Projects

AiR - Art in Residence

Project designed by Paola Cordischi

The project involves a week-long residency at Casale d'Arte for one or more artists to share ideas, techniques, artistic culture and philosophy of life. The guest artist works in residence alone or with others. At the end of the period, an exhibition of the guest artist's work is set up in the exhibition rooms of the Casale created during the residency and or beforehand, or a performance is staged. The project is conceived as an exchange of equals where the guest artist will be welcomed into the Casale in exchange for his or her work of exhibition or artistic performance. The stated spirit of this initiative is to create a community of artists who share non-competitive values and solidarity, and at the same time are committed to spreading a culture of personal, social and peaceful progress.

Il progetto prevede una settimana di residenza presso il Casale d’Arte per uno o più artisti per condividere idee, tecniche, cultura artistica e filosofia di vita. L’artista ospite lavora in residenza da solo o con altri. Alla fine del periodo viene allestita una mostra dei lavori dell’ospite nelle sale espositive del Casale creati in residenza e/o in precedenza o si darà vita a una performance.Il progetto è pensato come uno scambio alla pari dove l’artista ospite verrà accolto nel Casale in cambio del suo lavoro di esposizione o performance artistica.Lo spirito di questa iniziativa, oltre a quello dichiarato, è quello di creare una comunità di artisti che condividano valori non competitivi e di solidarietà, e nel contempo siano impegnati a diffondere cultura di progresso personale, sociale e di pace.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

Collective Hvallo

Research, planning and drafting of the concept by Giuliana Pugliese
Collaborative support Matthias Schlesinger KuKuK Berlin e.V. and Vulkanfieberfabrik Werder.

Damnatio memoriae is intended as the death of memory.

Hvallo realizes the project Damnatio Memoriae tour with a series of travelling exhibitions, starting from Berlin. The Damnatio memoriae is a sentence that was decreed in ancient Rome in very serious cases, as a result of which every memory (portraits, inscriptions) of the people affected by such a decree was erased.

The places chosen for the exhibitions have a specific meaning and are part of the project as places that already have a history and their own damnatio memoriae, as in the case of the Köpenick prison, a place where serious events with a strong political and social impact took place in 1933, during the so-called Bloody Week. In this case, too, it is a matter of violent repression against a population that in some way opposes a state of dictatorship.

To the collective, in the period from 2021 to 2022, have joined many other artists, currently, there are about twenty from sculpture to painting, from photography to installation, and from performance to video mapping. The collective includes in itself all forms of visual arts and not only proposes to remain independent and free in the contemporary art scene.

From the various meetings and exchanges that have occurred over time between members of the group, cross the distances related to the specificity of the history of the individual artist-activist as an intellectual, capable of defending culture as an authentic expression of the whole community thanks to the indispensable independence of art and itscontribution to the construction of memory on which to found a society finally more just.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

Inception, rethinking the space.

Research, planning and drafting of the concept by Ozlem Oguzhan of Istanbul Medeniyet University, curator Enrica Benedetto.

This exhibition is based on the concept of “place” (loci). Place, which is a concept frequently studied by many thinkers and artists, is often confused with the concept of "space". Spaces, on the other hand, are areas where people intertwine and identify with the culture they live in and the memory of that culture. In this exhibition, the anthropological quality of the concept of place is evaluated together with its meaning that supports people and culture.

Marc Augé, one of the best-known names in the concept of "place", discussed the concept in the context of supermodernity and established its direct connection to history and culture. However, Augé said in a statement that these ties to advanced technology, population growth and modern way of life in their metropolises have been severed and have become "out of place". Augé proposes the concept of "non-place" to replace the concept of place. They are places where there is no belonging, no memory, and identity is possible only by counting. For example; airports, stations, hotels etc. It is impossible to be recognized or leave a personal mark in these artificial and technology-intensive spaces. There is a 'relative' situation contrary to the identity and memory of the place. This concept, proposed by Augé, is based on a very ancient tradition: the "spirit of the place" (genius loci). Norberg Schultz, who conceptualized the spirit of place, which is the ancient Roman tradition, and made it the subject of modern architecture, artificially questioned the place-space relationship using Heidegger's philosophy of existence.

In this exhibition, we try to understand the "now" by going beyond the concepts of place and non-place. We wonder what is left of the human world between the awareness of the Anthropocene criticisms that exclude the human from the centre and the technology of transhumanism, which sees the human as an "inadequate and in need of updating" technology. The negation used in logic is used for the second time after Augé in the thought journey of this exhibition. The concept of 'non-place' is essentially a rejection of the anthropological and identical concept of place. In this exhibition we are looking for images that correspond to this double negative phenomenon, trying to overcome what has no place. One of the main problems with this exhibition is that the concept of non-place is limited to expressing the situation we find ourselves in today.

In this context it must be said that the two processes of negation annul and reset culture and memory, allowing rethinking and observation. This is why it was appropriate to name the exhibition "Inception". This expansion emphasizes that the concept of "place" is only possible in fairy tales or songs, from people who roam the vast networks of the Internet to forests that have turned into natural parks in their own lives. The denial of "out of place" is a kind of experiment in the imagination. This image can actually be an island, a village, a plain, or a familiar landscape. But it's all scary. They are depicted with a tectonic illusion beyond their usual shape. Paper, water pastel and acrylic were used as materials to reinforce these breaks and flows. When you build quarries or gigantic structures by drilling into mountains, the horizon is never visible on this distorted terrain. Therefore, this exhibition aims to see beyond the absence, starting from the "beginning".

This exhibition, the theatre of a long work, needs the public's imagination.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

GO! Project: The Journey of a Work of Art

Research, planning and drafting of the concept by Enrica Benedetto.

A necessary premise of the RECENT PAST.
GO! How did the idea for this concept come about?
Due to the spread of the pandemic, OOLALALA, like everyone else, is facing the evidence of an absurd planetary situation. It was necessary to find other ways besides the online gallery to revive concepts that had been forgotten or eclipsed in the face of fairs and other huge art programs. In the first planning phase, the obvious took on the face of the online gallery with its many advantages. All that remained was to satisfy the human need to see the works live, and our answer to this was the design of GO!

The pandemic is finally over, but we do not want to abandon the project, the artists and the partners who supported us. GO! continues and Oolalala currently manages two exhibition venues in Turin and organizes The GO! project, which involves the travel and exhibition of ONE single work of art in different countries, spanning both institutional and unconventional, heterogeneous locations.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

La Galleria d'appartamento: un percorso verso nuovi spazi d'arte

Interviste e testimonianze sull’esporre

Sonja Kristic - Neri Muccini 

Parlare di spazi espositivi non è mai facile; spesso è necessario scontrarsi con idee e proposte che concettualmente si trovano a poli opposti di una sensibilità strettamente personale. Anche a livello storiografico il tema dell’allestimento è una materia di studio spinosa e per certi aspetti largamente interpretabile, a seconda della considerazione delle tematiche in questione.

La fluidità di queste premesse unita alla personale necessità di contribuire alla documentazione italiana riguardo agli argomenti sopra elencati, costituisce un saldo punto di appoggio per la ricerca che questa tesi merita. Infatti, parte della motivazione che ha alimentato la stesura di questo studio, proviene dalla volontà di mettere della luce in alcune zone d’ombra che persistono nel sistema dell’arte contemporanea.

Un sistema del tutto particolare, governato da leggi scritte e - soprattutto - non scritte, che scandiscono i ritmi dedicati alla cultura ed in particolar modo alle arti visive. Con specifico riferimento al momento storico coevo, durante il quale i progressi e le conquiste tecnologiche hanno reso completamente accessibile ogni sfumatura di informazione,anche il sistema artistico ha subito notevoli cambiamenti.

L’aspetto più lampante della spinta al cambiamento è certamente da inquadrare nella globalizzazione e, come precedentemente detto, nella disponibilità informativa. L’abbattimento di barriere fisiche e geografiche ha concesso ai professionistidel settore artistico, in primis agli artisti, di poter far conoscere il proprio lavoro attraverso i social media ed Internet, allargando il potenziale bacinodi clienti ed appassionati in un modo davvero sensazionale.

Di pari passo, anche le realtà culturali, sia pubbliche come musei che private come le gallerie d’arte, hanno adattato parte del proprio lavoro alle possibilità che offrono inuovi media a disposizione: studio visit virtuali, comunicati stampa a portatadi click e velocità nell’eseguire scouting artistico......

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.