self to invite the public to reflect on the evolutionary process of humans from a perspective where sexuality marks the way and towards a future where technology will became the keeper of human essence (the video clip is an autonomous release of the integral performance project candidated to the competition).

Kardias
by Giulia Odetto and Lea Brugnoli
Italy

The project represents the interferences of the media, which affects the human´s attention and bothers his existence. A performer is the only inhabitant of the stage and the body is her only means of communication. From her movements, thanks to HART device, a live sound performance takes place amplifying the heart beat of the performer but suddenly an external elements appears: a TV program projected on the wall…(the video clip is an autonomous release of the integral performance project candidated to the competition).

Bauhaus 100
by Lilla Tóth (group leader), Noémi Endresz, Johanna Eperke Kiss, Kinga Ördög, Diána Polgár
Hungary

The theme is the 100th birthday of the Bauhaus Design School. The team members are students in architecture and product design from the Sopron University.  Shade of Bauhaus is a game of shadows, geometric figures and bodies.

The Robot, Seda
by Merve Vural
Turkey

The artist uses a close-shot of her face while mouthing the voice of Hanson Robotics’s Robot Sophia. The Robot in its turn is dubbing a Seda Sayan’s statement about a guy who behaved very badly towards her (Ms Sayan is a very popular Turkish singer, known as an outspoken and dominant female character). A work on sound as one of the most important elements of communication… (and on robotic voice as the most real voice…)

We are pleased to announce that competitors selected by the jury to the ONLINE SQUEEZE IT AWARD 2018, which will go to the one of them ranked first in a on-line public vote, are the following:

Annachiara Felcher (group leader), Italy
Claire Froes, France
Clara Ingargiola (group leader), Italy
Antonio Mayor Rey, Spain
Giulia Odetto, Italy
Lilla Tóth (group leader), Hungary
Merve Vural, Turkey

SQUEEZE IT 2018, the cross-sector competition dedicated by Trieste Contemporanea to young European artists under the age of 30 aiming at shaping contemporary ideas at the crossroads of theatre, the visual arts and new communication technologies, will be presented on Friday 16 November at 6.30 pm at studiovivacomix in Pordenone.
After the contest announcement’s deadline of last Monday, it is about to start in Trieste the final phase of the initiative, which will see the final stage-evening take place next December 15th (and the awarding of the Franco Jesurun Award 2018). Giuliana Carbi, from the contest organizing committee, will give in Pordenone a preview of the December SQUEEZE IT programme.

Looking forward to watching the video work that the 2018 winner will realize with the guest director Mirosław Bałka, the event at vivacomix will also be an opportunity to comment the videos made by the winners of the two previous editions of the contest: “Perfurmance”, by the Croatian group Komična Hunta (winner of the 2014 edition) and directed by Adrian Paci, and “Thyméle 1”, the video which the Belgian artist Bastien Poncelet made after his 2016 victory together with Dalibor Martinis.

studiovivacomix
via Montereale 4b, Pordenone
Friday, November 16th, 2018, 6.30 PM
free admittance

The jury of the third edition of the SQUEEZE IT contest is formed by: 
Roberto Canziani, professor in theatre studies, theatre critic and journalist
Giuliana Carbi Jesurun, historian of art and curator
Emanuela Marassi, artist 
Alessandro Marinuzzi, theatre director
Roberto Paci Dalò, composer/performer, filmmaker & theatre director, visual artist
Bastien Poncelet, winner of SQUEEZE IT 2016, Franco Jesurun Award
Janka Vukmir, director of the Institute for Contemporary Art, Zagreb

The Day of Contemporary Art is the major annual event promoted by the AMACI – Association of Italian Museums of Contemporary Art to focus on the art of our times and its public.

Contestants born in which countries may take part in the competition? Albania, Austria, Belarus, Belgium, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Kosovo, Latvia, Lithuania, Luxembourg, Macedonia, Malta, Moldova, Montenegro, Netherlands, Poland, Portugal, Romania, Serbia, Slovakia, Slovenia, Spain, Sweden, Turkey, Ukraine, United Kingdom

In the images: the Croatian group Komična Hunta and the Belgian artist Bastien Poncelet, winners of the 2014 and 2016 editions, with guest directors Adrian Paci and Dalibor Martinis.

APPLY
TO THE
SQUEEZE IT
CONTEST
2018!

The Trieste Contemporanea Committee is pleased to announce the third edition of the SQUEEZE IT contest challenging the talent of artists and young professionals from the EU and the CEI countries that are under the age of 30 and intend to work at the crossroads of three languages: Theatre, the Visual Arts and the Information Technologies.

The competition deadline is 12th November 2018.  The entry is free.

Contestants are asked to create a short original theatrical action able to fit in an ideal 4x4x4m size box.

After a semi-finalist have been awarded by the online vote and finalists have participated in a special workshop and staged their theatrical action, the winner of the Franco Jesurun Award will work with the 2018 guest director Mirosław Bałka at a video production.

Read more and check the competition notice

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Trieste Contemporanea
Dialogues with the Art of Central Eastern Europe
info@triestecontemporanea.it
+39 040 639187

Julia Landsiedl, Buoy, 2018, Gillo Dorfles Award 2018

The Austrian designer JULIA LANDSIEDL wins the GILLO DORFLES AWARD.  Both the TRIESTE AWARD and the BEBA AWARD go to the young Turkey architect MERIÇ ARSLANOĞLU.  MILAN RANKOVIĆ from Serbia takes home the C.E.I. AWARD.  A great 2018 edition – the 13th this one – of the biennial International Design Contest Trieste Contemporanea awards the best European projects fitting the 2018 challenging theme HARBOUR FOR CULTURES.

The award ceremony is awaited on Saturday, the 8th of September 2018, in conjunction with the opening of the exhibition of finalist works selected by the Jury.

The Trieste Contemporanea Committee is pleased to announce the results of the thirteenth edition of the International Design Contest founded by Gillo Dorfles in 1995 with the aim of showcasing the most original design offerings from the countries of Central Eastern Europe.

5 projects – among them 3 winners, total prize money of € 9000 – have just been selected by the Trieste Contemporanea international jury as the best proposals this year submitted in view of meeting the contest’s request of giving a contribution in conceiving a harbour for cultures.

The 2018 edition of the contest has been based in fact on the 2017-2019 ongoing process-project HARBOUR FOR CULTURES promoted by Trieste Contemporanea through several actions, debates, events and exhibitions – of which one part is now on display at the Haus der Architektur in Graz.  The project draws inspiration from the real case history of how to convert and reuse the area of Porto Vecchio (old port) of Trieste.  This practical topic of rethinking for new uses the widest waterfront currently available in Europe, after having remained in a state of decay for decades, is now the issue on which international professionals and the whole city of Trieste are called to have a vision.  But, as the promoters of the H/C project believe, it could be also a more ideal actual point from which we could look forward and imagine how new places and the future of cities may be tomorrow, in a society beyond geographical and mental borders where people freely exchange their cultures and benefits of art and culture are earned by the many.

While enrolling to the 2018 H/C design contest the candidates have taken part in this utopia-incubator for imagining a “new port” and have re-interpreted from this different perspective the usual functions of a port (issues of goods, insurance and profit) and its interim state between arriving, belonging and leaving.

In the main session of the competition, answering to the question “Which object would you imagine to find in / bring to / take from a harbour for cultures?”, participants were asked to conceive an original and innovative item of contemporary design. From this session, 22 candidates from 11 countries, comes the winner of the Dorfles Prize, the Austrian designer Julia Landsiedl, which presents a project inspired by buoys located in the gulf of Trieste: a new object in recycled polyester and in form of big “buoys”, inviting people to take a seat, rest and chat, or smaller ones, as portable pillows, which are useful on any other trip.  A Special Mention has also been given to the project “Sal_ary”, presented by the Croatian designer Ines Vlahović: a salt bag/keeper sewed of sustainable and environmental friendly material and inspired to ancient Rome, times in which salt was precious and also the one from Adriatic was used as payment (salary).

Three Awards and a Special Mention arrive from the special session of the competition dedicated to the Port of Trieste, 30 candidates from 9 countries.
The set up TRIESTE Award has been assigned for his project “CON-TAG #” to the Turkey architect Meriç Arslanoğlu, 26, together also with the BEBA Award for the youngest participant selected.  The young contestant envisages a system of air pumps + ballons that is responsive to digital data flow from mainstream social media in view of creating a floating piazza in the Porto Vecchio (in this case working with hashtags).
The CEI Award for the best design from one of the non-EU CEI countries has been assigned to Milan Ranković, a Serbian designer that presented the project “S-case”, a portable solar suitcase that uses solar panels to produce electric energy and that can also be used for cooking.  Finally, the Turkey group formed by Cansu Dinç, Beyzanur Meriç, Sunay Paşaoğlu, Ebranur Yýlmaz, have had a Special Mention for their project “threshang”, a large map-drawing of imaginary new functions in all the area of Porto Vecchio, “beyond” the railway-roadway wall here existent and “on” the general ambiguity of walls as depicted by American writer Ursula K. Le Guin in her 1974 science fiction novel “Dispossessed”.

All projects were presented in an exhibition, opening in Trieste on the 8th of September 2018, and the award ceremony was held in conjunction.

OGGETTI / INSTALLAZIONI (objects / installations)
solo show by MARIJANA PENDE
April 27th – May 12th 2018
Trieste, Palazzo Costanzi, Sala U. Veruda, piazza Piccola 2

opening Thursday, April 26 2018, 18.30 

opening hours: Mon.-Sun. 10_13 and 17_20 | free admittance

On Wednesday, April 25th at 7:00 pm, at the Institute for Contemporary Art of Zagreb, the new book BREDA’S LESSON – the result of the first Italian symposium on the art and life of Breda Beban held on April 2017 at Studio Tommaseo of Trieste, now published by Juliet and Trieste Contemporanea –  will be presented by Dubravka Cherubini, co-curator of the symposium, together with Giuliana Carbi, Martina Munivrana, Berislav Vodopija and Janka Vukmir.

It will be an expected apointment in Zagreb, which is the city where the great artist and videomaker has lived and studied, that follows up of a couple of days the official presentation of the book during the opening event of the Trieste Contemporanea’s new library.

The Trieste Contemporanea Committee announces the 13th edition of the International Design Contest Trieste Contemporanea with the aim of showcasing the most original design offerings from the countries of Central Eastern Europe.

art. 1 – PREMISES

The 2018 edition of the contest will be based on the ongoing two-year project Harbour for Cultures (from now on: H/C). H/C draws inspiration from the real case history of how to convert and reuse the area of the Porto Vecchio (old port) of Trieste, which has remained unused and in a state of decay for decades. H/C is an incubator where creative minds of art curators, artists and professionals from other disciplines re-interpret the usual functions of a port in view of shaping an image of a “new port”, with its interim state between arriving, belonging and leaving, where people freely exchange their own cultures (instead of goods), while assuring their values (a new idea of insurance…) so that new profits (benefits of art and culture) are earned by the many.

The H/C process is now extended by this call to designers, who, while enrolling to the 2018 contest, will challenge this utopia: a vision beyond geographical and mental borders to create a (near) future shared society.

read more on H/C issues

see the H/C questions which were the starting point for the H/C project, but could also be an inspiration for the contest’s participants

art. 2 – 2018’S MAIN THEME

WHICH OBJECT WOULD YOU IMAGINE TO FIND IN / BRING TO / TAKE FROM A HARBOUR FOR CULTURES?

Participants are asked to conceive an original and innovative item of contemporary design that should be useful in a possible harbour for cultures.

art. 3 – TRIESTE AWARD THEME

The dedicated theme

The Trieste Award challenge is to invent, in terms of social design or relational design, something pertinent to a harbour for culture – the 2018 subject of the competition – but peculiar for the area given of Porto Vecchio, which, with its specific characteristics of a once successful trading port, is now an industrial heritage site to be rethought for the modern life of the whole city.

The Trieste theme asks participants to develop design projects based on human relations needs and their social contexts. The goal will be to CREATE WAYS TO INTERACT WITH THE EXISTING REAL MAP OF TRIESTE’S PORTO VECCHIO BY INVENTING AN ORIGINAL AND INNOVATIVE OBJECT, OR A TEMPORARY STRUCTURE that has to be made from sustainable materials. The proposed project has to be led by one or more of the following principles: relational, interactive, inclusive, being of collective interest, able of gathering people, able to produce engagement.

art. 4 – REQUIREMENTS FOR PARTICIPATION

The competition is open to all designers born in CEI member states (Albania, Austria, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Hungary, Italy, Macedonia, Moldova, Montenegro, Poland, Romania, Slovakia, Serbia, Slovenia and Ukraine) in compliance with its purposes. The 2018 edition of the contest has been extended to designers born in Estonia, Germany, Kosovo*, Latvia, Lithuania and Turkey as well.

Any groups competing should consist exclusively of members born in the countries listed above.

Any groups wishing to participate should fill out the application form with the name of the group leader and list the names, countries and dates of birth of the other group members.

(* This designation is without prejudice to positions on status, and is in line with UNSCR 1244 and the ICJ Opinion on the Kosovo declaration of independence)

art. 5 – REQUESTED MATERIAL

Every participant entering the general contest’s section should mandatorily submit the following documents:

– Candidate’s CV;
– A copy of the Identification Document of the single candidate/group leader;
– The project of the original design object conceived for the competition, containing all the information required for its production;
– An account describing the rationale behind the conception of the new design object created.
Participants to the Trieste set theme’s section should mandatorily submit the following documents:
– Candidate’s CV;
– A copy of the Identification Document of the single candidate/group leader;
– The project of the original social design object or structure conceived for the competition, containing all the information required for its production;
– An account describing the rationale behind the conception of the new project proposed.

The format and maximum size of the documents to upload are specified in the online application form.

art. 6 – TERMS OF PARTICIPATIONS AND DEADLINE

Participation in the competition is free.

Contestants should apply using the online form on the www.triestecontemporanea.it website.

Groups can participate in the competition. Any groups wishing to participate should fill out the application form with the name of the group leader and list the names, dates and countries of birth of the other group members.

Each contestant can enter only a single project, unless entering one for the general theme of the competition and a separate one for the Trieste Award’s dedicated theme. Those wishing to participate in both the general section and the Trieste Prize section must complete two separate online application forms.

The application – completed with the material described in art. 5 – must be presented by midnight (Italian time) on 15th JULY 2018.

All material requested should be included directly in the online application form.

Applications that are incomplete or submitted to the organising Committee by any means other than the online system will not be accepted.

art. 7 – CONFIDENTIALITY AND RIGHTS OF USE

All material submitted will be treated as strictly confidential and under no circumstances consigned to third parties, namely anybody not on the panel of judges, before the close of the competition. The contestants selected shall be bound by the same principles of confidentiality until the official publication of the results by the organizing Committee.

The Committee reserves the right to publish the competition documents and the projects of the selected and winning contestants in the promotional material and in the final catalogue.

If contestants wish to protect their work by applying for copyright or a patent registration, they may do so before entering their work in the competition.

art. 8 – PANEL OF JUDGES

The panel of judges, consisting of international experts and representatives from the Central European Initiative and Trieste Contemporanea, will select a number of best designs and award the various prizes. The panel’s decisions shall be final.

The Trieste Contemporanea website will announce the names of the members of the jury by 31st May 2018, and its decisions by 31st July 2018.

art. 9 – DESIGNS SELECTED AND AWARDS

The works SELECTED by the jury will be published in an online catalogue on the Trieste Contemporanea website.

BEBA PRIZE 2018- for the youngest designer individually participating, among those selected: 1000 Euros.

TRIESTE PRIZE 2018 – for the best design on the set theme: 1000 Euros.

CEI PRIZE 2018 – for the best design from one of the non-EU CEI countries: 3000 Euros.

GILLO DORFLES PRIZE / FIRST PRIZE TRIESTE CONTEMPORANEA 2018 – for the best design 2018: 4000 Euros.

art. 10 – REALIZATION OF THE WINNING DESIGNS

Should Trieste Contemporanea decide to realize prototypes from the winning designs, the winner will be informed in due course. These prototypes will remain the property of Trieste Contemporanea.

art. 11 – PUBLICATION OF THE COMPETITION RESULTS

The competition results will be accessible online on the www.triestecontemporanea.it website. They will also be announced by the Committee through the international media.

art. 12 – HORS CONCOURS PARTICIPATION

The organisers reserve the right to invite a number of designers to take part hors concours.

art. 13 – EXHIBITION OF THE SELECTED AND WINNING DESIGNS

All the selected and winning designs, together with any presented by designers invited hors concours, should be displayed in a final exhibition, to be opened in Trieste in conjunction with the award ceremony. The Committee reserves the right to exhibit the works elsewhere in Italy and abroad.

art. 14 – AWARDS CEREMONY

The awards ceremony will take place in Trieste in September 2018. The winning designers will be invited to travel to Trieste at the organizing Committee’s expense in order to collect their prize.

APPLICATION FORM

contest’s previous editions

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info@triestecontemporanea.it
phone: +39 040 639187
triestecontemporanea
via del monte, 2/1
34121 trieste – italy

thursday, january 25, 2018
6.30 pm
Studio Tommaseo
via del Monte 2/1
Trieste

The Trieste Contemporanea Library is mainly focused on the art of 20th and 21st centuries, with a special attention for Central Eastern European contemporary art.

Holdings
The collection, divided in 9 sections, gathers works of contemporary art, photography, comics, cinema, art criticism and aesthetics, artists’ monographs, museum and exhibition catalogues. It also includes works about theatre, music and literature.

Services
Free access to the collection for everyone, loans, reference, interlibrary loans. The catalogue of the Library is available on the On line Public Access Catalog of National Library Service

Opening times

The Library is open from Tuesday to Friday from 5pm to 8pm and will be closed on the following public holidays: 1st and 6th January, 25th April, 1st May, 2nd June, 15th August, 1st and 3rd November, 8th, 26th and 26th December.

Trieste Contemporanea Library
via del Monte, 2/1 34122 Trieste Italy
+39 040 639187
info@triestecontemporanea.it

director Giuliana Carbi Jesurun
chief libriarian Elettra Maria Spolverini

information about the On line Public Access Catalogue of the National Library Service

Angelo Ricciardi, Carissima Laure, video still, 2016

Vaysha, l’Aveugle / Blind Vaysha Theodore Ushev (NFB) – Canada, 2016

transparadiso will show selected pieces of projects engaging in urban issues related to the production of desire:

“On the Slim Probability”, nGbK, Berlin (D), “Du bakchich pour Lampedusa”, Sousse (TUN), and “The First World Congress of the Missing Things”, Baltimore (USA).  As in many of their projects transparadiso creates a specific situation for engaging people of also conflicting interests – residents, politicians and decision makers.  Counteracting a meanwhile often general request for participation in urban planning transparadiso wants to differentiate carefully whom to involve at which point and for which goals.  The artistic-urban interventions transparadiso creates aim at returning the voice and responsibilty to the local people.

This exhibition is an event of the Harbour for Cultures project.

Supported by

list of exhibited projects:

1. “On the slim probability”
“Part of the Game”, nGbK, Berlin/ D, 2015
urban intervention at Karlshorst race track/ Berlin

Betting is usually a manifestation of the desperate search for fortune. The more precarious the living conditions are, the more people tend to bet. Horseracing betting on the contrary often carries the patina of bygone glory, where poor and rich mingle. Gambling and the lack of calculability of the horses tend to juxtapose despair and short-term fortune – until the next bet. An entirely different free of charge bet was on offer at the Karlshorst racetrack: a bet on the realization of a small situation – for reconsidering communal values.

The winning bet was #1: “revaluation contributes to the prosperity of this quarter”. The winning urban intervention was gilding a gully cover at the corner Treskower Allee/ Am Carlsgarten.

“Being ›part of the game‹ demands participation in a delimited, rule-bound space. Games are simplified representations of society within which particular relationships and practices are repeatedly and competitively rehearsed. Some games are just that: games and nothing more. But other games – those played with politics, money, power, space – affect us whether we are part of the game or not. Taking the city itself as the board on which to play. Six artistic positions will interrogate the meaning of the game itself, will enact the gamification of current issues, will ask about the possibility of not playing along, and will explore the various ways in which the city is always already a playground – a site for multiple, contrasting and conflicting games.” (nGbK)

“On the slim probability”
lambda-print
42,5 x 69,5 cm
2014/2017

2. “Du bakchich pour Lampedusa”
Sousse/ TUN, 2014

As part of the public art project “Bye, bye, bakshish système” addressing the issue of corruption in Tunisia (funded by the UN for Development) „Du Bakchich pour Lampedusa“ expands this issue to the European context and the relationship between corruption withdrawing income for social services of the state, which result in continuing social inequality thus perpetuating the problematic of refugees risking their lives to enter Europe for a supposedly better future.

For “Bakshish for Lampedusa” a garbage container was transformed into an oversized savings box as sculpture placed right in front of the Big Mosk in the medina in Sousse, surrounded by screens granting an intimicy similar to settings of elections. The residents of Sousse were called for donating 10% of their irregular incomes of the last 3 years to the savings box. In an official closing ceremony the donations were handed over to the humanitarian aid organization “African Intelligence” (founded and directed by Father Jonathan; located in Sfax, where the refugees take off to Lampedusa) which takes care of the refugees of Lampedusa.

“Du bakchich pour Lampedusa”
design for the carpet „10%“
color pencil on paper
75 x 105 cm
2016

“Du bakchich pour Lampedusa”
video, 4’56“
2016

“letter to the citizens of Sousse”
text (english), 29,7 x 21 cm

3. “Shared Values, Ambulant Gardens, and Other Spaces”

As part of Harbour for Cultures transparadiso invited to participate in a poetic and visionary walk/ workshop at the Porto Vecchio in Trieste for cultivating individual desires for creating a community in this contested area. Used carpets of different origins were offered to the participants to place their desires for a concrete location at the Porto Vecchio. The carpets refer to Michel Foucault’s notion of the garden as the oldest example of heterotopias. For the exhibition the carpets were embroidered with selected keywords of the international contributions for Harbour for Cultures.

“Shared Values, Ambulant Gardens, and Other Spaces”
used carpets, embroidery
various dimensions
2017

4. “World Congress of the Missing Things”
Baltimore/ Lexington Market, USA, 2014
Vienna/ Aspern Lake City, A, 2014
4th Ural Industrial Biennial/ Ekaterinburg, RUS, 2017

The “World Congress of the Missing Things” is a method Barbara Holub developed for returning the responsiblity to people living on site – for the first time in the formerly flourishing city center in Baltimore/ USA, which is now inhabited by homeless, drug addicts and ex-convicts. By using the notion of a congress as established format for the production of knowledge, she creates non-hierarchical settings for diverting the usually exclusive notion of a congress to be held in public space and accessible for all. The topic of „Missing Things“ does not relate to scientific categories but is open for personal interpretation. In the closing event the „Charter of Missing Things“ was handed over to the mayor of Baltimore.

Since the first congress in Baltimore Barbara Holub explored it as method for producing desires in various venues, recently as urban walk/ workshop in Ekaterinburg/ RUS for preparing another congress oft he Missing Things.

“The First World Congress of the Missing Things”
digital print on aluminum-dibond, 119 x 84 cm
2014

“The First World Congress of the Missing Things”
video, 11’26“
2014

“The Second World Non-Congress of the Missing Things”
digital print on aluminum-dibond, 119 x 84 cm
2014

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opening: November 25, 2017, 6 pm
venue: Studio Tommaseo, Trieste, via del Monte 2/1
period: Nov.26 – Dec.13, 2017
opening hours: Tue > Sat 5 > 8 pm
free admittance

associato al progetto: harbour for cultures

international symposium / part two

Trieste Contemporanea will be hosting on Thursday, November 16 (4pm to 8pm), an international symposium dedicated to the historical art biennale trigon. The tri-country biennial trigon was founded in Graz in 1963, and for decades it presented an opportunity for wider artistic exchange between ex-Yugoslavia, Italy, Austria, as well as other countries. trigon 67 in particular, which took place at the Künstlerhaus and its outdoor environs with the title ambiente / environment, was one of the biennial’s central exhibitions, featuring fifteen, nowadays well-known artists, who examined contemporary architectural issues and the perception of space.

Trieste, November 28, 2017: transparadiso workshop at Porto Vecchio

Thursday, November 23 at 6pm
enterprise + science + institutional issues in the talk, presenter SARA ALZETTA (actress), with ALESSIO LILLI (president of the SIOT SpA), STEFANO RUFFO (director of the SISSA), MARIO SOMMARIVA (secretary general of the Port Authority of Trieste) and PAOLO TASSINARI (visual designer, Studio Tassinari/Vetta).

Saturday, November 25 at 6pm
transparadiso. Shared Values, Ambulant Gardens, and Other Spaces. BARBARA HOLUB and PAUL RAJAKOVICS, the Austrian Founders of transparadiso, present, together with ELISABETTA PORRO, their projects of direct urbanism. With the contribution of Bundeskanzleramt Österreich, a transparadiso’s solo-show will take place for the meeting as a progressive contribution to the ongoing H/C exhibition at Studio Tommaseo.
read more

Thursday, November 30, at 6pm
ELISABETTA PORRO, co-creator of H/C, will present her reaserch work on the Old Port of Trieste, started in 2001 within a European research program.  The lecture will be a focus on utopia, dystopia and eutopia, in a contemporary attempt to recount a collective imagination and a meta-project on Porto Vecchio’s urban planning.

Saturday, December 2, at 6pm
The art and continuation of politics by other means, a conversation between the philosopher GIOVANNI LEGHISSA and the architect GIULIO POLITA.

YOU HAVE NO IDEA – live performance, 35 ‘, Belgrade 2016. photos by Maria Piroski

We are very pleased to announce that Selma Selman, artist and performer from Bosnia and Herzegovina, is the winner of the 2017 edition of the Young European Artist Trieste Contemporanea Award.  This is the 16th time the award has been awarded by Trieste Contemporanea with the aim of promoting a young talented artist and its work on the international art scene, giving the winner the possibility of conceiving and displaying an exhibition project in Trieste, Italy.  The show will take place at Studio Tommaseo in Spring 2018.

Born in 1991, Selma Selman comes from Bosnia and Herzegovina and is of Romani origin.  Her work represents the struggles of her own life as well as her community, employing different media such as performance, painting, photography and video installations.  Selman defines herself as an artist of Roma origins, and not a Romani artist, a subtle, yet critical distinction in her work which aims to break down the prejudice towards her community to the lowest common denominator.  She earned her Bachelor of Fine Arts in 2014 from Banja Luka University’s Department of Painting, is currently pursuing her MFA at Syracuse University where she is also teaching art.

read more

read the catalogue

previous awards

The jury of the Young European Artist Trieste Contemporanea Award met at the Studio Tommaseo in Trieste on October 29th.

The jury was formed by:
Italo Antico, artist, Milan, Italy
Giuliana Carbi, president of the Trieste Contemporanea committee, Trieste, Italy
Branko Franceschi, director of the GALUM-Gallery of Fine Arts, Split, Croatia
Emanuela Marassi, artist, Trieste, Italy
Daria Torre, architect, Zagreb, Croatia

After a deep examination of all material sent by 125 candidates from 21 countries, the Jury decided that the winner of the 2017 Young European Award Trieste Contemporanea is SELMA SELMAN (1991, Bosnia and Herzegovina).

guided tour to the exhibition letters 2015 – 2017

Ian McKeever, Letters 2015 – 2017, Studio Tommaseo 2017

The Day of Contemporary Art is the major annual event promoted by the AMACI – Association of Italian Museums of Contemporary Art to focus on the art of our times and its public.

HARBOUR FOR CULTURES – H/C is a great challenge for inhabitants and lovers of Trieste.
Plan with us a brand new ‘Old harbour’ and a meeting place for people and cultures!

You can find the map of the H/C project at Studio Tommaseo and soon around the city in some special places and cafes that support the project.

INSTRUCTIONS:

1. unfold the map.
2. imagine what would you like a Harbour for Cultures to be, then write on the map of the warehouses your ideas (concepts, words, sentences, drawings and so on).
You can fill the map with friends, at the beach, at a dinner, with your pupils, together with your sons, grandsons and whoever you like.
3. this map has been printed on carbon paper: you can write on the first sheet and keep the second one for yourself.
4. let us have the plan of the Harbour for Cultures at Studio Tommaseo.

watch the tutorial

Your contribution will be the basis for a ‘production of desire’ resulting in various venues and in a publication.

Every Thursday of July from 6pm onwards, Studio Tommaseo will be hosting workshops and special meetings to plan, discuss and exchange ideas about the H/C map. Come along to take part in our volcanic working groups and meet the special guests that will join us!

You can get your map and hand it back at Studio Tommaseo, in via del Monte 2/1, open from Tuesday to Saturday from 5pm to 8pm.

Thank you! and welcome to your Harbour for Cultures!

We are pleased to announce that is now possible to participate in the 2017 edition of the Young European Artist Trieste Contemporanea Award!

Dear talented young artists update your portfolio and send it to us!

Versus, videoinstallation, 2014 by Dominik Ritszel, Young European Artist 2015

Since 1999, the Trieste Contemporanea Committee assigns the Young European Artist Trieste Contemporanea Award to a young artist from Central Eastern Europe with the aim of promoting her or his work on the international art scene.
From 2013 the Award is biennial and open to any young artist aged under 30 (born within the 7th of October, 1987) and born in one of the following countries: Albania, Austria, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Germany, Hungary, Italy, Kosovo, Latvia, Lithuania, Macedonia, Moldova, Montenegro, Poland, Romania, Slovakia, Serbia, Slovenia, Turkey and Ukraine.
The award gives the overall winner the opportunity of conceiving and developing a solo show for the Trieste Contemporanea’s exhibition space in Trieste, Italy, due to be held in 2018. The artist will also have a monographic catalogue published and will benefit from professional exposure as a consequence of the award.
All eligible applications will be examined by a judging committee comprising experts and curators of contemporary art from Central Eastern Europe.

There is no entry fee.

HOW TO PARTICIPATE

Every participant submits an updated portfolio.

The portfolio should be composed by images (of at last 5 recent works, with captions and brief descriptions), a cv, an artistic statement (max 500 words) and, in case, should include bibliography and sitography (pdf format, max 3MB). The text of the portfolio should be written in English.
Applicants should register to the competiton using the online form.
The candidate should complete the form a and attach the portfolio and an Identification Document (pdf or jpg format, max 500 KB). Any groups wishing to participate should fill out the form with the name and ID of the group leader and just list the names, countries and date of birth of the other group members, which have to be aged under 30 as well.

The deadline is midnight (Italian time) of the 8th of October, 2017.

application form
read more about the Young European Artist Award

associato al progetto: young european artist award

Trieste Contemporanea presents the croatian artist in residence at RAVE East Village Artist Residency

Venice, Palazzo Zorzi, May 11th, 2017

ONLINE REGISTRATIONS

Ms Judit Kis, artist, Curatethecontent, Budapest – Hungary
Mr Sten Nordenhake, Galerie Nordenhake, Stockholm – Sweden
Ms Viola Lukacs, editor in chief, magazin100, Geneva – Switerzland
Ms Laura Tori Petrillo, director, Academy Now, London – United Kingdom
Ms Anna Ptak, curator, Ujazdowski Castle Centre for Contemporary Art, Warsaw – Poland
Ms Martina Angelotti, artistic director, ON and Careof,  Milan – Italy
Mr Giovanni Gabassi, advisor, G12HUB and PerformanceHUB, Belgrade – Serbia
Ms Silvia Longueira Castro, director, Fundación Luis Seoane, A Coruña – Spain
Mrs Bettina Hutchek, artistic curator, Malta Pavilion, Valletta – Malta
Ms Anja Obradovic, independent curator, Barcelona – Spain
Ms Stephanie Manasseh, CEO, Accessible Art Fair, Brussels – Belgium
Ms Daina Augaitis, chief curator and associate director, Vancouver Art Gallery, Vancouver – Canada
Ms Melissa Pellico, curator, London – United Kingdom
Ms Marta Jovanovic, director and founder, G12HUB and PerformanceHUB, Belgrade – Serbia
Ms Valentina Lacinio – Italy
Ms Valentina Furian – Italy
Ms Ilana Bar, art teacher, Tel Aviv – Israel
Ms Dusanka Marsenic, director and curator, Gallery 106, London – United Kingdom
Ms Falk Lipka, co–founder and director, Raketa Institute, Stockholm – Sweden
Ms Costanza Grassi, writer, Trieste Contemporanea, Trieste – Italy
Ms Valeria Lello, curator, Corso Curatori, Catania – Italy
Ms Anna–Teresa Steffner, research assistant, University of Vienna, Vienna – Austria
Mr Nikolas Ventourakis, editor, Ozon Raw, Athens – Greece
Mr Frank Müller,  professor, University of Applied Arts, Vienna – Austria
Mrs Barbara Putz–Plecko, professor, University of Applied Arts, Vienna – Austria
Ms Sherry Dobbin, director, Defoe Consulting,  London – United Kingdom
Ms Khaidja Carrol, professor, University of Birmingham, London – United Kingdom
Ms Teresa de Marco, director, Art Links to my near death Singularity, Berlin – Germany
Mr Gaston Meskens, director, The Arts Institute, Antwerp – Belgium
Ms Alisa Prudnikova, director of regional development, NCCA, Moscow – Russia
Mrs Ricky Renier, curator, Public Art Vienna, Vienna – Austria
Ms Laura Traversi, editor and art expert, artapartofculture.net, Rome – Italy
Mr Michele Guida Conte, PhD student, Trieste – Italy
Mr Cees de Boer, free–lance curator and art critic, Amsterdam/Brussels – The Netherlands
Ms Gabriella Cardazzo, director, Artspace Association, Venice – Italy
Ms Nadine Gandy, owner, Gandy Gallery, Bratislava – Slovakia
Ms Katarzyna Sobucka, director, Arts Territory, London – United Kingdom
Mr Michele Gortan, president, Cfap, Udine – Italy
Ms Dana Grace Prescott, executive director, Civitella Ranieri Foundation, Umbertide – Italy
Ms Elena Tammaro, art director, CREAA, Pavia di Udine – Italy
Ms Irena Hodzic, co–founder, H2O, Zagreb – Croatia
Ms Luigina Tusini, artist, CSS Teatro Stabile di Innovazione del Friuli Venezia Giulia, Udine – Italy
Ms Konjit Seyoum, curator, Asni Gallery, Addis Abeba – Ethiopia
Ms Cristina Moldi Ravenna, artist, Venice – Italy
Ms Marika Vicari, art curator, Kud Art Stays, Ptuj – Slovenia
Ms Chiara Isadora Artico, art director, IoDeposito NGO, Treviso – Italy
Ms German Kinga, professor, Moholy–Nagy University of Art and Design, Budapest – Hungary
Ms Kate Sutton, correspondent, Artforum, New York – United States
Mr Aaron Bezzina, Swieqi – Malta
Mr Mario Londoño, artist, Buenos Aires – Argentina
Ms Gloria Sfoggia, Corso Curatori, Venezia – Italy
Ms Marianna Dobkowska, curator, Ujazdowski Castle Centre for Contemporary Art, Warsaw – Poland
Ms Susana Lopez Fernandez, artist, Madrid – Spain
Ms Alice Miceli, artist, Rio de Janeiro – Brazil
Ms Mary McCarthy, director, National Sculpture Factory, Cork – Ireland
Mr Lawrence Malu, CEO, Zac Ventures Arts, New York – United States
Ms Lali Pertenava, coordinator and curator, EaPacc Art projects, Tbilisi – Georgia
Mr Dhimas Santos, designer, Zagaworks, Santo Domingo – Dominican Republic
Ms Brigitte Spiegeler, artist, The Hague – The Netherlands
Ms Annalisa Metus, artist – Italy
Ms Thi Que Chi, student, Univeristy of Applied Arts Vienna, Vienna – Austria
Mr Aldo Rinaldi, senior public art officer, Art and the Public Realm Bristol, Bristol – United Kingdom
Ms Simonetta Rossetti, architect, Università degli Studi di Trieste, Trieste – Italy
Mr Frediano Bortolotti, curator, Dobialab, Staranzano – Italy
Ms Emanuela Marassi, artist, Trieste – Italy
Ms Irina Ranalli, Trieste Contemporarea, Trieste – Italy

list in order of registration

[last update: May 11, 2017, 6:30pm]

Venice, Palazzo Zorzi, May 12th, 2017

SPEAKERS:

Ms AZRA AKŠAMIJA, professor at the Massachusetts Institute of Technology, Cambridge, MA, USA
Mr FRANCO BERNABÈ, president of the Italian National Commission for UNESCO, Rome, ITALY
Ms IARA BOUBNOVA, director of the ICA-Institute of Contemporary Art, Sofia, BULGARIA
Ms PAOLA BRISTOT, professor at the Academy of Fine Arts, Venice, ITALY
Ms GIULIANA CARBI, president of the Trieste Contemporanea  committee, Trieste, ITALY
Ms MAJA ĆIRIĆ, independent curator, Belgrade, SERBIA
Mr CĂLIN DAN, general director of the National Museum of Contemporary Art, Bucharest, ROMANIA
Mr SANDRO DROSCHL, director of the Künstlerhaus, Graz, AUSTRIA
Ms BARBARA FABRO, senior executive officer of the Central European Initiative, Trieste, ITALY
Mr BRANKO FRANCESCHI, director of the GALUM-Gallery of Fine Arts, Split, CROATIA
Ms SHAMINA DE GONZAGA, executive director of the World Council of Peoples for the United Nations, USA
Ms BARBARA HOLUB, artist, transparadiso, Vienna, AUSTRIA
Ms LILIA KUDELIA, co-curator of the Ukrainian Pavilion at the 57th Venice Biennale, UKRAINE/USA
Mr ANTAL LAKNER, artist, Budapest, HUNGARY
Ms BERAL MADRA, director of the BM Contemporary Art Center, Istanbul, TURKEY
Ms ANA PERAICA, independent curator, Split, CROATIA
Ms ELISABETTA PORRO, architect, Trieste, ITALY
Mr PAUL RAJAKOVICS, architect, transparadiso, Vienna, AUSTRIA
Ms MAREN RICHTER, curator of ECOC Valletta 2018 in Malta, AUSTRIA
Ms BAŞAK ŞENOVA, independent curator, Istanbul, TURKEY
Ms JANKA VUKMIR, director of the Institute for Contemporary Art, Zagreb, CROATIA
Mr MICK WILSON, head of the Valand Academy, University of Gothenburg, SWEDEN

Venice, Palazzo Zorzi, May 12th, 2017 [2–7 pm]
 

PROGRAMME:

2–2:15 pm – registration
2:15–2:30 pm – welcome speeches
Franco Bernabè, president of the Italian National Commission for UNESCO
Barbara Fabro, senior executive officer of the Central European Initiative
Giuliana Carbi, president of the Trieste Contemporanea Committee

2:30–3:45 pm – a view from the H/C sea
Beral Madra (Turkey) – Preservation versus Gentrification.
Iara Boubnova (Bulgaria) – About Dehistorialisation of Art. 
Maren Richter (Austria) – The Island is what the Sea surrounds.
Azra Akšamija (Bosnia and Herzegovina) – A Port for Transcultural Transfers.
Shamina de Gonzaga (USA) – Towards a Harbour for Cultures – exploring the myth of legitimacy; identifying new rites/rights of passage.

3:45–5 pm – H/C perspectives, part 1 (*):
Paola Bristot (Italy)
Maja Ćirić (Serbia)
Călin Dan (Romania)
Sandro Droschl (Austria)
Branko Franceschi (Croatia)
Lilia Kudelia (Ukraine/USA)

5–5:45 pm – H/C poster work
Elisabetta Porro (Italy), Port plans
Barbara Holub and Paul Rajakovics (Austria), introduction to H/C poster work

5:45–6:45 pm – H/C perspectives, part 2 (*):
Antal Lakner (Hungary)
Ana Peraica (Croatia)
Başak Şenova (Turkey)
Miranda Veljačić (Croatia)
Janka Vukmir (Croatia)
Mick Wilson (Sweden)

6:45–7 pm – Venice closing discussion (**)

(*) these contributions are based on the six H/C questions of an open call which the Venice Forum will launch.

(**) a second session of the Forum will be held in Trieste in Autumn.

updated [May 11, 2017]

go to the forum’s main page

Some drawings by Stefano Ricci from the series PIÙ GIÙ (Deeper), which will be on view at the Trieste exhibition and of which is also composed his latest book that we will see première, hot off the press.

Breda Beban, The Most Beautiful Woman in Gucha, 2006, video

Breda’s Lesson</div>
Trieste, Studio Tommaseo, via del Monte 2/1
Saturday, 22 April, 2017, from 6 pm
curators Ana Čavić and Dubravka Cherubini
speakers include: Ana Čavić, Miha Colner, Mario Flecha, Fiora Gandolfi, Martina Munivrana, Marko Sosič, Janka Vukmir.<a href=”http://www.triestecontemporanea.it/?post_type=event&amp;p=11873″>read more</a>

From the 2017 CEI Venice Forum, the H/C project will develop into a longer term and process oriented project between art and urban issues. A two-year research work will be made up of curatorial workshops and meetings, in-depth studies, art exhibitions, multidisciplinary events based on focused questionnaires and inspired by Brian Eno’s “Oblique Strategies”.

On the occasion of the Venice meeting Trieste Contemporanea launches an open call and invites art curators, artists, experts from other disciplines and free-thinkers to imagine an Harbour for Cultures and submit their own answers to the six questions below.

The most genuinely innovative and provocative thinking collected by this call will feature in a 2019 publication/outcome of the whole project.

1.  What would make you feel “arriving home” at an H/C?
2.  What kind of “goods” would you bring to an H/C?
3.  Which kind of “profit” would be useful for you in order to be part of / to contribute to the H/C?
4.  How could you “ensure” your culture, while also enriching it at an H/C?
5.  How could your risk-taking enhance an H/C?
6.  How could you produce “social capital” within the framework of an H/C?
>  other (your ideas and comments on the topic, crucial or imaginative)

Please send your text (per question: max 500 words) that includes 5 key words, your contact information, a brief biography (50 words) and the title/position that you want to be written beside your name to info@triestecontemporanea.it.

Please forward this call to interested parties.
We look forward to your contribution!

read more on H/C issues
see the CEI Venice Forum page

Trieste Contemporanea
Dialogues with the Art of Central Eastern Europe.
via del Monte 2/1, Trieste, Italy
info@triestecontemporanea.it
www.facebook.com/triestecontemporanea
+39 040 639187