UNIDEE NOTEBOOKS 2017 | n. 4 by Cittadellarte-Fondazione Pistoletto

UNIDEE - University of Ideas

UNIDEE NOTEBOOKS 2017 | n. 4

Touch, Donâ&#x20AC;&#x2122;t Dominate module mentored by Diego Del Pozo Barriuso with Julia Morandeira Arrizabalaga

Cittadellarte Edizioni, 2018 ISBN: 978-88-98698-10-3 This booklet is part of the series of publications “UNIDEE NOTEBOOKS”. It has been realised by gathering ideas, images, impressions, thoughts and discussions from mentor, guests and participants during the modules. Curated and designed by Annalisa Zegna Under the supervision of Cecilia Guida Translations: Elena Pasquali

Cover image: Drawing of “Gently revealing, caring hard, all touching...”, Diego del Pozo Barriuso, 2016 Credits: the artist.

UNIDEE - University of Ideas 2017 Weekly residential module n.4

UNIDEE NOTEBOOKS 2017 | n. 4

Touch, Donâ&#x20AC;&#x2122;t Dominate

mentor: Diego Del Pozo Barriuso guest: Julia Morandeira Arrizabalaga participants: Saverio Bonato Magda Chiarelli Michelle Claase Miguel Gonzales Cabezas Murari Jha Fikrete Topalli

5 June / 9 June, 2017

Cittadellarte - Fondazione Pistoletto, Biella

MODULE OUTLINE

“Touch, Don’t Dominate” is configured as a time and work space to think about how to produce and think artistically aesthetics of cares and affects. We are very affected by the discomfort produced by neo-liberal policies. Also, these policies have increased hatred and fear against some collectives. The dominant discourses from power tell us that hatred or fear respond to subjective and psychological logics, and do not respond to a determined social policy. However, this discourse generates a psychologization and privatization of the emotions that continue to perpetuate a strong social violence. These processes conceal the economic interests operating behind certain policies against certain subjects. For Sara Ahmed, the affective logic of hatred is fundamentally economical rather than psychological. Ahmed’s approach to emotions as cultural constructions criticizes the psychologization and privatization of emotions. From this perspective, emotions are capable of creating ways of being and acting in the world thanks to their intensified circulation between subjects and objects. In other words, emotions are “performative”. At the same time, many groups of people have raised the desire to generate different political economies that, we understand, can only be produced by generating other affective policies. How are socially, culturally and politically emotions constructed, such as hatred and fear against groups of immigrants, women, gays, lesbians or transsexuals? How can we point to the invisible mechanisms that shape the economies of these emotions?

How do we produce new critical imaginaries and other science fiction narratives about them? “Touch, Don’t Dominate” proposes to deepen the potential of the artists to create a type of “performative mediation” that produces new venues for the encounter, spaces of suspension of time or the activation of protest. This module aims to think about these issues, but basically to put practical methods and artistic systems into use to point out the invisible elements of the “affective economies” of our political systems and to produce new imaginaries of Common, Desire and Revolutions that are still to come. The participants create a performance through an artistic “experiment”. Julia Morandeira Arrizabalaga is present at the module as a guest, in order to extend and refine how to work with these topics and the notion of learning in artistic productions. She co-directs La Escuelita del Centro de Arte Dos de Mayo - CA2M together with Margarida Mendes, an informal school devoted to collective study and transdiciplinar knowledge, as well as new forms of producing knowledges. She is part of the artistic collective Magnetic Declination with Diego del Pozo and others. TOPICS/ TAGS Affects, emotions, desire, shame, affective economies, hate policies, fear, neoliberalism, collaborative practices, performative mediation, common fictions, feminist science fiction, collective, participation, political situated knowledge, pedagogies of encounter, translation, transformation, subjectivation.

SCHEDULE

___________________________________ JUNE 5TH morning Guided tour to Cittadellarte (Curated by Elena Rosina), including the Pistoletto, Arte Povera collections and temporary exhibitions. Introduction to the Theorem of Trinamics, the symbol of the Third Paradise and the concept of Demopraxy. afternoon Mentor’s and participants’ presentations.

___________________________________ JUNE 6TH morning Touch, Don’t Dominate, presentation of essays and videos of reference (Sara Ahmed, Donna Haraway, Subtramas, Harun Farocki, Jennie Livingston). Group discussion. afternoon Presentation of some case studies: Read the Masks. Tradition is not given by Petra Bauer and Annette Krauss at Van Abbemuseum; Four Questions for a Usefulness That Is Still to Come by Subtramas in the exhibition Really Useful Knowledge at Museo Reina Sofía in Madrid (2014-15). Group discussion.

___________________________________ JUNE 7TH

___________________________________ JUNE 9TH

morning

The “experiment”. Divided into small groups the participants work on actions and narratives of fiction. Three conflicted situations in the Italian, European and global public sphere are proposed as references. Each single group chooses between one of those, and invent an action or performance. Limitations and challenges are taken into account for the development of the performances.

Work in progress for the “experiment”.

afternoon Work in progress for the “experiment”. Group discussion.

___________________________________ JUNE 8TH morning Presentation of a case study: La Escuelita del Centro de Arte Dos de Mayo – CA2M. Lecture held by Julia Morandeira Arrizabalaga, followed by a conversation between the mentor and the guest. afternoon Group discussion related to the idea of “performative mediation” and artistic methodologies to develop this performativity.

afternoon Final session with the presentation of the results of the “experiment”. evening Party.

REFERENCES

The mentor prepared a reader for participants with key texts, some of which are discussed during the week. The reader includes pieces by authors, artists, curators and intellectuals.

Texts: - Sara Ahmed, “The Organisation of Hate”, in The Cultural Politics of Emotion. Edinburgh University Press, Edinburgh, 2004. - Diego del Pozo, Shame! Rearming, Refiguring and Transfiguring, ReVisiones, Vol. 5, 2015. - Donna Haraway, Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective, Feminist Studies, Inc., Vol. 14, No. 3, 1988. - Donna Haraway, “Sympoiesis”, in Staying with the Trouble: Making Kin in the Chthulucene, Duke University Press, Durham, 2016. - Subtramas (Diego del Pozo, Monste Romaní and Virginia Villaplana), “Conversing the Action, Narrating History, Eliciting the Present”, in What’s The Use? Constellations Of Art, History And Knowledge. A Critical Reader, Valiz, Van Abbemuseum, University Hildesheim and L’Internationale, 2015.

Videos and Films: Annette Krauss and Petra Bauer, Read the Masks. Tradition is not given, Holland, 80’, 2009. Harun Farocki, Inextinguishable Fire, Germany, 21´, 1969. Jennie Livingston, Paris is burning, USA, 78´,1990.

Websites: archivodecreadores.es/artist/diegodel-pozo/213 www.hamacaonline.net/autor. php?id=355 www.ganarselavida.net/ subtramas.museoreinasofia.es/es/ anagrama declinacionmagnetica.wordpress.com/ www.museoreinasofia.es/en/ exhibitions/really-useful-knowledge www.museoreinasofia.es/en/activities/ actions-really-useful-knowledge www.museoreinasofia.es/visita/tiposvisita/visita-comentada/recorridossaber-realmente-util

The mentor introduced the main topics, key-words and theorethical references of the module.

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We discussed about Haraway’s concept of “situated knowledge”, a doctrine of feminist objectivity.

The vision is always a politics of positioning.

How and what do we see?

What defines rational knowledge?

Donna Haraway, Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective, Feminist Studies, Inc., Vol. 14, No. 3, 1988.

Shame! Rearming, Reconfiguring and Transfiguring by Diego del Pozo Barriuso, 2015.

Sara Ahmed, â&#x20AC;&#x153;The Organisation of Hateâ&#x20AC;?, in The Cultural Politics of Emotion. Edinburgh University Press, Edinburgh, 2004.

Harun Farocki, Inextinguishable Fire, Germany, 21´, 1969.

We watched Farocki’s film, which is a critique of the Vietnam War and the role of industry in the production of chemical weapons. It shows the interrelation between industrial advancement through science production and technological warfare. [...] what is manufactured in the end is the product of the workers, students, and engineers.

“How can we show you napalm in action? And how can we show you the injuries caused by napalm? If we show you pictures of napalm burns, you’ll close your eyes. First you’ll close your eyes to the pictures. Then you’ll close your eyes to the memory. Then you’ll close your eyes to the facts. Then you’ll close your eyes to the entire context.” H. Farocki

Jennie Livingston, Paris is burning, USA, 78´,1990.

We discussed about examples of alternative communities, starting from the documentary Paris is burning, about drag queens who formed gay street gangs (and surrogate families) on the ball circuit in Harlem and the Bronx during the 1980s. It is a thoughtful exploration of race, class, gender, and sexuality in America, and it shows the origin of ‘voguing’, a dance style in which competing ball-walkers freeze and “pose” in glamorous positions.

Robert Bresson, Pickpocket, 1959. Clips of the pickpocket on the train.

Lecture by Julia Morandeira Arrizabalaga.

Affectivity, affects and emotions are like money, they circulate within the social-economic sphere. We are like the people in Bresson’s film, who are unaware of being robbed. How can we become conscious about this circulation? How are affective economies shaping people’s bodies and lives?

Infrastructures organise every part of our life: health care, institutions, government, juridical system, educational system, etc. They are all operational structures which control our life and neutralise the action of people, forcing them into a perpetual process of production. How can we mobilize against the violence of infrastructures? How can we rethink institutions in a more orizontal and less vertical structure?

Coalitions are strategies to gather together, to be together, to react, to decide and tp be selforganised. They can create affective communities. During the â&#x20AC;&#x2DC;90s, there were counter-movements based on coalition and get-together to react to the AIDS crisis and change of paradigm. It started the Alternative AIDS Video Movement, with a strong mobilization of art and visual strategies to fight against the silence and the power of media based on non-violence and civil disobedience. * Gregg Bordowitz, Picture a Coalition, MIT Press, Cambridge, Mass. , 2004. * Videos by Testing the Limits Collective (TTL) a group of six artists and AIDS activists: Testing the Limits Pilot (1987); Testing the Limits Safer Sex Video (1987); Egg Lipids (1987); Testing the Limits: NYC (1987); Voices From The Front (1992). * United in Anger: A History of ACT UP, by Jim Hubbard, Sarah Schulman documentary, 2012. * Group Material ... to question the entire culture we have taken for granted

Julia spent some time researching in Porto Rico, which has a history of colonization by USA at the end of 19th century. They deactivated local agriculture and imposed political and economical structures (pharmaceutical and testing industry). * BRIGADA PDT Puerta de Tierra Interesting example of self-organized group, another form of communities and coalition: to repair the memory of the neighbourhood, where there are problems of social housing. They coordinate visual strategies to communicate discomfort and to instigate peopleâ&#x20AC;&#x2122;s participation.

Subtramas (Diego del Pozo, Monste Romaní and Virginia Villaplana), “Conversing the Action, Narrating History, Eliciting the Present”, in What’s The Use? Constellations Of Art, History And Knowledge. A Critical Reader, Valiz, Van Abbemuseum, University Hildesheim and L’Internationale, 2015.

Some exercises and practices to mobilize affects, to let emotions circulate among our bodies and other ways of conceiving our being together.

Who sees? Who is seen? To question the possibility of vision.

The deputy Jean Wyllys voted NO to the impeachment of the Brazilian President Dilma Rousseff. His speech was against homophobic politicians.

â&#x20AC;&#x153;First, I want to say that I am disgusted to participate in this farce! This indirect election is driven by a thief, plotted by a conspiring traitor, and supported by torturers, cowards, and corrupt, illiterate politicians! It is a sexist farce! In the name of the rights of the LGBT population, the Black community exterminated in its neighborhoods, cultural workers, the homeless, the landless: I vote NO to this coup! Sleep on that, you swine!â&#x20AC;?

Who speaks? Which language? To experiment misunderstanding and alternative languages, through the use of the body.

What can a body do? To question social conventions.

Performance by Murari. He cooked for us and we had a dinner all together while he was completely naked. Breaking the social and cultural conventions about body to think about shame as a social construction of affects.

Performance by Saverio. Live video on Facebook. Use of social media and public shame to think about our contemporary condition and the power of affects.

Performance by Michelle. Reading session exploring the potentiality and performativity of the language. She read a personal e-mail backwards, in public.

On Revolution, Desire, Mediation. A short interview with Diego Del Pozo Barriuso.

1. In 2017, UNIDEE - University of Ideas programme proposes an interdisciplinary approach to examine three macro-themes which are central to contemporary socialpolitical debates: Revolution, Desire, Mediation. UNIDEE’s director Cecilia Guida is inviting you to present a weekly educational module on these key words, with a strong interaction between critical theory in the social sphere and participatory art practices. How does your artistic practice relate to contemporary forms of protest in regards to the concept of revolution? As an individual artist, for the past fifteen years I’ve been working with a strong motivation for affective economies, for everything concerning affects and emotions specifically within the social sphere, for the politics of emotions and affects, and the politics of affinities. I think that, from one point of view, it is necessary to change the affective economies in order to change the economic situation. In this sense, if we change something in the sphere of affects and relationships, then it is possible to get some changes also in the economic sphere. At the same time, I work with some collectives, such as Subtramas, C.A.S.I.T.A. and Declinación Magnética, we are developing collective methodologies and contents, always connected with the idea of social transformation, protest and all things connected to the idea of revolution. Talking about revolution and the possibility of art to transform society is really complex. As an artist, I think that art transforms myself, and that, in this sense, art can be at the same time transformative also for others. I really believe art is a strong tool to create many different situations and produce «dispositifs». It was also the topic of my thesis. Specifically, I like to think about art as

a production of «Affective Dispositifs», different «dispositifs» and situations making people aware of the possibility of changing reality. This idea relates to the concept of revolution, which in my opinion has really something to do with changing your own position. During the module, we worked a lot around the concept of «politically situated knowledge» as formulated by Donna Haraway, about how you can change your position to understand better other people’s position, and all the complex relationships between the vision and the touch, the politics of touching. The main image of the module’s presentation is a drawing I made, inspired by Donna Haraway’s thoughts: a kind of vision that is more aware and conscious about the others. We worked a lot with the body to experiment another kind of vision, to discover the potential of the body during this time of neoliberal discomfort, which isolates people. I think that revolution is strictly connected with the performativity of the body, and with the idea of re-creating other kinds of performativity besides the ones created and constructed by capitalistic structures, like habits, movements, competitiveness, fixed position. Judith Butler relates these concepts to the performativity of class, gender, race, etc. 2. Thinking about desire, in the sense of movement towards someone or something that is missing, what is its role within the framework of your art practice? Desire has always been crucial for me, the origin of everything. I started working as an artist because of the question of identity, eros, sex and gender. Desire has strong potentialities, but it is used as a motor

by capitalism. In the perspective of financial capitalism, desire has only one direction, it is controlled and monitored, while desire is actually the opposite: it is chaotic, generative, it has a lot of layers and directions, it makes you wonder and rethink about a lot of questions. The condition of being without desire and questions is very dangerous, and I think this is the problem of current society. Sometimes we are blocked, we don’t have real desire, because the consumer desire is something programmed and planned. In this sense, desire is very important in my practice, in relation to the questions about how we can produce subjectivities, how we can learn and unlearn things and how we can explore and deconstruct education. It is also connected to the politics of gender and the fight of LGBT communities. 3. How does your practice as artists and mentors mediate and translate reality in the case of UNIDEE’s module? During the module, we worked on affective emotions and politics of affinities. We discussed a lot about the hate politics and how hate is constructed in our society, for example against LGBT communities and migrant people. At the same time, we worked on the emotion of shame and the potentiality of it, as a negative feeling but also as an opportunity to display your position and your body, to get another kind of subjectivity and to understand that your subjectivity is always changing. The emotion of shame is connected with your identity and subjectivity, with what you are and not with what you do. I proposed two exercises to the participants of the module in relation to shame: in the first, the aim was to work individually

with things and situations that make you feel ashamed; the second was to perform collectively a re-enactment. In this case, we started from a video regarding the political situation in the Brazilian Parliament, in which the deputy Jean Wyllys voted against the impeachment of President Dilma Rousseff. In the declaration of this politician, there is something very strong and universal and at the same time very situated: there is just an individual defending the interests of a community, and all the people around him are insulting him, they are many but they are defending the interests of the individual, of the élite of the power. We explored different references, like “Paris is burning” by Jennie Livingston, “Inextinguishable Fire” by Harun Farocki, and we analysed some case studies. We went deeper about the project I developed with Subtramas (with Monste Romaní and Virginia Villaplana) called “Four Questions for a Usefulness That is Still to Come” during the exhibition “Really Useful Knowledge” at Reina Sofía Museum in Madrid (2014-15), and the project “Abecedario Anagramático”. We watched the film “Read the Masks. Tradition is not given” by Annette Krauss and Petra Bauer, and we tried to discuss about how the politics of emotions are working in our individual position, in our community and the collectivity close to our contexts and also at an institutional level. So with these last examples we analysed how museums and institutions can change their policies and become public spaces in order to open new possibilities and relationships with what is happening outside them. Dealing with institutions that are inside the neoliberal system is very complex, but they can also be progressive, they always create legitimization and hegemony, and this is crucial if you think about power, how

it produces reality and subjectivity. Is it possible to create collaborative projects with institutions? Is it possible to create other kinds of politics for the institutions to transform the system? These are really difficult questions. I invited Julia Morandeira as a guest, we are working together on Declinación Magnética and at the same time on other projects related to affective economies and politics of touching. Now she is working for an institution in Madrid, CA2M - Centro de Arte Dos de Mayo, and she is codirecting La Escuelita together with Margarida Mendes, a pedagogical and curatorial platform organizing seminars and activities related to art and education within the centre. Very interesting is her research about the production of critical knowledge within the institution, and how it is possible to create a complex relation between social transformation and education, social movements and sciences, etc. She talked a lot about movements related to the crisis of AIDS, and I think there are a lot of clues there, it was not just a health crisis, but a social and political crisis concerning the neoliberal power, the neoliberal discomfort. It created a new paradigm, the fear of contact, typical of the neoliberal behaviour and politics.

DIEGO DEL POZO BARRIUSO Diego del Pozo Barriuso lives and works in Madrid. Artist, cultural producer and professor of the Faculty of Fine Arts of the University of Salamanca. He is a member of the artistic collectives Subtramas, C.A.S.I.T.A. and Declinación Magnética. His artistic projects are motivated by the social construction of subjectivities and the notion of affective economies, he produces “Affective Artistic Dispositifs”. He has participated in the exhibitions Atlas of the Ruins of Europe at CentroCentro Cibeles, Madrid (2016-17); AIDS Anarchive at Tabakalera , San Sebastián (2016); Really Useful Knowledge at the Reina Sofia Museum, Madrid (2014-15); Until lions have the own historians... (201415) at Matadero, Madrid; Inventer le possible, Une Vidéothèque Éphémère, Jeu de Paume, Paris (2014-15); Our work is never over (2012) at Matadero, Madrid; Colonia Apócrifa (2014) and Educating Knowledge (2010), both in MUSAC, León and Apres la fin / valeur travail (2009) at Haus der Culturen der Welt, Berlin. He has had exhibitions, both individual and collective and video programs in other galleries and centers of contemporary art such as La Casa Encendida in Madrid, CAB of Burgos, DA2 in Salamanca, Centro Cultural Montehermoso of Vitoria, Copenhagen Nikolaj Kunsthal, and in Paris at Jeu de Paume, Chatelet Theatre, Centre George Pompidou and the Palais de Tokyo and others.

His art works are in collections such as MUSAC de Leon or Domus Artium 2002 in Salamanca (DA2) among others. He is also a member of the research groups Las Lindes, Peninsula and Visualidades Críticas.

JULIA MORANDEIRA ARRIZABALAGA Julia Morandeira Arrizabalaga is an independent researcher and curator. She is based in Madrid, where she co-directs La Escuelita del Centro de Arte Dos de Mayo - CA2M together with Margarida Mendes, an informal school devoted to collective study and transdiciplinar knowledge, as well as new forms of producing knowledges. She is part of the artistic collective Magnetic Declination and part of the research group Península. In the last years she has researched through different frameworks the figure of the cannibal and cannibalism as a colonial construction of modernity, as a device of the political imagination, as well a visceral ecosystem from where to reposition our relation with the world. The projects encompassing that line of work include the two exhibition chapters of “Canibalia”, in Hangar in Lisboa (2017) and Kadist Art Foundation in Paris (2015); the course ‘Cannibal Affinities’, during the autumn semester at ArtCenter/ South Florida, Miami (2016); as well as the publication and presentation of the research in different spaces (Kunstcenter Bergen, 2016; Les Laboratoires d’Aubervilliers, Paris 2015; Oberon Magazine 1, Copenhague, amongst others). The exhibition “ATLAS of the ruins OF EUROPE” at CentroCentro, Madrid (2016), co-curated with José Riello, also explores the re-configuration of historical narratives throughout the semantics of the ruin.

In addition to this, another line of work is centred in the imagination and activation of forms of institutionality, support structures and affective economies, which coalesced in the publication “Be careful with each other so we can be dangerous together”, produced at Beta Local, Puerto Rico (2016), as well as the activation of the Cannibal House at the Spanish Cultual Center in Costa Rica (2015). Morandeira holds a degree in the Humanities from the Universitat Pompeu Fabra (2008) and an MA in visual culture from Goldsmiths College, London (2009).

About Cittadellarte Fondazione Pistoletto Cittadellarte’s aim is to inspire and produce a responsible change in society through ideas and creative projects. Cittadellarte - Fondazione Pistoletto was instituted in 1998 as a concrete action of the Progetto Arte Manifesto, where Michelangelo Pistoletto proposed a new role for the artist: that of placing art in direct interaction with all the areas of human activity which form society. Cittadellarte is dedicated to the study, experimentation and development of practices translating the symbol of the Third Paradise* into realty, implying it into every sector of society. It is a great laboratory, hosting many young artists, which generates unedited processes of development in diverse fields of culture, production, economics and politics. Cittadellarte is a vibrant international network of cultural and social innovators, individuals actively interlaced with their social contexts where they often act as catalyst of change. The interrelationship between people and projects is based on a common vision whose roots lie in an accumulative thought&practice process, developed by a wide range of thinkers, managers, innovators of all field. Pistoletto’s work, from the 60s to today, acts as a pumping brain for Cittadellarte’s communities. Cittadellarte has developed an extensive networks of collaborations with Institutions (various United Nations Agencies, Ministries, Universities and Educational Organizations) global enterprises and local businesses, civil society collectives, organizations and individuals from all fields.

* “The symbol of the Third Paradise, a reconfiguration of the mathematical infinity sign, is made of three consecutive circles. The two external circles represent all the diversities and antinomies, among which nature and artifice. The central one is given by the compenetration of the opposite circles and represents the generative womb of a new humanity”. Michelangelo Pistoletto www.cittadellarte.it www.terzoparadiso.org

About UNIDEE University of Ideas UNIDEE - University of Ideas is a higher educational programme based on a weekly modular format investigating the relationship among visual arts, public sphere and activism by combining critical theory with practice. Through residential dynamics, UNIDEE is designed to form artivators, people who intend to use art as a methodology, practice and language, in order to become agents for the activation of responsible actions and processes in the territories in which they live and carry out their professional activities. For its third year, and with a long history of residency programmes for international students (2000-2013) behind it, the new UNIDEE format proposes for the year 2017 a close examination of three macro-themes: Revolution, Desire and Mediation.

UNIDEE - University of Ideas 2017 Programme directed and curated by Cecilia Guida With the collaboration of Juan Sandoval Under the supervision of Paolo Naldini Programme Coordinator: Clara Tosetti Assistant Director: Annalisa Zegna

@unideeuniversityofideas unidee_universityofideas @unidee_universityofideas @_unidee unideevideo

www.cittadellarte.it/unidee/

UNIDEE - University of Ideas is made possible thanks to the support of: Patrons

Piedmont Region; Compagnia di San Paolo; Creative Europe programme of the EU; CRT Fondazione Cassa di Risparmio di Torino; Fondazione Zegna; illycaffè S.p.A.

Production Residency Collaborations & Scholarships RESÒ Network; A.M. Qattan Foundation (PS); Inlaks Shivdasani Foundation (IN).

Institutional Collaborations & Scholarships

ZKM Zentrum für Kunst und Medientechnologie Karlsruhe (D); kim? Contemporary Art Centre, Rīga (LV); Minister of Culture of the Republic of Albania (AL); National Gallery of Kosovo (RS); Jyvaskylan Yliopisto, Jyväskylä (FIN); Austrian Culture Forum Moscow (RUS); École cantonale d’art du Valais – ECAV, Sierre (CH); Fundación Universitaria Bellas Artes, Medellín (CO); Instituto Superior de Arte-ISA, La Habana (CU); École supérieure d’art et design – ESAD, Grenoble (FR); Università degli Studi di Torino (IT); Università IUAV, Venice (IT); Accademia di Belle Arti di Brera, Milan (IT); Accademia di Belle Arti di Roma (IT); Accademia di Belle Arti di Firenze (IT); ISIA-Istituto Superiore per le Industrie Artistiche di Faenza (IT); IULM-Istituto Universitario di Lingue Moderne, Milan (IT); SACI Studio Art Centers International, Florence (IT); Fondazione Bevilacqua La Masa, Venice (IT); Queens Museum, New York (US); Center for Fine Arts (Bozar), Brussels (B); Galeria Sztuki Wspolczesnej Bunkier Sztuki, Krakòw (PL); HYDRO, Biella (IT); Ordine degli Architetti Pianificatori Paesaggisti e Conservatori della Provincia di Biella (IT).

Media Partners

Giornale delle Fondazioni; Roots&Routes.