Cripta747 Residency Programme is a process-based residency open to artists, curator and researchers from any field of contemporary culture who show a strong, coherent and recognisable research in both material and conceptual production.
Cripta747 provides two fellowships that give the residents the opportunity to live and work in Turin for two months during September – November while developing individual projects and immersing themselves in the city’s creative environment.
The independently driven atmosphere and the spirit of openness that have always characterised Cripta747, encourage the growth, the experimentation and the exchange between local and foreign artists, art professionals and the public and allow the establishing long-term relationships with the artists in residence.
Lee Fraser is a British composer, born in London in 1981, working in the field of electroacoustic music. His work is characterised by its concern with synthetic sound and complex auditory experiences. Drawing from his interest in digital synthesis, psychoacoustics and acousmatic theory, Fraser’s sound materials blur the distinction between the organic and the abstract, illustrating a tension in his work between an acknowledgment of nature and a desire to transcend its limitations.
In addition to his fixed media work, Fraser regularly performs in a live capacity, both solo and in collaboration with other artists.
Recent concert and festival appearances include: Sentralen, Oslo (2018); Cafe OTO, London (2018); Cut & Splice, Manchester (2017); Darmstadt International Summer Course for New Music, Darmstadt (2016); LUFF, Lausanne (2016).
His work has received numerous awards and acknowledgments, including the Luigi Russolo Grand Prize 2013, and he has been been commissioned by the BBC, Distractfold and Ensemble Adapter. Many of his compositions have been published by Entr’acte (2014) and Ge-stell (2018).
Hilary Galbreaith was born in 1989 in Florida and graduated from Experimental School of Art Annecy Alpes. She creates playfully dark, comedic fictions that address the 21st century body, the way it lives with the contradictions and ambivalences of technologies such as screens, social networks, and digitalized bureaucracy, often from a feminine or ambiguously gendered point of view. Everyday experiences are the genesis for stories that parody their original inspirations, at once a bodily interpretation of technological mediation, and the exploration of an interior world.
Grotesque, psychoanalysis, DIY movements, neo-spiritualism, kitsch and pop culture are recurrent themes. Drawing and short fiction (sci-fi and horror) are the basis for a practice that spans video, performance, installations and multiples, often using a “cheap” collage technique of found materials and fabric or paper mâché.
Recent exhibitions, screenings and performances include Les Nourritures Criées, La Criée, Rennes (2019); Bug Eyes, In Extenso, Clermont-Ferrand (2019); Rennes Art Weekend, Rennes (2019); Hubhug Sculpture Project, Rennes (2018); La Nuit de la Tigresse, Zoo Gallery, Nantes (2018); Cellar Door, Arondit, Paris (2018); Postpop, Galerie Art et Essai, Rennes (2018); and HOPE, newscenario.net
Barbara Casavecchia is a writer, independent curator and educator based in Milan where she teaches at Brera art academy. She graduated in art history from the University of Pavia and got scholarships for Reading University, UK, and J.D. Calandra Institute CUNY – Graduate Center, NY. She attended Scuola di Specializzazione in Storia dell’Arte, Milan University, but didn’t file her final dissertation because she started to work. In 2017/18, with other two professors at Brera, Lucrezia Cippitelli and Simone Frangi, she organized the research project Coloniality and Visual Cultures (comprising a year-long seminar, artist-run workshops, a screening program, a public program and a group exhibition titled “Aministia”). In 2018/19, with the same colleagues, she promoted the seminar “Politics of Sexuality and Visual Cultures”.
Contributing editor for Frieze, her articles and essays have appeared in Art Agenda, Art Review, D/La Repubblica, Flash Art, Mousse, South/documenta 14, Spike, Arts of the Working Class, Interwoven, The Exhibitionist, Doppiozero, Kaleidoscope, Studio, among others, as well as in several artist books and catalogues. From 2005 to 2011 she contributed to the cultural pages of La Repubblica Milano.
In 2018, she curated the exhibition Susan Hiller. Social Facts, at OGR, Turin. From 2008 through 2017, she co-curated with Andrea Zegna the public art project All’Aperto (Fondazione Zegna, Trivero), with community projects and permanent site-specific installations by Daniel Buren, Alberto Garutti, Stefano Arienti, Roman Signer, Marcello Maloberti, Dan Graham, Liliana Moro; Alek O., Laura Pugno, Valentina Vetturi. In 2014, she co-curated the retrospective Maria Lai. Ricucire il mondo at MAN, Nuoro (with Lorenzo Giusti).
She is currently curating OGR YOU (in collaboration with Sergey Kantsedal), a project promoted by Fondazione Arte CRT at OGR, Turin. It comprises a series of free lecture/performances by international artists, who also run workshops behind closed doors for a group of 15 participants (age 18-20 years), selected by open call. The group organizes special OGR You evenings and an end-of-the-year festival. In 2018, the artists involved were: Roberto Fassone, Angelo Plessas, Ambra Pittoni & Paul-Flavien Enriquez-Sarano, Slavs & Tatars, Gernot Wieland, Eva e Franco Mattes, Invernomuto, Adelita Husni-Bey. In 2019: Francesco Fonassi, Adam Christensen, Massimo Grimaldi, Elisa Giardina Papa, Luca Garino, Sophie Jung, Diego Marcon.
Salvatore Lacagnina is an art critic and curator based in Rome.
His curatorial practice grew to pursue extensive developments of the art institutions within their global context, simultaneously treating institutions as living bodies and complex narratives, situated and engaged in their specific social and cultural reality.
He studied contemporary Italian literature at the University of Bologna and has worked as an editor in Milan.
In 2018 he developed Eine Phantastik, an ongoing research on imagination, childhood, art and politics, first presented at Shedhalle Zurich. In 2017 he was the initiator of Studio14 together with Paolo Do as part of documenta 14. From 2008 to 2016 he headed the artistic program of the Swiss Institute in Rome with venues in Rome, Milan, and Venice (till 2012); an emphasis of his program was to challenge the notion of national borders implicit in such an institution. From 2001 to 2008 he was the Director of the Galleria Civica d’Arte Contemporanea Montevergini, Syracuse. In 2008 and in 2012 he curated several projects within the 5th and the 7th Berlin Biennale for Contemporary art. In 2013 he cofounded Studio Roma, a collective program and joint research project conceived to challenge the spaces, timeframes, formats, and hierarchies of contemporary research and disciplinary specialization.
Elena Volpato is an art historian and curator at the GAM – Galleria Civica d’Arte Moderna e Contemporanea in Turin. In 1999 she created the VideotecaGAM, the first public collection of artists’ videos and films in Italy.
Since 2009 she has been the curator in charge of the contemporary collections of the museum of which she curated the new display Pittura Spazio Scultura: works by Italian artists in the sixties and eighties, in 2019.
She has curated numerous exhibitions including Cronostasi. Filmic time, photographic time, in 2009 and All the memory of the world, 2010, dedicated to the complexity of historical knowledge in relation to images. She also curated some monographic exhibitions of artists such as Ian Kaer, Martha Rosler and Eva Marisaldi. She has collaborated in the creation of artist video reviews in numerous international institutions such as the Museo Nacional Centro de Arte Reina Sofia and the Tate Modern in London.
She has published numerous essays dedicated to various themes of contemporary art. He collaborated with Saturno, the cultural supplement of the Fatto Quotidiano in 2011 and 2012.
Since 2017, she is curator in charge of the exhibitions of FLAT, the Book Art Turin Fair, for which she has created two monographic exhibitions dedicated to Ettore Sottsass and Dieter Roth and the collective exhibition Lettura per voci e silenzio.
Wagner’s research revolves around the role that desire — flowing, productive and libidinal — plays in forming politicized collectivities. Spanning video, sculpture, drawing, and writing, his practice is invested in the struggle of envisioning political futures. The characters that populate his works are faced with an unbearable present: cartoonish half-alive beings, assembled from discarded clothing, slouch under the weight of a toxic society. His practice turns to the logic and imagery of cartoons and animation as a format uniquely suited for picturing our increasingly precarious present. Wagner's exhibitions and screenings: A Guiding Dog for a Blind Dog, FUTURA, Prague (2018); Yeah Maybe #15: Maddie Butler and Andrew Wagner, Yeah Maybe, Minneapolis (2017); Body Doubles, NoPop, New Haven, CT (2016); Cosmic Crystals, MIXNYC, Brooklyn, NY (2015); Post-Internet is Dead, Exhibition Initiative, Oberlin, OH (2015). He lives and works in Frankfurt.
Wieland’s works are based on research, memory and narration and he work mainly with film and lecture performance. His practice brings together historical reports with personal recollections and scientific facts, fictional and real elements and thereby develop stories between exciting sobriety and tragicomic incidents with a sense of the uncanny, mostly in ironic and absurd forms. The works follow associative narrative structures, which can include stories about a parrot, a dancer, psychoanalytic sessions, the history of poverty, drones, depression in animals, political events and childhood memories. He has recently participated in Superdeals, Brussels (2018); Ideal Types, HE.RO, Amsterdam (2018); Survival Kit 9, LCCA – Latvian Centre for Contemporary Art, Riga (2017); 9th Norwegian Sculpture Biennial, Vigeland Museum, Oslo(2017); 34. Kasseler Dokumentar, Film und Videofest, Kassel 33 (2017); International Short Film Festival, Hamburg (2017); Body Luggage – Migration of Gestures at Kunsthaus Graz, Graz (2016/17). He lives and works in Berlin.
Alessio Antoniolli is the Director of Gasworks, London, where he leads a programme of artists residencies, exhibitions and educational projects, working primarily with emerging UK and international artists. Alessio is also the Director of Triangle Network, a global network of artists and grass-roots organisations. He is involved in managing, fundraising and strategic planning for the Network, as well as working with new partners on developing projects such as residencies and artists' workshops.
He is since 2007 director of the Kunst Halle Sankt Gallen, where he curated – among others – shows by David Lamelas, Ryan Gander, Mariana Castillo Deball, Hassan Khan, Petrit Halilaj, Sylvia Sleigh, Dani Gal, Lawrence Abu Hamdan, Jill Magid, Andrea Büttner or the group exhibition «The Darknet». In 2011 he was artistic coordinator of ILLUMInations, the 54th edition of the Biennale di Venezia and co-editor of the catalogue and in 2013 he curated the Swiss Pavillion at the same biennial. He contributed to various magazines (Kunst-Bulletin, Frieze, Art-Review, Parkett), published in catalogues and edited several publications like PSYOP Post 9/11 Leaflets and CEAU (both with Christoph Büchel). He is President of of the Swiss Federal Art Commission and member of the board of the Istituto Svizzero in Rome. He currently lives and works between Zurich and St.Gallen.
Eva Fabbris is a curator and art historian. She obtained a Ph.D. in Humanities from the Universita’ degli Studi di Trento. She's member of the Curatorial and Research Department of Fondazione Prada in Milan. From 2013 to 2016 she coordinated Back to the Future, a section of Artissima fair in Turin. She curated solo and group exhibitions for international institutions, among which the Nouveau Musée National de Monaco in Montecarlo, la galerie de l’erg in Brussels, Triennale di Milano and Fondazione Morra in Naples. Previously, she was curatorial assistant at Museion in Bolzano, adjunct curator at Galleria Civica in Trento, co-curator at Kaleidoscope Project Space, with Michele D’Aurizio. She contributes to Mousse Magazine, L'Officiel and Flash Art.
Diogo Evangelista lives and works in Lisbon. With a multidisciplinary practice, his work revolves around themes of desire and transformation, exploring the animist potential that the human imagination has to appropriate concepts, images, and environments. Evangelista graduated in Fine Arts from the Lisbon University School of Fine Arts in 2008. Recent exhibitions include: Space of Flows (ZDB, Lisbon, 2017) Greater than the Sum (DRAF, London, 2017) Utopia/Dystopia (MAAT, Lisbon, 2017), The Eighth Climate (What Does Art Do?) (11th Gwangju Biennale, 2016), Hyperconnected (5th Moscow International Biennale for Young Art, Moscow, 2016), Matter Fictions (Berardo Collection Museum , Lisbon, 2016), Magician's Right Hand, (Futura, Prague, 2016) and Hybridize or Disappear (Museu do Chiado – Museu Nacional de Arte Contemporânea, Lisbon, 2015). Grotto-Heavens (CAC, Vilnius, 2014). BES Revelação (Serralves Museum, Oporto, Portugal, 2014).
Viktorija Rybakova was born in Vilnius, Lithuania and works as an artist and architect. Her artistic practice began as a choreographed paper architecture that opened up the world of senses and sciences. She is interested in the body that has to offer its warmth bridging the world that we are for together. At the moment she is working with neuroscience research, history of eroticism, involving politically engaged study of human body and decoding the languages we speak through a thorough exploration of the living tissues. (Photo credit: Goda Budvytyte).
Fanny Gonella works as the artistic director of the Künstlerhaus Bremen since 2014. There she organized solo exhibitions with Henning Fehr and Philipp Rühr, Lina Hermsdorf, Margaret Honda, Marie Angeletti, Sidsel Meineche Hansen, Armando Andrade Tudela, Nadira Husain and Tomaso De Luca, but also group exhibitions revolving around the extension of public space in the digital realm, female role ascriptions and spaces of action, and self-representation and economies of desire from a work by Lynda Benglis, among others. She worked previously as a curator at the Bonner Kunstverein, Bonn, where she organized exhibitions by Claire Hooper, Timur Si-Qin, Anna Virnich, Ed Atkins and Luca Frei. In 2013, she was awarded the “Independant Curators International New York“ research grant from the Institut Français in cooperation with ICI. After her studies of art history at the Ecole du Louvre and at the Sorbonne Paris I, she worked at the Hamburger Kunsthalle in the realm of a French-German exchange program. In Berlin she worked for the gallery neugerriemschneider and co-founded the project space Korridor. She was part of the curatorial programm *Kurator in Rapperswil, Switzerland and curated exhibitions in Vienna, Copenhagen, Paris and Tel Aviv. (Photo credit: Céline Gaille).
João Laia is curator and writer with a background in social sciences, film theory and contemporary art. Recent exhibitions include Transmissions from the Etherspace (2017) at La Casa Encendida, Madrid, H Y P E R C O N N E C T E D (2016) at MMOMA - Moscow Museum of Modern Art, V International Biennial of Young Art and Hybridize or Disappear (2015) at MNAC - National Museum of Contemporary Art in Lisbon and Paços do Concelho in Porto. In 2014 he was in the curatorial residency of Fondazione Sandretto Re Rebaudengo, Turin and in Barcelona co-founded the project space The Green Parrot. Other selected projects held at Videoex, Zürich, Parque Lage, Rio de Janeiro, Moderna Museet, Stockholm, Videobrasil / SESC in São Paulo and DRAF - David Roberts Art Foundation, Delfina Foundation, South London Gallery and Whitechapel Gallery, in London. He is a regular contributor of Mousse magazine and has written for frieze, Spike Art Quarterly and Flash Art, among others. (Photo credit: Mike Ghost).
Caterina Riva is a curator and writer. She studied in Italy and in London, where she founded with Francesco Pedraglio and Pieternel Vermoortel the project space FormContent in 2007. With FormContent she organised exhibitions, performances and publications, working closely with artists. Between 2011 and 2014 she moved to Auckland, New Zealand to direct Artspace NZ, where she implemented a new artistic and curatorial programme, responsive to the local context and inviting artists from overseas. In 2016, while curator in residence at La Galerie CAC, Noisy-le-Sec/Paris she presented the group show “Les Limbes” and managed the programme of RIVIERA bookshop, hosted at the Istituto Svizzero in Milan. She is Curator at the Institute of Contemporary Arts Singapore within LA SALLE College of the Arts. (Photo credit: Janet Lilo).