Punto Zero. An object that wanted to change the world, is an exhibition curated by the students of the School for Curatorial Studies Venice. The students have developed a curatorial project investigating the invisible qualities of objects. Through installations, sculptures, sound, and site-specific performative events, the visitor will have the opportunity to confront the nature of the objects that surround us.The exhibition can be visited between the 13 and 21 of May at Istituto secondario di primo grado Pier Fortunato Calvi, located between the Giardini and the Arsenale of the Venice Biennale.

Oli Bonzanigo

preview 29th March, 6pm

until 15th May 2025

A plus A Gallery, Venice

Embroidery, an ancient artistic technique since the myth of Arachne, attack(h)s.\[i\] It attack(h)s the thread of the present, the past and the future. As I move my fingers, it weaves actions and memories, and time flows between my fingers. I embroider and attack(h) the gods, philosophy, history, nature, I attack(h) physics. But in which direction flows the arrow of time? Newton's, Maxwell's, Einstein's, Heisenberg's and Schrödinger's equations have as their mathematical core the differential equation, and nothing prevents a differential equation from turning around. That a stone jumps back out of the water, after being thrown in, is not only possible in a tik-tok montage, but also in reality. ‘It is only an accidental inability, for which we are not yet able to make such a skilful construction, as to cause the necessary state of vibration at the edge of a lake or the edge of a bowl of water, to be able to do it for real’. So confirms David Hilbert, inventor of the mathematical space in which physics has been observing and calculating quantum energies for more than a hundred years now, performing probable and improbable acrobatics as saltimbanques. 

If physical reality does not prevent us from being able to reverse the arrow of time, nothing prevents Barbara Prenka’s solo exhibition at Galleria A plus A What time is it between my fingers, from evoking with her works those vibrations at the edges, those mathematical and physical limit conditions of the hands on embroidery, which, as suggested by Hilbert, could not only simply reverse the arrow of time, but in the case of art intertwine past, present and future in a new way — to make and unmake history and memories as if they were a bed. With the works on display, the artist creates an arrangement that connects past, present and future using handed down techniques, such as drawing and embroidery, but at the same time drawing inspiration in the shapes and colors from new social practices, from the possibility of a philosophy and a physics with new questions. The artist even seems to ask whether the present and the future do not have the power to change the past. 

The interweaving of the exhibition transports the visitor to the childhood bed of a collective and shared Europe. The geolocation of this bed is Yugoslavia. To be more precise, it is in Kosovo, and the temporal coordinates are those of the artist's birth in the year 1990\. During the first war on European soil fought after the end of the Second World War, the doilies, embroidered bedspreads, drawings and parts of the trousseau made by the artist's mother, and which adorned the bed of that childhood, now adorn the walls of the A plus A Gallery and will dialogue with all the artist's works on display. 

The series of 24 drawings Remind me who I am is part of the constellation of works on display, which focuses on the methodical repetition of the same image of a bed, each with small variations in color and its structure, as if the drawn object followed a mathematical wave function. This process of repetition and change becomes an opportunity for awakening. Each drawing captures an intimate space, a symbol of vulnerability and refuge, but also an allegory of transition and lucidity. By combining works that the artist has created over the past 5 years with objects from a childhood in Kosovo, the exhibition also shows traces of what was forcibly abandoned in the escape from a country at war. The various forms of violence, including the forced erasure of places and stories, are displayed as if they were inscribed in the very structure of the world. 

Another project on display is Dite e re (Fingers and King). It is a photographic archive of a childhood spent in Kosovo that has been transformed into real embroidered carpets. In creating these embroideries, the artist involved the women of her family, her mother, grandmother and aunts, who still live in Kosovo. It is therefore the creation of a work of art, which has given the opportunity to actively share personal stories about the beginning of the war in Yugoslavia. The creation process involves manually inserting one thread at a time into a perforated fabric; an ancient traditional technique practiced by Kosovar women during the pre-marital period, when they created carpets called “Jani” as part of the dowry. These carpets and the other works on display, connect mental images, practices and memories, to a tradition passed down from generation to generation, thus transforming the entire exhibition into a journey through time. The works of art are compared with original objects from the 80s and 90s from the village in Kosovo where the artist grew up, and which have now been cited in the gallery as witnesses of history. 

What time is it between my fingers, suggests a responsible action of physics and its technical applications and the use of its resources. The theme of the responsibility of science and physics is also the theme of the philosophy of Karen Barad, American by birth, who inspired in some central points the solo exhibition of Barbara Prenka. The practice and social theory of Barad weighs on the memory of the launching of the two atomic bombs on the cities of Hiroshima and Nagasaki, just like the works of Barbara Prenka weigh on a childhood bed during the war in Yugoslavia. The “temporal diffraction”, as Barad calls it, is a coexistence of past, present and future, which influence each other. The idea of the exhibition What time is it between my fingers is to make the objects installed extend into each other just as the function of the quantum wave suggests. “Intra-action”, another concept of Barad, observes that phenomena or objects and human beings do not precede their interaction, do not have a real ontology pre-existing to their encounter, but rather objects like living beings emerge through particular “intra-actions”. Human beings, fauna and flora, as well as material entities or discursive entities do not exist separately and prior to their encounter, prior to their measuring and observing each other, and at best, prior to their learning from each other, but emerge only through their relationships and overlaps. As in embroidery, the threads take on meaning and form only in relation to the fabric and the design they create together. 

\[i\] “Attaccare” means in italian both: “to attack” and “to attach”. 

Barbara Prenka (1990, Gjakova, Kosovo) holds both a Bachelor’s an Master’s Degree in Painting from the Academy of Fine Arts in Venice, where she studied under Professor Carlo Di Raco. Recent exhibitions include: Covers (curated by Zef Paci, Gallery of the Ministry of Culture of Kosovo in Prishtina, 2024), Dita e re (Documentation Centre of Kosovo in Prishtina, 2023), Re:nature (curated by Sylvain Brugier, Kunstquartier Bethanien in Berlin), The Event of a Thread - Global Narratives in Textiles (curated by Susanne Weiss, Inka Gressel and Hana Halilaj, National Gallery of Kosovo), What Do Landscapes Dream Of? (curated by Sarah Solderer and Mara Vöcking, Biennale Gherdëina 8 in Alto Adige), Shelter Lines, (curated by Edoardo Monti, Palazzo Monti, Brescia, 2021), Double Take, (curated by the School of Curatorial Studies of Venice, A plus A Gallery, Venice), Hôtel Dieu (A plus A Gallery, Venice, 2023), Where Touch Speaks Louder (curated by Eva Comuzzi, Marina Bastianello Gallery, Mestre-Venice, 2022), Venice Time Case (curated by Luca Massimo Barbero), For Some Bags Under the Eyes (curated by Romain Sarrot, Sans Titre, Paris, 2021), Pesi Massimi (curated by Fondazione Malutta and Augusto Maurandi, Spazio Punch, Venice) She was the winner of the Euromobil Under 30 Award at ArteFiera Bologna (2015) and the Emerging Art Award at the Francesco Fabbri Prize for Contemporary Arts (2014) and the Combat Prize in the painting section in Livorno (2014). Barbara Prenka lives and works between Venice, Bolzano and Berlin.

What Time Is It Between My Fingers?

Course online

18.02- 06.03.25

Deadline for applying: 06.02.2025

  
 This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making. 

The objectives of the workshop: To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models. 

During the course we will start from the globalization trends of the early 1990s and 2000, and move on to the last decade when the theme of decolonization has become increasingly urgent at the Venice Biennale. The relationship between the rest of the world and the West, and thus of social and cultural redemption, is present in a sometimes obsessive but inevitable manner in numerous editions of the Venice Biennale and especially in certain pavilions. 

18.02.25 The Biennale turns global: Cardinal Points of the Arts, Artistic director: Achille Bonito Oliva, for the first time invites movement and artists from the far East. 

19.02.25 The two editions curated by Harald Szeemann and the world is turning global. Apert over All in 1999 and Plateau of Humankind are finally opening to the globalization 

20.02.25 - Dreams and Conflicts. The Dictatorship of the Viewer. Director: Francesco Bonami. Globalization is manifested by including curators from all over the world. 

25.02.25 Daniel Birnbaum in 2009 presents Making world. A moment of transition. 

26.02.25 Massimiliano Gioni in 2013 with the Encyclopedic Palace transforms the Biennale in utopic and ambitions project.

27.02.25 All the World’s future, in 2015 with Okwui Enwezor in finally focusing on a political and decolonized vision. 

04.03.25 Ralph Rugoff, May You Live In Interesting Times in 2019, a high quality curatorial project that goes beyondideologies. 

05.03.25 2022 and The Milk od dream, the women artists with Cecilia Alemani took over the Biennale. 

06.03.25 Adriano Pedrosa, 2024\. Foreigners everywhere. Was it really true that the foreigners were everywhere. The best pavilions which were able to face the postcolonial issue in a constructive way. 

After each session a discussion will be hold in order to exchange different opinions and views on the approach of the singular curatorial practice. Rethinking specific curatorial models, by analyzing their origins and their subsequent developments is one of the key elements of the workshop.The mission is to create a critical ability in order to discover the proper curatorial model.

 At the end of the course, you will be asked to develop a written research paper in which you will articulate some of the key points identified in the curatorial models examined during the various editions of the Venice Biennale. 

 The fee per course is 590 euro. In case you choose to take part to more then one course, a discount of 100 euro will be applied to the fee of the next courses.

 Our Online Delivery Method

 Online Study Luctures effectively run over the week – Tuesday, Wednesday and Thursday from 6pm to 8pm CET – maintaining our usual tours’ focused, intensive and immersive experience.

In case one or more lessons cannot be attended, recordings are provided.

 Live Seminars - Each lecture is two hours long at the end of each lecture we will have a half an hour for questions and discussions. Your tutor will hold live seminars with you and Google.meet discussions are accessed via a web-link which we will email to you. These sessions enable you to ‘meet’ your tutor and fellow students. To participate you will only need an internet enabled device; you do not need a Google.meet account. If you have questions that you were not able to raise in the discussions, you will also be able to communicate with your tutor by email.
  
  

Rethinking exhibition models of the Venice Biennale: from globalization to the most recent form of decolonization

**5th June – 1st September 2025**

**Deadline for application: 1st March 2025**

  
The School for Curatorial Studies is an ambitious and challenging project promoted since 2004 and conceived as a school committed to experimentation and interdisciplinary thinking. 

The main goals are to spread the knowledge in the field of visual arts and to introduce the students to the professions related to the art world, focusing on contemporary curatorial theory and practice and contemporary museology. 

The School’s activities are meant for all those interested and passionate in art, graduated students or professionals who want to deepen their knowledge and improve their practical skills. The School’s teaching staff is formed by Italian and international professionals, scholars, historians and art critics of recognized experience. Among them: Matt Williams (curator), Filippo Lotti (Sotheby’s), Chiara Barbieri (Peggy Guggenheim Collection), Louise McKinney (developer of developing high-profile cultural initiatives), Andrea Goffo (Found. Prada), Nicola Lees (Aspen Museum).

The program:

The Summer School in Curatorial Practice will take place during the International Biennale Venice. 

With an interdisciplinary approach, the course provides practical training and experience within museums and exhibition settings. Its international faculty includes curators and museum professionals, artists and critics. The course is designed to increase students understanding of the intellectual and technical tasks of the curator figure. English-taught lectures cover both theoretical and practical topics that go from the history of contemporary visual arts and practices of exhibition-making, to Exhibition Management. 

The students will participate in weekly activities, such as artist studio visits, tours of exhibition spaces, networking events and workshops. The program culminates with the set up of the exhibition.

The Summer School includes visits of specific art venues all over the city of Venice during the International Venice Biennale. A series of selected case studies will offer the students an opportunity to observe the development of contemporary art. The School’s goal is to align these specific theoretical lectures with a practical approach. 

Besides the theoretical lectures, a series of laboratories and workshops aims to introduce the students to the work of critical text writing, press releases and to structure all the different aspects of publishing. The students will be offered the possibility of a gallery training and of setting up together - with one of our tutors, their exhibition in Venice, as a final project of the course.

  
Duration and structure

The course has a duration of 650 hours. The participants will develop themes as well as organization, acquisition, communication and the concrete implementation of their skills together with the course director and international guests (artists, curators, architects, critics, fine arts scientists and publishers of art journals).

Application deadline: 

March,1st 2025.

The application form must be sent by e-mail before the deadline (March 1st 2025) of the Curatorial Program to:

School for Curatorial Studies

San Marco, 3073, 30124 Venice

Email: curatorialschool@gmail.com

Tel: +39 0412770466

  
The application form can be downloaded at www.corsocuratori.com, where you can find more information about our curatorial program and your stay in Venice.

The Summer school has a limited number of places available.

  

The Venice International Summer School in Curatorial Studies Open Call

**Private view: 18th november, 6 pm** 

**A plus A Gallery, Venice, San Marco 3073** 

**Flavio Delice, Samuel Gelas, Shamika Germain** 

**Organised by A plus A Gallery in collaboration with Campus Caraïbéen des Arts supported by the Institut français and the Direction des affaires culturelles de la Martinique.** 

**Curated by Paola Lavra** 

A plus A gallery and the Campus Caraïbéen des Arts are pleased to announce « Noutoupatou, Mondes caribéens en mouvement ». The exhibition, supported by the Institut français, and the Direction des affaires culturelles de la Martinique.coincides with the closing of the 60th International Art Exhibition, La Biennale di Venezia. 

Noutoupatou, is a word, a sound, an invitation to look closely at the works of three young artists from the Caribbean art scene, from the islands of Haïti, Guadeloupe and Saint Martin, graduates of the Campus Caraïbéen des Arts of Fort-de-France in Martinique: Flavio Delice, Samuel Gelas, Shamika Germain. The exhibition is curated by Paola Lavra, anthropologist and lecturer at the Campus Caraïbéen des Arts and former student at the School for Curatorial Studies Venice, in collaboration with May Clementé, Director of the Galerie École of the CCA. 

The project envisages a residency period for the artists in Venice, a masterclass proposed by Julien Creuzet and a series of initiatives aimed at creating a moment of exchange and encounter between the three artists and the city of Venice, both islands belonging to a vast archipelago that carries within itself an intricate network of relationships and connections to the world. The residency period will culminate with the opening of the exhibition in which the visitor will have the opportunity to confront that historical, sociological and cultural imprint that has profoundly marked the space and body, the plural and contradictory identity of a colonial society that constantly questions its origins, its affiliation and territorial status as a French island in the broader and more complex sphere of the Caribbean archipelago, its becoming in the globalised space of the Americas.

Today, the progressive deconstruction of the paradigm of Western modernity leaves room for new and singular paradigms of thought and action brought and translated by the specific language of contemporary art, inspired by the Glissantian poetics of relationship and « Tout monde ». 

It is in this context that Flavio Delice follows the path and cartography traced by the inhabitants of Haïti in constant migration towards other shores. A land of origin that he never inhabited, ‘not native’, Haïti is the founder of a whole poetic and artistic imaginary that is built on the thread of the testimonies and stories of the fleeing Haïtians. 

A real ‘ethnography of passages’ takes shape in the canvases and sculptures made from recycled materials that make up the daily life based on the ‘debrouillardise’ and the urgency of the Haitian population exposed to telluric movements and the permanent imbalance of a country at war, which is still paying the price for its revolution today. A notebook of a return to the land of dreams and childhood, the set of works is inscribed in the dramatic context of the current conflicts that agitate the island of Haïti. 

Shamika Germain uses the same device of immersion and capture (images, words and sounds) to narrate another migration: hers, that of the ‘Enfants de la Ddass’, children entrusted to public institutions or raised in foster families and care facilities. Collecting the voices and silences of bodies and souls separated from their mother’s womb translates into a rich production ranging from photography to drawing and painting, from sculpture to filmic device, from installation to performance of handwritten texts. Hard materials such as iron and iron cement are opposed to the softness of wool in the manufacture of ‘cradles’ that allude to the emptiness and lack of a childhood without dreams.

Intimacy thus becomes the support of a singular and polymorphous plastic and graphic writing, in the creation of an aesthetics of trauma, translated by the term créolo bless, a form of tragic catharsis operated by the reproduction and materialisation of the original wound. The individual story of the ‘Pupilles de l’État’ narrated by Shamika echoes the story of the Bumidom and the Enfants de la Creuse (1962/1984), the vast mass migration operation carried out by the Office for the Development of Migration in the overseas departments of which the children of the DOM territories (Réunion, Martinique, Guadeloupe) were the object and collateral victims. 

Finally, the universe of children is present and active in the imposing canvases of Samuel Gelas, vast group portraits that refer to the experience of each human being constituting a social group but also of a humanity of which childhood is the common denominator. The device of the class photo is distorted by the coded language of a bestiary that seems to illustrate the drifts of a society characterised by a hybrid identity, by the encounter/clash between multiculturalism and globalisation. Children are the society of tomorrow in the classroom that brings together and encourages the meeting of origins, religions and different systems of thought. 

In a context of crisis and multiform migrations bringing disparities linked to the concepts of class, race and gender, the poetics of relationship, the theoretical summa of Edouard Glissant, subverts the concept of class and inspires an artistic project based on the strength of the collective. The class portrait inscribes the individual in a social group that strongly affirms his singularity but also claims belonging to the world, to being Tout monde, where ‘the relationship becomes the infinite sum of all differences’. (Cf. L’invitation au voyage, 22 November 2004, E. Glissant interrogé par Laure Adler).

Special guest is the artist Julien Creuzet, representing France at the 60th. Biennale in Venice, the protagonist of a masterclass retracing the various stages of his career, which began in Martinique. 

The masterclass is organised by the Institut français, in collaboration with the Campus Caraïbéen des Arts. It is aimed at students from the Martinique and Caen Academies of Fine Arts, as well as students from the Lycée d’arts appliqués Victor Anicet in Saint Pierre. This event has been made possible thanks to the support of the Collectivité Territoriale de Martinique. 

Founded on the égida of Aimé Cesaire in 1984, the current Campus Caraïbéen des Arts s is a Higher School of Art sponsored by the Ministry of Culture and Communication, integrated into the higher education system of French art schools. The only French-speaking centre for the teaching of the visual arts in the Caribbean and Central America, the higher institute puts into perspective the European system with which it is endowed in order to fit into the broader territoriality assigned to it by history and the status of ‘French overseas territory’. 

  
The exhibition can be visited from 18 November to 18 January 2025 at the Aplus A Gallery.

Noutoupatou, Mondes caribéens en mouvement 

**private view: 18th november, 6 pm**

**A plus A Gallery, Venice, San Marco 3073**

**Flavio Delice, Samuel Gelas, Shamika Germain**

**Organised by A plus A Gallery in collaboration with Campus Caraïbéen des Arts**

**supported by the Institut français**

**curated by Paola Lavra**

A plus A gallery and the Campus Caraïbéen des Arts are pleased to announce «Noutoupatou, Mondes caribéens en mouvement». The exhibition, supported by the Institut Français de culture, coincides with the closing of the 60th International Art Exhibition, La Biennale di Venezia.

Noutoupatou, is a word, a sound, an invitation to look closely at the works of three young artists from the Caribbean art scene, from the islands of Haïti, Guadeloupe and Saint Martin, graduates of the Campus Caraïbéen des Arts of Fort-de-France in Martinique: Flavio Delice, Samuel Gelas, Shamika Germain. The exhibition is curated by Paola Lavra, anthropologist and lecturer at the Campus Caraïbéen des Arts and former student at the School for Curatorial Studies Venice, in collaboration with May Clementé, Director of the Galerie École of the CCA.

The project envisages a residency period for the artists in Venice, a masterclass proposed by Julien Creuzet and a series of initiatives aimed at creating a moment of exchange and encounter between the three artists and the city of Venice, both islands belonging to a vast archipelago that carries within itself an intricate network of relationships and connections to the world. The residency period will culminate with the opening of the exhibition in which the visitor will have the opportunity to confront that historical, sociological and cultural imprint that has profoundly marked the space and body, the plural and contradictory identity of a colonial society that constantly questions its origins, its affiliation and territorial status as a French island in the broader and more complex sphere of the Caribbean archipelago, its becoming in the globalised space of the Americas.

Today, the progressive deconstruction of the paradigm of Western modernity leaves room for new and singular paradigms of thought and action brought and translated by the specific language of contemporary art, inspired by the Glissantian poetics of relationship and « Tout monde ».

It is in this context that Flavio Delice follows the path and cartography traced by the inhabitants of Haïti in constant migration towards other shores. A land of origin that he never inhabited, ‘not native’, Haïti is the founder of a whole poetic and artistic imaginary that is built on the thread of the testimonies and stories of the fleeing Haïtians.

A real ‘ethnography of passages’ takes shape in the canvases and sculptures made from

recycled materials that make up the daily life based on the ‘debrouillardise’ and the urgency of the Haitian population exposed to telluric movements and the permanent imbalance of a country at war, which is still paying the price for its revolution today. A notebook of a return to the land of dreams and childhood, the set of works is inscribed in the dramatic context of the current conflicts that agitate the island of Haïti.

Shamika Germain uses the same device of immersion and capture (images, words and sounds) to narrate another migration: hers, that of the ‘Enfants de la Ddass’, children entrusted to public institutions or raised in foster families and care facilities. Collecting the voices and silences of bodies and souls separated from their mother’s womb translates into a rich production ranging from photography to drawing and painting, from sculpture to filmic device, from installation to performance of handwritten texts. Hard materials such as iron and iron cement are opposed to the softness of wool in the manufacture of ‘cradles’ that allude to the emptiness and lack of a childhood without dreams.

Intimacy thus becomes the support of a singular and polymorphous plastic and graphic writing, in the creation of an aesthetics of trauma, translated by the term créolo bless, a form of tragic catharsis operated by the reproduction and materialisation of the original wound. The individual story of the ‘Pupilles de l’État’ narrated by Shamika echoes the story of the Bumidom and the Enfants de la Creuse (1962/1984), the vast mass migration operation carried out by the Office for the Development of Migration in the overseas departments of which the children of the DOM territories (Réunion, Martinique, Guadeloupe) were the object and collateral victims.

Finally, the universe of children is present and active in the imposing canvases of Samuel Gelas, vast group portraits that refer to the experience of each human being constituting a social group but also of a humanity of which childhood is the common denominator. The device of the class photo is distorted by the coded language of a bestiary that seems to illustrate the drifts of a society characterised by a hybrid identity, by the encounter/clash between multiculturalism and globalisation. Children are the society of tomorrow in the classroom that brings together and encourages the meeting of origins, religions and different systems of thought.

In a context of crisis and multiform migrations bringing disparities linked to the concepts of class, race and gender, the poetics of relationship, the theoretical summa of Edouard Glissant, subverts the concept of class and inspires an artistic project based on the strength of the collective. The class portrait inscribes the individual in a social group that strongly affirms his singularity but also claims belonging to the world, to being Tout monde, where ‘the relationship becomes the infinite sum of all differences’. (Cf. L’invitation au voyage, 22 November 2004, E. Glissant interrogé par Laure Adler).

Special guest is the artist Julien Creuzet, representing France at the 60th. Biennale in Venice, the protagonist of a masterclass retracing the various stages of his career, which began in Martinique.

The masterclass is organised by the Institut français, in collaboration with the Campus Caraïbéen des Arts. It is aimed at students from the Martinique and Caen Academies of Fine Arts, as well as students from the Lycée d’arts appliqués Victor Anicet in Saint Pierre. This event has been made possible thanks to the support of the Collectivité Territoriale de Martinique.

Founded on the égida of Aimé Cesaire in 1984, the current Campus Caraïbéen des Arts is a Higher School of Art sponsored by the Ministry of Culture and Communication, integrated into the higher education system of French art schools. The only French-speaking centre for the teaching of the visual arts in the Caribbean and Central America, the higher institute puts into perspective the European system with which it is endowed in order to fit into the broader territoriality assigned to it by history and the status of ‘French overseas territory’.

The exhibition can be visited from 18 November to 21 December at the Aplus A Gallery.

  

The Summer course in Curatorial Practice is an English-taught, intensive program on the history of contemporary visual arts and practices of exhibition-making, taking place during the Venice Biennale. Through interdisciplinary lectures, the course provides practical training and experience within museums and exhibition settings. Its international faculty includes curators and museum professionals, artists and critics. The Summer course is designed to increase the students understanding of the intellectual and technical tasks of the curator figure related to the set up of exhibitions and projects. The lectures cover both theoretical and practical topics that go from History of Exhibition to Exhibition Management.

  

Open Call in Curatorial Studies Venice

**Online course by**Marysia Lewandowska 

20.11 – 6.12.2023

Deadline: November 10, 2023

  
London based, Polish born artist Marysia Lewandowska considers the uses of archives as conceptual tools helping to address relationships between people, their ideas and documents that survived dispersal associated with the passage of time. This seems especially relevant when tracing women’s cultural contributions and difficulties associated with finding their material evidence.The aim of this series of seminars is to bring attention to the relevance of voice and voicing understood in its wider sense as a contribution and political agency.Confronting absence, void, erasure or silence often acts as a catalyst for constructing an artwork, which becomes a corrective intervention in the process of re-visiting histories now. The artist places sound and voice as central agents in contemporary manifestations of political imaginary deployed through listening and feedback. This is consistent with her commitment bringing attention to the role women’s voices continue to play in diverse social contexts.The tactics associated with her practice resonate within a wider community urging us to re-discover and re-arrange the internal “structures of feeling” in which archival knowledge, material traces, artistic expression and open access are given a chance to cross-pollinate and to be heard.

VOICING THE ARCHIVE: WOMEN MAKE HISTORY.

A good preparation in the field of art philosophy helps contextualise topics that are too often treated superficially by curators and art critics. Making art or talking about art cannot be approached without a good knowledge of the philosophers who have been instrumental in developing theories of art. This is an experimental online course that wants to take a closer look at some conceptualizations made on beauty, philosophy of art, aesthetics and the sublime. In these first 6 online sessions we will have a closer look at Walter Benjamin, G.W.F. Hegel and Immanuel Kant. We call these theories and authors classical, which is a word to hide that we forgot about their theories in detail and that we effectively have only wrapped-up conclusions or prejudices about them in our minds.

CATCHING IDEAS OF BEAUTY: A JOURNEY INTO THE PHILOSOPHY OF ART PART I

Everything you need to know about curating and organising an exhibition or a pavilion at the (Venice) Biennale.

Online workshop

What is necessary to know about permissions, promotion, funding and more…to make a successful event.

10.10 – 03.11.2023

Deadline: 27 September 2023

The Venice Biennale is a large-scale international contemporary art exhibition. In early May, thousands of art-world denizens descend in the city for the opening of a new edition of the Biennale, the closely watched pageant of contemporary art that has been running—with a few interruptions—since 1895\. The Biennale is arguably the most prestigious exhibition in the world, filled with history and also cloaked in myth.

The preview days brings 25,000 artists, collectors, curators, museum directors and journalists into the city, followed by 600,000 visitors in the six months after. For this reason it is extremely important to know how everything works.

Session 1\. 10.10.2023

What is the Venice Biennale and why everybody wants to be present. Identification of the keys points that all participants need to know before facing such import event.

Session 2\. 13.10.2023

First step the location. How to find the ideal location. Even though the city is small, for the Venice Biennale you need to be in a good quarter. How to find the right location. Prices. The place makes the difference.

Session 3\. 19.10.2023

Step 2\. What do you need to know about your location. The exhibition space is in the Arsenale? Inside of the Biennale? Then is very important to know which are the rules to respect, the permissions you need and the best suppliers you can get.

Session 4\. 20.10.2023

Organising your event in a place located in the city: the things changes and there are other permissions you need to provide, rules to respect, and of course the suppliers.

Session 5\. 23.10.2023

How to promote an event during the Biennale: this is the most intensive period and a part for the main exhibition organized by the Biennale, you have at least 300 more competitors. In the city during the Venice Biennale there almost 500 of shows, events and projects.

Timing and strategies is a key point in order to have a successful event.

Session 6\. 27.10.2023

Collateral events can be a good strategy to keep and attract the attention on your initiative. When is a collateral program useful for the promotion of your show and how should it work: dinners, parties, conference, workshop and presentation.

Session 7\. - 30.10.2023

Venice is a tough city! No cars, therefore transports are only on boats. All about logistic: transports and suppliers. Taxi and restaurants. Hotels and flats. When you should start booking and arranging all these fundamental matters.

Session 8\. - 03.11.2023

What you should not do at the Venice Biennale. Some key scenarios which should absolutely avoided.

The fee is 590 euro.

Our Online Delivery Method Online Study Lectures effectively run over the week – Tuesday and Friday from 6pm to 8pm CET – maintaining our usual tours’ focused, intensive and immersive experience.

Live Seminars - Each lecture is two hours long at the end of each lecture we will have a half an hour for questions and discussions. Your tutor will hold live seminars with you and Google.meet discussions are accessed via a web-link which we will email to you. These sessions enable you to ‘meet’ your tutor and fellow students. To participate you will only need an internet enabled device; you do not need a Google.meet account. If you have questions that you were not able to raise in the discussions, you will also be able to communicate with your tutor by email.

  
Contacts

School for Curatorial Studies Venice

San Marco, Calle Malipiero 3073,

30124 Venezia

curatorialschool@gmail.com

T +39 041 2770466
  
  

Online workshop: Everything you need to know about curating and organising an exhibition or a pavilion at the (Venice) Biennale.

Punto Zero. An object that wanted to change the world, is an exhibition curated by the students of the School for Curatorial Studies Venice. This event has been created in collaboration with Video Sound Art Milan, a festival and production centre of contemporary art, Coordinated by Laura Lamonea (artistic director and curator) and Thomas Ba (curator). The students have developed a curatorial project investigating the invisible qualities of objects. Through installations, sculptures, sound, and site-specific performative events, the visitor will have the opportunity to confront the nature of the objects that surround us. The exhibition can be visited between the 13 and 21 of May at Istituto secondario di primo grado Pier Fortunato Calvi, located between the Giardini and the Arsenale of the Venice Biennale.

  
An object is a physical entity, that in its tangibility, contains values, narratives and memories. It is a medium but also an origin, a starting point for narrating and remembering, a punto zero. The space of the school symbolizes the place of our first encounters with socialization, and therefore it is where hierarchies are set and experienced. Reflecting in this way the dynamics of society. Resembling a punto zero where power relations get established through the arrangement of desks, chairs, and other objects.

  
The objects are charged with both individual and collective memory. They become, through the artists’ interventions, tools to reactivate these memories and evoke new ways of relating to them. The desk, the blackboard, the bell, are therefore protagonists of the performances. Inviting the visitors to reflect upon the power of objects to create relations with society and individuals. Punto Zero is an intervention that aims to involve all visitors in the exhibition by welcoming contributions such as images, texts, sentences and drawings that summarize what was or is an object that changed the world. Creating an archive, all of these contributions will be set up in a dedicated room dealing with the curatorial research that the students have been investigating in the past months.

  
Punto zero is an object, any. But which object wanted to change the world? 

  
The artists participating in the exhibition are Alvise Bittente, Oli Bonzanigo, Ludovico Colombo, Marilisa Cosello, Lea Pedri Stocco, Pierluigi Scandiuzzi, Lorenzo Servetti, Davide Zulli.

  
Send your contribution to curatorialschool@gmail.com by May 9th. We will display your intervention within the exhibition. You can send images, sentences, photographs, and poems, as long as they fit on an A4 sheet. Furthermore, it will be possible to bring the chosen object on display if its dimensions are small.

  
From 13 to 21 May 2023

State Secondary School

Scuola Secondaria di I° Grado Statale

Pier Fortunato Calvi, Istituto Comprensivo

Dante Alighieri

Via Garibaldi 1808, 30122 Venice

Opening hours: 2.30pm – 7pm

Opening: Saturday 13 May, 17:00

Punto Zero. An object that wanted to change the world

The 23rd course in Curatorial Practice and Contemporary Arts presents From the city, an itinerary exhibition around Venice focusing on the powers and the dynamics of contemporary cities.

Perceived in two different ways, Venice is a global city on the one hand, for the collective consciousness, always appears the same, as lost in the past in its defined structures, on the other hand over the last few decades, the city has been changed drastically by economic and social dynamics.
After curating the Rob Pruitt's Flea Market in 2015, this year the School for Curatorial Studies Venice and the A plus A gallery look at the city of Venice as a case study focusing on artistic, curatorial and theoretical research.
The exhibition will take place from 25th to the 31st of May in the districts of San Marco and Castello, next to the locations of Biennale - Arsenale and Giardini. International artists will interact with the city enhancing cultures, traditions and hidden areas/treasures. The artists taking part to the project are: Elena Bellantoni, Paolo Brambilla, Bros, Federica di Carlo, Quiet Ensemble, Roberto Fassone, Serena Fineschi, Jukai, Sophie Ko, Kensuke Koike, Robert Montgomery, Matteo Nasini, Guido Nosari, Libia Castro & Ólafur Ólafsson, Emmanuele Panzarini, Marco Samorè, Sbagliato, Miriam Secco, Vincenzo Simone, Julian Soardi, Sebastiano Sofia, Jan Vormann.

The artworks will cohabit with the urban pattern, creating a link between the people and the context. The pubblic will be guided through the Sestrieri inspired by their memories and intimate symbols. The visitors will be guided through lanes and corners looking at the environment with a different and careful point of view; German artis Jan Vormann, brings back to Venice his Dispatchwork project repairing holes and cracks on the walls, using colorful and second hand plastic-toy bricks; Robert Montgomery creates a site-specific work focusing on the refugees matter linked with Venice as an in-between space where different cultures cohabit; poster artists group Sbagliato will catch the passerby attention creating illusionary spaces; Japanese artist Kensuke Koike will hide a kaleidoscopic world behind the peephole of a private's house door; Daniele Nicolosi, aka Bros, will present a symbolic work on the value of the art world and the city of Venice, using a series of one euro coins.

In this scenario the School for Curatorial Studies Venice intends to build an experimental laboratory and carry out a research on the theme of identity, on the lifestyle of the locals and on the new ways of living in the urban space through art. The headquarter of the exhibition will be near Arsenale - Sede del PCI - Corte Nova, Castello 2061/A - and it will be a place of  talks, debates around all the selected projects (realized and unrealized), along with opportunities of dialogue with the artists invited to participate actively in the platform with proposed topics of discussion. 
A final catalogue will be released combining all the different aspects of the project. Moreover, there will be the possibility to check all info and updates on www.fromthecityvenice.wordpress.com
Because From The City is all about Venice and its inhabitants, we have decided to actively invlove the local realities: a map illustrating restaurants, Venetian typical Bacari and bookshops will be released.
The event is supported by Pixartprintig where most of the printed material has been produced and by Belrosa Holding SA s.r.l.

From the city is curated by the students of the 23rd course in Curatorial Practice and Contemporary Arts of the School for Curatorial Studies Venice menaged by Aurora Fonda and Sandro Pignotti.

The students attending the 23nd edition of the "Course in Curatorial Practices and Contemporary Arts" are: Marta Artuso, Francesca Arzani, Roberta Bani, Cristina Bargna, Giulia Barbazza, Veronica Barisan, Marta Carlozzo, Mauro Casagrande, Federica Ceci, Alessandra Chiericato, Giulia di Paola, Giulia Felici, Claudia Ferraroni, Francesca Fialdini, Elena Fortunati, Danilo Fozzi, Giulia Garetto Romano, Giulia Giorgetti, Cristina Gordini, Valeria Manciagli, Margherita Masé, Francesca Montresor, Carlotta Muscaritoli, Salomé Nascimento, Chiara Perani, Giulia Pergola, Sara Prestini, Rossana Stellato, Chiara Tanchella, Silvia Tanzini. 
Notes:
The School for Curatorial Studies Venice was founded by Aurora Fonda in 2004 in Venice with the purpose of creating an open laboratory for the expression of creativity in the field of visual arts and the professions related to contemporary art. the Course in "Curatorial Practices and Contemporary Arts", now in its 23nd edition, is articulated on both a practical and theoretical level towards an experimental approach, culminating in a final event organized by the participating students. The couse is an ambitious and challenging project that aims to offer a vision of the complex world of contemporary art and offers a constructive contribution through the works produced by the School and its students.
www.corsocuratori.com

A plus A gallery has been the official venue for the Slovenian pavilion at the Venice Biennale since November 2013 and a hub for Slovene and local artists. Since 2015, under the direction of Aurora Fonda and Sandro Pignotti, A plus A will be transformed into a space dedicated to experimenting with new exhibition formats, with the aim of becoming a centre for contemporary art in Venice capable of supporting local and international artists in the production of exhibition and project in Venice. Among its principal activities is the School for Curatorial Studies Venice wich since 2004 has welcomed students in Venice to participate in the "Course in Curatorial Practices and Contemporary Arts".
www.aplusa.it
More info:
Website – www.fromthecityvenice.wordpress.com
Facebook – From The city
Instagram - @Fromthecityvenice

More info:
A plus A Gallery e The School for Curatorial Studies Venice
E.: press@aplusa.it
E.: press@corsocuratori.com


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