Curatorial Statement 2023/2024 by Chiara Cartuccia
Meeting by the Mediterranean Im/Possible
that have left no trace
visible to the eye,
creatures that don’t exist
on land or at sea
you remember
– Ahmed Morsi1
The 2023/24 season of UNIDEE Residency Modules takes form around an overarching non-theme: the Mediterranean.
Sea, region, adjective, border, weapon, destiny, Mediterranean holds as many meanings as there are voices uttering the word. The Mediterranean is the geo-historical region where the European colonial project originated, the contemporary space where it continues to renew its methodologies and to fuel its aspirations. The Mediterranean claimed by Europe, the Euro-Mediterranean, is a militarised borderland, an unachievable horizon, for scholar Hakim Abderrezak, a ‘seametery’.2 It is also what Edward Said would name an imaginative geography, a north-to-south oriented system of representation, carved out of European nations’ desires for identitarian ownership of the sea. The Mediterranean is a political project, a reified trope, a choice made in pursuit of a goal.3
In the past twenty years, Cittadellarte – Fondazione Pistoletto has been engaged in activities that variously reasoned on the Mediterranean as either subject matter or operational ground.4 Moved by the conviction that the Mediterranean offered special conditions to intervene on the mandate – shared by the institution with its founder Michelangelo Pistoletto – to enhance the role of art as an agent of socio-political change, the project Love Difference5 utilised a regional framing to organise gatherings of professionals and organisations, with the scope to promote inter-Mediterranean cooperation in the arts and beyond. At the basis of the undertaking lied a specific interpretation of the Mediterranean as single geography, and a tacit acknowledgment of the ability of geographical conceptualisation to function as a productive tool.
Unsettling this existing institutional approach, the residency programme Neither on Land nor at Sea names the Mediterranean that informs its curatorial arguments a non-theme. The wording stems from the belief that resisting un-problematic thematization of the Mediterranean is to reject the consolatory ease of the figurative value, of the usable representation. This is an invitation to rather linger in the uncomfortability of restless negotiation, of positionalities and perspectives. During the moments of aggregation offered by the residency formats, we will move through shared conversations and actions, exchanged knowledges and understandings, with the goal to trouble the singular imagination of the Mediterranean, and so to attempt making spaces of possibility out of unresolved and unresolvable territories. We will stay with a Mediterranean plural, which cannot be found in the exclusionary rhetoric of the natural inclination toward painless hybridity preached by northern shores. We will encounter opaque and ever-adjusting geographies, which do not reside in landscapes of approximation that flirt with the argument of Mediterranean unity as result of a ‘very special climate similar from one end to the other of the sea, which amalgamates landscapes and ways of life’.6 Indeed, far from the environmental determinism participating in the thought of the best known historian of the European Mediterranean, Fernand Braudel, we will be made to remember, with Arjun Appadurai, that ‘histories produce geographies and not vice versa’.7 And this working of time on space is never completed as, with Katherine McKittrick, geography is the result of society’s construction of space, and concealment, marginalization, boundaries all are always-renovating social processes.8
In early November 2022, when the curatorial work leading to the development of this new residencies’ season had just begun, we had the opportunity to welcome to Biella a small group of practitioners –curators, artists, researchers, facilitators– from art institutions and projects active in the broader Mediterranean region.9 In the course of the few days spent together we intertwined images and words, in a continuous storytelling that spoke of ambitions and shortcomings. We described locality as a mandate and as a methodology. We talked about friction as a necessity, infrastructures as content. We weighed up the disparity in the means and resources available to each of us, we compared modes of (para-)instituting. We discussed the illusion of the postcolonial, erasure and resistance. And we debated ways of being – or not – in/with a regional geography some of us may have felt called to manifest. This first event, which anticipated a project yet to be written, seemed to crack some of its codes with unexpected precision. Venturing into tales of many Mediterraneans, while choreographing the temporary cartography of hospitality, fostered a double orientation, in which the position of the host and the guest were constantly rearranged. Can the act of evoking/making geographies in a malleable terrain of encounter allow for the unlocking of new ‘caveats of care’10 in arts’ production, curation, and fruition, which may better adapt to the ever-changing needs of contemporary spaces and times?
This is a call to meander around unreducible complications and on shifting grounds, to explore ways in which geography is historically, socially, and politically produced, to dig up and talk about the mental images we carry with us,11 which create space and, with it, its contrasting meanings. In the framework of the expansive working process that will unfold in the next two years, the Mediterranean will be treated as an opportunity to think of our present times geographically, across intertwined histories and overlapping territories,12 via the exploration of some of the experiences and imaginations that inhabit and traverse them. The project pluralises Mediterranean concepts/spaces as sites of worldmaking and experimentation in communal living. To do so, it adopts un-grounded geographies and colliding historicities not as objects of analysis, but as meeting places, in which to congregate to elaborate on the role played by situated practices and shared processes in the promotion of social transformations, towards epistemic justice.
.
In the poetry collection Elegies to the Mediterranean Sea, Egyptian poet and visual artist Ahmed Morsi weaves a personal, mournful tale of Alexandria and its sea. In a voracious Mediterranean, which encompasses as one the city and the sea that surrounds and engulfs it, the poet locates the superimposed contrapuntal voices of memory and fabrication. Both speak to the writer in the past tense, presenting to him the city/sea as a space/time only able to accommodate impossibilities, the never-was, never-will-be. Yet, in verses of negation, another possible Mediterranean resounds, one which cannot be met neither on land nor at sea, but whose capacity to inspire movement is not yet exhausted.
By these Mediterranean im/possibles, we propose to meet.
– Chiara Cartuccia
UNIDEE visiting research curator 22/24
NOTES:
1 Ahmed Morsi, Elegies to the Mediterranean Sea, Impression 7, translated by Raphael Cohen, in Poem of Alexandria and New York (London: Banipal Books, 2021)
2 Hakim Abderrezak, ‘The Mediterranean Seametery and Cementery in Leïla Kilani’s and Tariqu Teguia’s Filmic Works’, in Yasser Elhariry, Edwige Tamalet Talbayev (eds.), Critically Mediterranean: Temporalities, Aesthetics, and Deployments of a Sea in Crisis (New York: Palgrave Macmillan, 2018), p. 152.
3 Roger S. Bagnall, ‘Egypt and the Concept of the Mediterranean’, in W.V. Harris (ed.), Rethinking the Mediterranean, (Oxford: Oxford University Press, 2005), p. 347
4 The most recent of such projects is the 2022 itinerant residency programme Caravan: Thinking with Alexandria, conceived and implemented by UNIDEE residency programmes at Cittadellarte – Fondazione Pistoletto as part of the European project Alexandria: (Re)activating Common Urban Imaginaries, and curated by Edwin Nasr in conversation with Sarah Rifky.
5 Love Difference is a project initiated by Michelangelo Pistoletto and Cittadellarte – Fondazione Pistoletto in 2002. Love Difference is also the namesake cultural association, whose regular programme of activities was put on hold in 2016. More information is available here
6 Fernand Braudel, ‘Mère méditerranée’, Le Courrier (UNESCO) 38 (1985), p. 7
7 Arjun Appadurai, ‘How Histories make Geographies’. In The Journal of Transcultural Studies, 1(1), 4–13 (2010), pp. 4-13
8 Katherine McKittrick, Demonic Grounds. Black Women and the Cartographies of Struggle (Minneapolis: University of Minnesota Press, 2006), pp. xi-xii
9 Further information about the event and its participants can be found here
10 Bonaventure Soh Bejend Ndikung, The Delusion of Care, (Berlin: Archive Books, 2021), p. 50
11 Doreen Massey, For Space, (London: Sage, 2005)
12 Edward Said, Culture and Imperialism, (London: Vintage, 1994), pp. 3-14
![](http://www.cittadellarte.it/unidee/userfiles/images/loghi-partners-unidee_alexandria.jpg)
Curatorial Statement 2020/2022 by Andy Abbott
I began my role as Visiting Research Curator for the UNIDEE Residency Program in the midst of a pandemic. We were still speculating around the short and long-term impact both in terms of everyday life and socially engaged art practice. Building on Cittadellarte’s legacy of ‘learning through doing’ we found ways in which to bring together groups of residents with diverse situated and embedded practices, to share and learn from one another in tumultuous times. The residents and mentors were embedded in different ways: some in a particular geographic locale, others within a building or an institution, or a community, or a political or social movement. They included practices that were identifiable as art and others from the broader spectrum of social practice and action research. They all shared in common a commitment to making positive change for a place, situation or people: resonating with Michelangelo Pistoletto’s vision of an ‘art for responsible social transformation’.
Over the next two years and a series of residencies and labs that brought together close to a hundred practitioners from across the globe in hybrid programmes of virtual and physical presence, we developed an expanding toolkit of methodologies and a body of shared concerns and questions that could be left as a trace for subsequent residents.
In this final chapter of my research arc we hope to explore more of the practicalities around embedded arts practice including the creation of alternative funding structures and resources; creating or reclaiming commons; the formation of counter/alter-institutions; and reforming and working within, against and beyond existing structures. We also hope to dig deeper into some recurring questions including: How can we create sustainability, for ourselves and our worlds, through embedded practice? What productive tensions exist between the formal and the informal, the structured and organic, and the institutional and self-organised? How might we work across different scales and spaces of embeddedness: from the individual, the social, and the environmental/structural? What are our networks and interdependencies? What should we build and what should we dismantle? How do we begin and where might it end? What would it mean to ‘disappear’ or merge into the social fabric?
This last question around the visibility of embedded practice has particular resonance in a moment where ‘social practice’ - as well as the collective and collaborative methods it entails - gains ever more traction. This is happening both in the institutional art world (as seen in the 2021 Turner prize and Documenta Fifteen) and in the social sphere where the last two years of disruption and upheaval - as symptoms of a larger and ongoing social and ecological crisis - have prompted us to reconsider the value of practices of care, mutual aid and communitarian ways of being and doing that counter the ‘normality’ of endless growth, expansion, and extraction.
Concurrently we understand that the most sustained change that can be affected through aesthetic experience occurs below the surface: at the sometimes imperceptible level of emotion and subjectivity. Art, even at its most representational, can create sites for the emergence of a collective imagination capable of thinking and desiring beyond ‘capitalist realism’ (note 1). How do we keep radical subjectivity on the table in a world that demands we visibly prove our worth and measure our impact? Through the residency we hope to develop a network of practitioners doing what they can from where they are, that together constitute a paradigm shift proving that another (art)world is possible.
Andy Abbott
Note:
1 - Mark Fisher ‘Capitalist Realism: Is There No Alternative?.’ 2010
KEY WORDS
Embedded Practice, Sustainability, Infrastructure, Arts Ecology, Socially engaged Practice, Post-pandemic Futures, Slow Architecture and Sustainability, Degrowth, Interdependence, Art and the Everyday, Tools and Technology for Social Change, Site and Context Responsive work, Invisible Art/Dark Matter, Participation and Co-production, Grassroots Organising, Self-organisation and DIY collective agency (Demopraxy/Pandemopraxy), Co-operatives, Socially Applied Practice, Diverse and Community Economies, Cultural Dark Matter, Postwork Futures, Postcapitalism, Universal Basic Income, Transition to Ethico-Aesthetic Paradigm (Third Paradise), Building the new (Digital/Virtual) Commons.
The ‘embedded practice’ residencies in 2020 and 2021 (See 2020’s Embedded Arts Practice in a Postpandemic Future, 2021’s Groundwork for Embedded Arts Practice residencies and Tools and Technologies for Embedded Practice Arts Lab) brought together a broad range of practitioners from all over the world to share and develop their situated practices and action-research. In a time of changeable travel restrictions and social distancing measures, we found that residents valued the opportunity to share experiences of making socially-engaged work that is inextricably linked to its context and often relied on intimate connections and engagement with audiences, participants and collaborators.
Through group critiques, individual and collective trace-making, and handover sessions we found methods by which to share complex and sometimes overwhelmingly large-scale or long-term projects and praxis. Despite the specificity of the practices shared, we found there was benefit in temporarily taking them out of context and inviting fresh perspective to identify common themes, methodologies, approaches, and challenges. In our various (post-)pandemic contexts we also began to share experiences of (mis)using and applying ‘old’ technologies and emerging digital tools; from letters and postcards, to creative ‘hacking’ of conference call breakout rooms and screen sharing, to propositions for blockchain and cryptocurrencies to create fairer working conditions.
The Labs are an opportunity to continue this process together in presence.
We hope to reconnect and make new connections between practitioners and researchers who feel they would benefit from an intensive week of ‘putting their practice under the microscope’. This will be done not so much to accelerate or ‘push forward’ projects, but rather as a way to ‘zoom in’ and get a better sense of the detail of the practice. The ‘what’ and the ‘how’ of the practice as well as the ‘why’. We hope that this intimate collective examination will reveal the sometimes imperceptible movement and trajectory of such projects; helping each other over the humps and sticking points, as well as identifying potentially overlooked problems and obstacles in the road ahead.
The ‘Artwork as Toolkit’ lab will begin with the question ‘What are our tools?’ This lab stems from the intersection of two online platforms such as www.arte-util.org and www.dpe.tools presented by Alessandra Saviotti in collaboration with Gemma Medina and Owen Griffiths. Starting from the recent usological turn we will look into a set of tools and exercises developed as part of both platforms - such as the ‘Coefficient of Art’ and ‘A Capitalist Reading of our Usual Breakfast’ - that place art at the outset of the development of a set of tactics to achieve societal change. Analysing the idea of 'the-artwork-as-toolkit' the mentors will propose to look at how socially engaged art can be understood as an expanded technology that manifests itself as practices on a 1:1 scale. From our diverse and often specific practices and projects what surplus can we share, preserve, ferment and take forward for the future?
In the ‘Tools for the Commons’ lab we hope to bring together the experiences of artists and activists creating spaces for the growth of the commons; from the micro level of the individual, personal or subjective, through to the reclaiming or occupation of urban space, and the influencing of planning and policy. Mentors Emanuele Braga and Gabriella Riccio will draw upon their experiences in occupied art and cultural spaces MACAO (Milan) and L’Asilo (Naples) as well as the postcapitalist think-tank the Institute of Radical Imagination. Long-term comrades and collaborators Keir Milburn and Gareth Jones will bring a UK perspective on creative activism including the use of political strategy games, utopian consciousness raising sessions, and the establishment of Public-Common-Partnerships. What tools (or toys) for establishing and developing the commons can we identify, adapt or invent? Which of these are we able and willing to share, and under what terms?
Together we hope the labs will act as a key step in Cittadellarte and Pistoletto’s commitment to developing a network of solidarity and common intent across disciplines, and of creating a global community of practice across our many locals.
Participants will visit the exhibition platform dedicated to Cittadellarte’s demopraxy local chapter of Biella, the archipelagus as an entry point to its practice.
Andy Abbott
21 March - 2 April, 2022
Artwork as Toolkit / Tools for the Commons
UNIDEE LABS 2022
Alessandra Saviotti, Gemma Medina Estupiñán, Owen Griffiths, Emanuele Braga, Gabriella Riccio, Keir Milburn, Gareth Brown
The ‘embedded practice’ residencies in 2020 and 2021 brought together a broad range of practitioners from all over the world to share and develop their situated practices and action-research. In a time of changeable travel restrictions and social distancing measures, we found that residents valued the opportunity to share experiences of making socially-engaged work that is inextricably linked to its context and often relied on intimate connections and engagement with audiences, participants and collaborators.
Through group critiques, individual and collective trace-making, and handover sessions we found methods by which to share complex and sometimes overwhelmingly large-scale or long-term projects and praxis. Despite the specificity of the practices shared, we found there was benefit in temporarily taking them out of context and inviting fresh perspective to identify common themes, methodologies, approaches, and challenges. In our various (post-)pandemic contexts we also began to share experiences of (mis)using and applying ‘old’ technologies and emerging digital tools; from letters and postcards, to creative ‘hacking’ of conference call breakout rooms and screen sharing, to propositions for blockchain and cryptocurrencies to create fairer working conditions.
The Labs are an opportunity to continue this process together in presence.
We hope to reconnect and make new connections between practitioners and researchers who feel they would benefit from an intensive week of ‘putting their practice under the microscope’.
This will be done not so much to accelerate or ‘push forward’ projects, but rather as a way to ‘zoom in’ and get a better sense of the detail of the practice. The ‘what’ and the ‘how’ of the practice as well as the ‘why’.
We hope that this intimate collective examination will reveal the sometimes imperceptible movement and trajectory of such projects; helping each other over the humps and sticking points, as well as identifying potentially overlooked problems and obstacles in the road ahead.
At a broader level as ‘Socially Engaged Art’ continues to be increasingly recognised by the mainstream and institutional Artworld as a discipline (with accompanying commissions, educational courses and career paths) we might take this opportunity to reflect on how we can create shared resources and toolkits for embedded practice capable of disrupting the homogenisation and standardisation of such practice. How can we deterritorialize situated practice and keep it prickly? What can be shared, what transfers, what can be adapted and repurposed, what is specific and/or reliant on context? What tools and instruments can be hijacked or repurposed to do more than, in Audre Lorde’s words, temporarily beat the master at his own game (NOTE 1). What resources and tactics can we share to collectively dismantle the old world and forge new paths to exit the perennial crises of late capitalism? And beyond instrumentalisation, what other benefits might there be in taking time to share our concrete experiences and learn from one another? We hope in this way that the lab acts as a key step in Cittadellarte and Pistoletto’s commitment to developing a network of solidarity and common intent across disciplines, and of creating a global community of practice across our many locals.
Andy Abbott
8 - 19 November, 2021
Tools and Technologies for Embedded Arts Practice
UNIDEE LAB 2021
Jeanne van Heeswijk, Paul O’ Neill, Mick Wilson, Yvonne Carmichael.
The spring/summer 2021 UNIDEE Residency continues to explore facets of embedded arts practice as a tool for uncovering, understanding and helping build and develop new realities. In 2020 the then-emerging conditions of the pandemic invited a revisiting of the fundamentals of these practices. What does it mean to commit to a sustained intervention into a place or community? How does it start? Where and when does it end? How do we plot the journey and what can we collectively share and learn from the challenges and obstacles met along the way? How do we do it together?
The pandemic context for the residency was a reminder that embedded practice is built on a solid foundation of trust and deep understanding of a place and people. A necessary first step in building this foundation is to create a connection. The residents' diverse practices demonstrated innovative modes of connecting in challenging times through: listening and observing, growing, living, communicating, caring, learning, exploring, dreaming, building and even burning. Among the many shared questions we had at the end of the 2020 residency was ‘How can we create sustainability, for ourselves and our worlds?’ (note 1)
The UNIDEE 2021 spring/summer program aims to pick up from where we left off last December: continuing to explore - through the sharing of our situated practices and contexts - methods, strategies and approaches for identifying, creating and developing the foundations necessary for embedded arts practice to thrive. What new ecologies of practice exist or can be formed? In which spaces and places can this grow? What are the ideal conditions? What groundwork is required, and how do we get started here and now? In this sense we also draw inspiration and knowledge from the recent past such as freethought collective’s large-scale investigation into infrastructure for the 2016 Bergen Assembly (note 2), and Valerio Del Baglivo’s ‘Modes of Instituting’ UNIDEE programme from 2019 that was dedicated to imagining the role of art organisations in times of perennial crisis. (note 3)
The specificities of the global COVID-19 pandemic may have been unforeseeable but it was not an unprecedented ‘event’. (note 4) Rather the pandemic can be understood as symptomatic of a failing, outmoded, dead-on-its-feet ’zombie’ politico-economic system. (note 5) Today we find ourselves caught in a clash of tempos. From politicians and experts on television we hear how the pandemic has locked, ‘frozen’ or seized the cogs of economy and society. At the same time local businesses explain how it has accelerated existing trends in work, commerce, and technology. Likewise the UN’s Department of Economic and Social Affairs acknowledge within their Sustainable Development Goals that the pandemic has highlighted and exacerbated existing inequalities (note 6); revealing and widened the cracks in an unevenly developed system.
As artists in this frictious and fractured landscape we can help reveal, understand and contribute to the new social and organisational forms that propogate in the shadows - the ‘other’ ways of being and acting together based on co-production, collective agency, mutual aid, care, commoning - and that offer alternative narratives to endless productivity and growth. As Dr Susan Jones from the Rewild The Arts campaign (note 7) has put it ‘place-specific activists and interest groups in arts and culture spheres perceive the pandemic’s exceptional circumstances as opportunity to imagine a radically different, fairer, inclusive arts ecology’. (note 8) Through the UNIDEE 2021 spring/summer program we will together explore the groundwork for a more sustainable future under the banner of Cittadellarte’s holistic and interconnected understanding of art and creativity as a catalyst for social change. (note 9)
Andy Abbott
Notes:
1 - https://unidee2020.hotglue.me/
2 - http://2016.bergenassembly.no/en/freethought/
3 - https://issuu.com/cittadellarte/docs/web_unidee_notebook_2019_def_pagina_singola_compre
4 - https://www.versobooks.com/blogs/4608-on-the-epidemic-situation
5 - https://socialistworker.co.uk/art/17914/Zombie%20capitalism
6 - https://sdgs.un.org/goals/goal4
7 - https://www.rewildthearts.org/want-to-contribute/
8 - https://corridor8.co.uk/article/reset-or-rewild-perspectives-on-future-arts-infrastructures/
9 - http://www.cittadellarte.it/unidee/info.html
1 May - 10 July, 2021
Groundwork for Embedded Arts Practice
Katherine Gibson, Jeanne van Heeswijk, The Interdependence (Kathrin Böhm, Kate Rich, Bianca Elzembauer) with Aria Spinelli, Decentralising Political Economies with Alessandra Saviotti and Owen Griffiths, Marlo De Lara, Institute of Radical Imagination (Massimiliano Mollona, Marco Baravalle and Emanuele Braga), Cráter Invertido, Wharf Chambers Co-operative Club, Pyramid, Jade French, Gregory Sholette.
Key Words
Groundwork, Infrastructure, Arts Ecology, Socially engaged and Embedded Practice, Post-pandemic Futures, Slow Art and Sustainability, Art and the Everyday, Tools and Technology fro Social Change, Site and Context Responsive work, Invisible Art/Dark Matter, Participation and Co-production, Grassroots Organising, Self-organisation and DIY collective agency (Demopraxy/Pandemopraxy), Co-operatives, Socially Applied Practice, Diverse and Community Economies, Cultural Dark Matter, Postwork Futures, Postcapitalism, Universal Basic Income, Transition to Ethico-Aesthetic Paradigm (Third Paradise), Building the new (Digital/Virtual) Commons.
The global Coronavirus pandemic is an event that had created new conditions for arts and culture. Amongst the many disruptions are irrevocable changes to how we relate to space, place and one another. We have experienced a severe contraction in the physical space in which we can operate accompanied by an explosion in the possibilities and technologies for remote collaboration. In this disorientating hybrid space, artists and those involved in cultural production – particularly those who wish to effect social change through their practice - are left with questions: "What can we do from here?" and "What future can we help to build?".
Key themes and areas of research will include: embedded and socially engaged artistic methods; innovative models for facilitating and broadening conversation through dialogic practice; the role of creative intervention and aesthetic rupture in community development; and what sustainability and resilience might mean in a post-virus world. We will explore the histories, present landscapes and potential futures for cultural activity with a close eye and ear to the ground for under-represented, overlooked, under-appreciated and underground practices that blur art and the everyday; what Gregory Sholette has called the hidden mass of "cultural dark matter" that underpins the visible art world. What new possibilities for social engagement are afforded by new technologies and the digital commons. What new ecologies, economies and forms of social organisation are experimented with through artistic activity and how might they shape the new realties that are emerging?
The residency aims to collectively and collaboratively address these and other key questions, challenges and themes in the area of embedded and socially engaged art practice offering perspectives, case studies and mentoring opportunities from practitioners, curators/arts organisers and theorists that will enrich and help frame their own practice and projects. Through the lens of a "post pandemic" future, participants will gain practical and theoretical knowledge about the past, present and future landscapes of art for responsible transformation of society that they can then apply in both the postindustrial context of Biella and their own locale.
Cittadellarte’s director Paolo Naldini has outlined in his "Pan-demopraxy" manifesto that we may take this moment as an opportunity for rebirth. As he puts it: "If we still don't know where exactly this virus came from and how it spread, we can decide where it will direct us." Concurrently the network of Ambassadors for Michelangelo Pistoletto’s Third Paradise begin to tackle questions for the post-virus world such as: How you will live? How you will learn? How will you communicate? How will you express yourself? How will you do everything you do?
Andy Abbott
21 September - 30 November, 2020
Embedded Arts Practice in a Post-pandemic Future
Sandi Hilal (Decolonizing Architecture), Gemma Medina Estupiñán and Alessandra Saviotti (Arte Útil), Eva Rowson, Mick Wilson, Nadia Moreno Moya and Fernando Escobar Neira, Aria Spinelli, In-Situ, South Square Centre, Visible project, Jasmeen Patheja (Blank Noise) and STEALTH.unlimited
Webzine (digital fanzine) of the end of the UNIDEE 2020 residency: https://unidee2020.hotglue.me/
Key Words
Socially engaged and Embedded Practice, Postvirus/Post-pandemic Futures, Slow Art and Sustainability, Art and the Everyday, Site and Context Responsive work, Invisible Art/Dark Matter, Participation and Co-production, Grassroots Infrastructure, Self-organisation and DIY collective agency (Demopraxy/Pandemopraxy), Socially Applied Practice, Postwork Futures, Postcapitalism/Alternative Sustainable Economies, Transition to Ethico-Aesthetic Paradigm (Third Paradise), Building the new (Digital/Virtual) Commons.
Curatorial Statement 2018/2019 by Valerio Del Baglivo
MODES OF INSTITUTING
After twenty-one years from the establishment of Cittadellarte, the political, economic and social conditions that motivate artists constituting art organizations have changed drastically. We are experiencing times of profound and rapid transformations, whose impacts cannot be in any way addressed on a one-person scale. Particularly, a sense of anxious urgency pervades our lives when confronting two of our major (and interrelated) current concerns: the apparently unrestrainable phenomenon of global warming and the increase of uncontrolled migration flows towards the West.
Perhaps the art field, in spite of all its contradictions, still represents today one of the agoras where to actively promote collective debates on current political disputes.
The Fall Term titled Modes of Instituting aims to investigate how artists are currently engaged in stretching the very notion of artistic practice beyond the dominant model of art making (Jason E. Bowman, 2016), to invent new organizations that expand art’s intervention into society. We refer to this methodology as instituting - i.e the process of building institutions as a cultural and critical act. At Cittadellarte, the act of instituting responds to four principles: engaging in long term projects, promoting social critique, favouring collective participation on local scale and endorsing multidisciplinary discussion.
Bringing together a plethora of international experts, the Fall Term will be dedicated to discussing how we can establish ethical principles to shape art organizations not only as centres of power, hierarchy, control and discipline. Specifically, on the traces of Michelangelo Pistoletto’s methodology, we will be discussing what are the ways in which art institutions can (un)learn from artistic practices that engage and create communities around issues of concern. And how to shape organizations where audiences are not considered as passive receivers of predefined contents, but as active members of a constituent body, from which to be provoked, getting inspired and learning, in order to bring those same issues of concern to public attention.
The Fall Term is dedicated to imagining the role of art organizations in times of perennial crisis, and to discussing what their future(s) in the next twenty years would be. A group of eight international applicants will be selected to follow a two-month programme of workshops and conferences. Artists and curators that have given life to emergent institutional models and art organizations will be invited as Visiting Professors to share their experiences and concerns.
The final aim of the term will be to write, all together, an ethical charter on how contemporary art organizations should work as places for political agency, community building and social change.
8 – 10 November
ASSEMBLY (MODES OF INSTITUTING)
by Kobe Matthys (Agency)
11 – 13 November
SITE FOR UNLEARNING (ART ORGANIZATION)
HOW DO WE WANT TO WORK TOGETHER?
by Annette Krauss and Yolande van de Heide
16 – 18 November
TECHNIQUES FOR LIVING OTHERWISE:
INSTITUTING WITH CARE
by Janna Graham and Valeria Graziano
19 – 21 November
WORKING TITLE: THROUGH THE LOOKING GLASS
By Bik Van Der Pol
The whole Modes of Instituting Fall program is entirely supported thanks to our historical partner illycaffé S.p.A., also with a workshop exclusively dedicated to young creatives and designers conducted by the duo Cooking Sections. Entitled “Climavore” the duo proposed to work on the production and consumption of foods that react to climatic events induced by man and landscape alterations.
26 – 29 November
CLIMAVORE
By Cooking Sections
We are living in a time in which the human impact on our planet is having irreversible dramatic consequences on the decline of the natural world. Rather than the soft definition of climate change we should refer to the current situation as a climate breakdown, as artist Brett Bloom deliberately points out. In fact, the living conditions of modern Western society are based on forms of ferocious land and people exploitation that penetrates our bodies, minds and ways of being in the world to remain dependent on oil-based infrastructures without considering the effects. In the meantime, hundreds of thousands of teenagers are demonstrating all around the world in an unprecedented protest against global warming and pollution, vowing to miss school until the governments of their countries take action.
Since 2003 Michelangelo Pistoletto and Cittadellarte have had on their agenda an ongoing discussion on environment sustainability, also promoting the Rebith Day since 2012: an annual international event dedicated to rebirth, change and the responsibility that each one of us should take in order to build a balanced relationship between nature and artifice. The Rebirth-day represents the celebration of the Third Paradise, a concept developed by Pistoletto to describe the start of a new phase for humanity (in the first paradise humans were fully integrated into nature, while the second is the artificial paradise), promoting a balanced connection between artifice and nature and the potential for social change.
Starting from these premises, the 2019 UNIDEE Summer Term is organized around the summer camp Climate Action, led by three different artists, to respond to the global warming and consider possible actions. During the camp the participants will discuss their relation to fossil sources, experiment in agroecology techniques and discuss climate agency to formulate alternative ways of living in relation with our landscape and the other organisms. Artists Brett Bloom, Fernando Garcia–Dory and Luigi Coppola are all committed on various levels to promoting different practices that re-examine our dependencies from energy exploitation and how we might begin to de-industralise our individual and collective sense of self. Through the recovery of old rural traditions, participatory processes, collective control of the means of production and art, their practices propose alternatives to address how humans relate to nature.
8 – 12 July
PETRO-SUBJECTIVITY AND SOCIAL ECOLOGY
Brett Bloom
8 – 12 July
EVOLUTIONARY POPULATIONS: THE SEEDS OF THE WORLD WAITING TO GERMINATE
Luigi Coppola
8 – 12 July
TOWARDS AN EXPANDED LANDSCAPE
Fernando Garcia Dory
How do we shape the reality of our living and acting together? Since 2014 Cittadellarte coordinates the International Rebirth Forums connecting different civil organizations with the aim of promoting social change. Each Forum gathers together a diverse range of formal and informal groups (such as associations, foundations, enterprises, governmental organizations, non profit spaces, committees, etc) to implement a collective one-year concrete plan discussing the United Nations 17 Sustainable Development Goals (SDGs), which are in an urgent call for action by all countries.
In a global partnership with different participants, Cittadellarte has promoted more than 235 meetings worldwide and coined a new word defining its method: demopraxia. Mutuated by the word democracy, the neologism replaces the term cratòs (power) with the word practice (in Greek praxis), converging its meaning on collective agency and co-operation.
Starting from these premises, the 2019 UNIDEE Spring Term invites artists of different generations to map out the issues surrounding collaborative art from a practitioner's perspective. Exploring the potential of collective action as art work, the invited artists develop working relations with other producers, extensively collaborating with groups and communities to facilitate the creation of different infrastructural conditions and assist them in taking control of their futures. Advocating solidarity and peer-to-peer relationships to develop new ways of regulating everyday life, the artists initiate community-embedded projects combining together discussions, performances, pedagogy and forms of self–organization. In response to the political, social and economical conditions of post-capitalism, the invited artists experiment with community forms of resistance and participation to organize alternative ways of living.
20-22 May
PROSCENIUM
Adelita Husni-Bey
May 28-30
SELF-ORGANISATION AS METHOD - the case of platform Chto Delat
Chto Delat
9-16 July, 2018
Pattern, Integrity
Amy Franceschini and Lode Vranken (Futurefarmers)
with Livia Cahn
9-16 July, 2018
Broadcasting the archive #10
Alessandra Saviotti and Gemma Medina Estupiñan (Arte Útil)
Extra activities:
9-16 July, 2018
Expanded body #2 Inhabiting time.
An experience about time in the Oasi Zegna
Andrea Caretto and Raffaella Spagna
with José D. Edelstein and Marco Giardino
Curatorial Statement 2015/2017 by Cecilia Guida
Read the 2017 statement (pdf)
Key words: Revolution, Desire, Mediation.
Mentors and Guests in 2017 (in order of appearance):
Etcetera (Loreto Soledad Garìn Guzmàn and Federico Zukerfeld) with Franco “Bifo” Berardi;
Ayreen Anastas and Rene Gabri with Carla Bottiglieri;
Riccardo Fassone and Juan Esteban Sandoval (el puente_lab) with Gabriele Ferri;
Diego del Pozo Barriuso with Julia Morandeira Arrizabalaga;
Andrea Caretto and Raffaella Spagna with Ernst Zürcher;
Gianluca and Massimiliano De Serio with Luigi Fassi;
Attila Faravelli and Enrico Malatesta with Adam Asnan;
Aria Spinelli for the EU project "Trauma & Revival";
Petra Köhle and Federica Martini;
Adrian Paci with Leonardo Caffo and Zef Paci;
Assemble (Amica Dall) and John Bingham-Hall with Efrosini Protopapa;
Rick Lowe with Elpida Rikou.
Read all the UNIDEE NOTEBOOKS 2017
Read the 2016 statement (pdf)
Key words: Research, Gift, Alteration.
Mentors and Guests in 2016 (in order of appearance):
Expodium (Nikos Doulos and Bart Witte);
Jason Waite with Adelita Husny-Bey;
Lara Almarcegui with Marco Giardino;
Cesare Pietroiusti with Aldo Spinelli;
Martino Gamper with Matteo Lucchetti and Judith Wielander (Visible project);
Giusy Checola with ‘L’Italia che Cambia’ and ‘Transition Town Biella’;
Maddalena Marciano with Claudia Losi and in collaboration with the Fashion Office of Cittadellarte/ B.E.S.T;
Attila Faravelli and Enrico Malatesta with Nicola Ratti;
Luigi Coppola with Daniel Blanga Gubbay;
Antoni Muntadas with Alessandra Messali;
Daria Filardo with Fatma Bucak;
Adrian Paci with Edi Muka;
Aria Spinelli with Núria Güell;
STEALTH.unlimited (Ana Džokić and Marc Neelen) with Erik Jutten and Piet Vollaard.
Read all the UNIDEE NOTEBOOKS 2016
Read the 2015 statement
Key words: Temporality, Responsibility, Participation.
Mentors and Guests in 2015 (in order of appearance):
Salvatore Iaconesi and Oriana Persico;
Silvia Franceschini with Stefano Rabolli Pansera (Beyond Entropy);
Aria Spinelli with Tullio Brunone (Laboratorio di Comunicazione Militante);
Massimiliano Viel;
Emilia Telese with Richard Shields;
Giulia Grechi with Fiamma Montezemolo;
Saioa Olmo Alonso with Sabel Gavaldón;
Giusy Checola with Thomas Gilardi;
Alessandra Donati with SMart Belgio/Italia;
raumlaborberlin;
Beatrice Catanzaro;
STEALTH.unlimited (Ana Džokić and Marc Neelen);
Santiago Reyes Villaveces with Manuel Ángel Macia;
Andrea Caretto and Raffaella Spagna with Attila Faravelli;
Federica Martini with Anne-Julie Raccousier;
Omer Krieger;
Monica Narula (Raqs Media Collective) with Rasmus Nielsen (Superflex).
Read all the UNIDEE NOTEBOOKS 2015
2024
UNIDEE MODULES
Monya Riachi (LB), Viviane Tabach (BR), Batoul Faour (LB/CA), Amanda Assaley (US), Mudassir Sheik (PK), Arie Amaya-Akkermans (CO), Aron Rossman-Kiss (HU), Maria Cynkier (PL), Calvin Walda (US), Adam Moore (GB), Gloria Frigerio (IT), Sonja Jristina Bjelic (SRB), Tau Luna Acosta (ES), Nabil Aniss (MA/BE), Kmar Douagi (TN/FR), Lorena Salamanca
(PT), Luana Carp (RO), Carlota de Torregrosa (FR), Charlotte van Braam (NL), Mana Tashakorinia (FI), Endi Tupja (DE), Marija Nemcenko (LT), Sarah Saleh (NL), Rania Atef (EG), Ines Heddar (FR), COMMON GROUND (Anna Garcia Gomez (NL) / Saja Amro (PS)), Myles Westman (SCO), Anushka Rajendran (IN), Charbel Saad (LB/FR), Sandra Saffira Desitasari (NL), Tami Elkilani (LAR/FR).
2023
UNIDEE MODULES
Magdalena Zotou (AL/EL); Evagoria Dapola (CY); Ariana Kalliga (EL); SITAAD (IT/UK); Mireia Molina Costa (ES); Gema Darbo (ES); Daniela Medina Poch (CO/DE); Anna Gorchakovskaya (RU/IT); Viktoria Khokhlova (RU); Yasamin Ghalehnoie (IR/UK); Pietro Lo Casto (IT/ TH); Annie Albagli (USA); Tawfik Naas (LY/UK); Calvin Walds (USA); Blqees Zuhair (LY); Giulia Colletti (IT); Valentina Mandalari (IT); Nour Bishouty (LB/CA); Kumjana Novakova (NMK); Adrian Schindler (ES/FR); Sarri Elfaitouri (LY); TRANSIT GROUP (JO); Zilan Imsik (TR/UK); Youssef El Idrissi (MA); Soha Mohsen (EG/USA); Dilsad Aladag (TR/DE); Rosela del Bosque (MX/DE); Hanieh Fatouraee (IR/TR); Shreya De Souza (IN/BE); Sophie Sabet (IR/CAN); Nada Rosa Schroer (DE); Nuha Innab (JOR); Mare Spanoudaki (EL); Omar Adel (EG/DE); Assel Kadyrkhanova (KAZ/NL); Omar Al-zo’bi (JOR); Noemi Alfieri (IT/PT); Danae Io (EL); Nona Markarian (GE); Emma Ben Aziza (FR/TN); Allison Grimaldi Donahue (USA/IT); Engy Mohsen (EG/CH); Tewa Barnosa (LY/NL); Thais Akina Yoshitake Lopez (BR/NL); Joyce Joumaa (CAN/LB); Diyae Bourhim (MA/FR).
UNIDEE RESEARCH RESIDENCIES
Maria Lanko (UKR); Anna Kryvenko (UKR); Irtiza Malik (IND); Hiba Saleem (PS); Tamara Lang (FR); Biole Park (FR); Elie Bouisson (FR); Nina Vurdelja (HR).
UNIDEE CONNECTIVE RESIDENCY
stare a guardare: Claudia Losi (IT)
UNIDEE PROJECTS
CirculART 3.0: Agustina Bottoni (AR/IT); Lucia Chain (AR/IT); Huge Sillytoe (UK); Rebecca Sforzani (IT).
2022
UNIDEE MODULES
Aysel Akhundova (AZ); Elizaveta Butakova (UK); Rachel Botha (IE); Kristina Borg (MT); Anouk Beckers (NL); Angelica Bollettinari (IT); Calcagno Cullen (USA); Marina Castledine (UK/CY); Alisha Doody (IE); Victoria DeBiasse (IT); Lígia Fernandes and Nicole Sánchez (PT); Nicholas Ferrara (IT); Rachel Grant (UK); Adele Jarrar (PS); Maria Kuzmina (RU); Kristyn Lopez (USA); Rachel Marsden (DE); Kennedy Wachira Ngatia (KE); Vukasin Nedeljkovic (IE); Opiemme (IT/SE); Alexandra Papademetriou (GR); Cristina Picco (IT); Caterina Stamou (GR); Kasia Sobucka (PL); Nicole Sánchez (PT); Ana Tuazon (USA); RL Wilson (UK); Hwa Young (UK).
UNIDEE RESEARCH RESIDENCIES
Juliette Alhmah (FR); Elijah Bosire (KE); Marco Cassani (IT); Shaima Hamad (PS); Mahad M. (SO); Ginevra Naldini and Marco Isaias Bertoglio (IT); Phyllis Ng’etich, PHY (KE); Stella Njogo (KE); Jacqui Ogolla (KE); Andréa Spartà (FR); Biko Wesa (KE).
UNIDEE PROJECTS
STARTS4Water: Joshua G.Stein (USA); Theresa Schubert (DE).
Caravan Residency: Thinking with Alexandria: Chiara Cartuccia (UK/IT); Onur Çimen (TR); Mahmoud El Safadi (LB); Lodovica Guarnieri (UK/IT); Sara Fakhry Ismail (EG); Stella Ioannidou (GR); Zeynep Kaserci (UK/TR); Nina Kurtela (HR); Mark Lotfy (EG); Latent Community (GR); George Moraitis (GR); Post Disaster (IT); Omnia Sabry (EG); Islam Shabana (EG); Neja Tomsic (SI); Virgil b/g Taylor (US/DE).
2021
UNIDEE MODULES
Charlaine Agbotsu (IT); Marco Antelmi (IT); Jamie Allen (CAN/DE); Camila Aguais (USA/UK); Tizo All (BR/DE); Olga A Pompidou (SP/IT); Miguel Amado (PT/IE); Ella Appleton (UK); Mae Aguinaldo Mapa (PH); Kristina Borg (MT); Andrea Bonfini (IT); Anna Brugnera (IT); Matteo Boretto (IT); Younis Benmimoune (IT); Roberto Nino Betancourt (CO/IT); Charles-Antoine Blais (CA); Métivier and Lieven Meyer (CA/D); Louise Carver (UK/DE); Rebecca Chigioni (IT); Arianna Coppa (IT); CONJUNCTION public art curatorial collective (EU/USA); Annabelle Craven-Jones (UK); Ekarasa Doblanovic (IT/HR/NZ); Chiara De Maria (IT); Hannes Egger (IT); Elisa Francini (IT); Ligia Fernandes (PT); Tiziano Guardini (IT); Chiara Gabriele (IT); Ofelia Genipro (IT); Lodovica Guarnieri (IT/UK); Diego Gutierrez Valladares (CR/PL); Giulia Gronda (IT); Paria Goodarzi and Francisco Llinas (IR/VE/UK); Jojo Hynes (IE); Stephanie Hanna (USA/DE); Suzannah Henty (AU); Lauren Hollowday (UK); Alhassan Issah (GH); Olena Iegorova (UA/CH); Evy Jokhova (UK/RU/ES); Johanna Klingler (DE); Maria Kuzmina (RU); Samira Kouhail (IT); Sue Jeong Ka (USA/KR); Ginevra Ludovici and Giovanni Paolin (IT); LUMIN (UK); Rachel Marsden (DE); Sophie Minervini (UK); Ahmed Mongey (EG); Chiara Negro (IT); Lexie Owen (CAN/NO); Giulia Perin (IT); Francesca Palma (IT); Francesco Pavignano (IT); PLoT collective (UK/IE); Valentina Paolini (IT); Alice Pedroletti (IT/DE); Martina Panetta (IT); Anna Robino (IT); Dafne Salis (IT); Martina Seimandi (IT); Kaushal Sapre (IN); Chiara Sgaramella (IT/ES); Gilson Schwartz (BR); Studio LOKA (CO/FR); Angie Trombin (IT); Josie Tothill (UK); Krisztian Torok (HU); Stefano Volpato (IT) ; Antonella Valerio (IT); Alicja Wysocka (PL).
UNIDEE RESEARCH RESIDENCIES
Claire Bouffay (FR); Matteo Marchesi (IT).
UNIDEE PROJECTS
CirculART 2.0: Silvia Giovanardi (IT); Ryts Monet (IT/AT); Giulia Pellegrini (IT); Marcello Pipitone (IT).
2020
UNIDEE MODULES
Camila Aguais (USA/UK); Tizo All (BR/DE); Irene Angenica (IT); Jade Blood (UK); Elena Blesa Cábez (ES); Francesca Carion (IT); Kirila Cvetkovska (MK); Annabelle Craven-Jones (UK); Aadita Chaudhury (IN/CA); Antonio Di Biase (IT); Aïda Diop (FR); Sarah Dixon (UK); Daniela Delgado Viteri (EC/ES); Francesca Fiordelmondo (IT); Erica Ferrari (BR); Rachel Grant (UK); Catalina Gómez Rueda (CO); Lauren Hollowday (UK); Eddie James (NZ/AU); Tiara Jackson (USA); Ginevra Ludovici (IT); Giulia Menegale (IT); Reyhaneh Mirjahani (IR/SE); Christine Mackey (IE); Ayesha Mukadam (ZA); Andra Nedelcu (RO); Orecchie D’Asino (Ornella De Carlo and Federica Porro) (IT); Henry Palacio (CO); Federico Pozuelo (ES/IT); Alice Pedroletti (IT); Francesco Pavignano (IT); Livia Daza Paris (VE/CA); Miriam Rejas del Pino (and TBD Ultramagazine) (ES/IT); Marco Ranieri (IT); William Rees (UK); Dafne Salis (IT); Yuliya Say (UA/IT); Tatjana Schaefer and Catalin Pislaru (DE/UZ and MD/RO); Sophie Skellern (UK); Katja Verheul (NL); Laia Ventayol (ES); Marilou Van Lierop (BE); Stefano Volpato (IT); Weronika Zalewska (PL); Zina Zarour (PS).
2019
UNIDEE MODULES
Tizo All (BR); Nicolas Amaro (CL); Irene Angenica (IT); Elena Artemenko (RU); Orestis Athanasopoulos (GR/FR); Lucandrea Baraldi (IT); Nicola Biagetti (IT); Alessia Brancaccio (IT); Bianca Buccioli (IT); Trine Bumiller (US); Sara Cattin (IT); Alix Cerezal Orellana (FR/ES); Julie Comfort (US/D); Gabriella Dal Lago (IT); Ornella De Carlo (IT); Chiara De Maria (IT); Gaia Di Lorenzo (IT); Gabriele Dini (IT); Eva Durovec (SK); Laura Faraone (IT); Nicholas Ferrara (IT); Sara Fiorentino (IT); Giulia Floris (IT); Alexander Gallegos Sorto (SV); Alizee Gazeau (FR); Carlotta Sofia Grassi (IT); Owen Griffiths (UK); Antonio Ianniello (IT); Annie Larkins (UK); Bianca Lee Vasquez (US/EC/CU); Myrto Leventaki (GR); Ginevra Ludovici (IT); Danilo Mariniello (IT); Alejandro Medina (GT); Vanessa Mona (IT); Isabella Nardon (IT); Yates Norton (UK); Carolina Ongaro (IT); Amy Pekal (PL/US/NL); Federica Peyrolo (IT); Jessica Piette (CH/UK); Giulia Pozzi (IT); Julien Prost (FR); Eleonora Roaro (IT); Yuliya Say (UA/IT); Vitalij Strigunkov (LT/PL); Caterina Tioli (IT/NL); Tsamani Tovar Nino (CO); Asli Uludag (TR/UK); Marilou Van Lierop (NL); Stefano Volpato (IT); Sandra Wazaz (US/PL); Tina Zlatina (BG).
UNIDEE RESEARCH RESIDENCIES
Majd Nasrallah (PS); Agil Abdullayev (AZ); Ryts Monet (IT).
UNIDEE CONNECTIVE RESIDENCY
“The Human Tools”: Nico Angiuli (IT).
UNIDEE PROJECTS
CirculART 1.0: Laura Harrington (UK); Silvia Giovanardi (IT); Emanuele Marullo (IT); Juan Manuel Gomez (CO).
2018
UNIDEE MODULES
Ludwig Berger (DE/CH); Sara Cattin (IT); Maria Norte Fonseca (PT/FR); Leyli Gafarova (AZ/NL); Laura Harrington (UK); Manjot Kaur (IN); Eleonora Mattozzi (IT); Esthela Meza (MX/FR); Farah Michel (EG/CA/SA); Marit Mihklepp (EE/NL); Nicolò Molinari (IT); Diana Pacelli (IT/DE); Enrico Partengo (IT); Meredith Root-Bernstein (US/FR); Maria Giovanna Sodero (IT); Elisa Storelli (DE/CH); Lidia Zhudro (RU).
UNIDEE RESEARCH RESIDENCIES
Daniela Delgado Viteri (EC); Leyli Gafarova (AZ/NL); Shayma Nader (PS); Manjot Kaur (IN).
UNIDEE PROJECTS
Young Artists of the Year Award (YAYA) / A.M. Qattan Foundation: Alaa Abu Asad (PS); Yousef Odeh (PS); Dina Mimi (PS); Walid Al Wawi (PS); Dima Srouji (PS); Leila Abdul Razzaq (PS); Firas Shehadeh (PS); Safa Khatib (PS); Haitham Haddad (PS); Ula Zeitoun (PS).
2017
UNIDEE MODULES
Miguel Amado (P/UK); Lisa Andreani (IT); Edoardo Aruta (IT); Jasmine Bakalarz (RA); Elena Bellantoni (IT); Roberto Nino Betancourt (CO/IT); Chiara Bertin (IT); Paola Bommarito (IT); Saverio Bonato (IT); Kristina Borg (M/ IT); Anna Borghi (IT); Katarina Bramer (S); Eva Bullens (NL); Laetitia Carlotti (F); Alessandra Carosi (IT); Philip Cartelli (US); Lorenzo Casali (IT); Magda Chiarelli (IT); Sula Chiovenda (IT); Michelle Claase (ZA/HK); Stefania Crobe (IT); Borana Dollanga (AL); Daniella Domingues (BR); Armando Ducellari (AL); Nicholas Ferrara (IT); Marisa Ferreira (PT); Giulia Filippi (IT); Manuel Focareta (IT); Melania Fusco (IT); Sara Gallotto (IT); Caterina Giansiracusa (IT); Marie-Andrée Godin (CDN/SF); Miguel González Cabezas (A/E); Marie Henrich (FR); Olivia Heron (UK); Leon Hilton (US); Anne-Loyse Jaques (CH); Peter Kaergaard Andersen (NL); Miru Kim (D/FR); Altin Krasniqi (RKS); Lori Lako (AL); Lasse Emil Larsen Mouritzen (NL); Manolo Liuzzi (IT); Natalia Ludmila (MEX); Giles Maffett (UK); Anna Massimo (IT); Victoria McKenzie (JA/CDN); Stefan Milosavljevic (SRB/IT); Dina Mimi (HKJ); Carisa Mitchell (US/CH); Nicolò Molinari (IT); Nicholas Morris (US/UK/F); Anne Papalia (DZ/F); Giacomo Pederiva (IT); Alessandro Perini (IT); Soledad Pinto (RCH); Serena Porrati (IT); Fernanda Rappa (BR); David Romeron (RCH); Micol Roubini (IT); Jean Salamin (CH); Laura Santini (IT); Jetullah Sylejmani (RKS); Teodoro Tarazi (IT); Ariane Teodoris (CH); Fikrete Topalli (XK); Sinethemba Twalo (ZA); Zlatolin Ventsislavov Donchev (RC/IT); Helen Welford (UK); Annalisa Zegna (IT).
UNIDEE RESEARCH RESIDENCIES
Erick Gonzaléz Léon (CU); Murari Jha (IND); Griet Dobbels (BE); Noor Abed (PS/US); Vanessa Sandoval (CO); Alina Yakubenko (UA); Oleksii Sai (UA);
UNIDEE CONNECTIVE RESIDENCY
“ManyMani”: Mattia Paco Rizzi (IT)
UNIDEE PROJECTS
Trauma & Revival: Željka Blakšić (HR); Eduardo Cassina (ES); Viktorija Eksta (LV); Krzysztof Gutfranski (PL); Suzannah Henty (AU); Olga Lukyanova (RUS); Leonardo Mastromauro (IT); Kosmas Nikolaou (GR); Matt Rosen (UK); Vitalij Strigunkov (LT).
2016
UNIDEE MODULES
Alessi Vanessa (IT); Algieri Giampaolo (IT); Miguel Amado (PT/US); Lydia Ang (SG); Seitaku Aoyama (JP/US); Milagros Arias (PE); Abigail Auld (CA); Claudio Beorchia (IT); Valeriana Bercicchi (IT); Patrizia Bonardi (IT); Anna Borghi (IT); Mathieu Brethes (FR); Eva Bullens (NL); Noemi Cassani (IT); Lorie Caval (US); Nicolò Cervello (IT); Aurora Chiriaco (IT); Tom Collison (UK); Marta Colpani (IT/NL); Emer Costello (UK); Daniel Dallabrida (US); Cinzia Delnevo (IT/UK); Angelo Di Bello (IT); Christophe Dos Santos (FR); Rebecca Dunne (IR); Alicia Dupont Lievens (FR); Sophia Edlund (SE); Stephano Espinoza (EC/US); Nicholas Ferrara (IT); Bib Frrokaj (AL); Jumana Ghouth (SA); Tara Gilbee (AU); Lek M. Gjeloshi (AL); Chihiro Gompei (JP/UK); Chanel Hackett (US); Marie-Nour Hechaime (LB); Franziska Hederer (AT); Fionnuala Heidenreich (AU/UK); Lore Hindiger (AT); Mary Hogan (US); Hisae Ikenaga (MX); Matteo Impedovo (IT); Fenia Kotsopoulou (GR/UK); Alison Levy (US); Giulia Marra (IT); Elena Mazzi (IT); Victoria McKenzie (JM/CA); Giulia Meloni (IT); April Moon (KR); Valeria Nekhaeva (RU); Marie Neumann (DE); Andria Nicolaou (CY); Phumulani Ntuli (ZA/CH); Patrick Ostrowsky (DE); Anna Elena Paraboschi (IT); Marlon Portales (CU); Jennifer Poueymirou (US); Alessandra Prandin (IT); Nuvola Ravera (IT); Juan Recaman (CO/US); Jacopo Rinaldi (IT); Enza Rripaj (AL); Jihyun Ryou (KR/IT); Sandra Schüddekopf (AT); Alessandro Scotti (IT); Yana Shushkova (IT/BG); Gaetano Olmo Stuppia (IT); Fabienne Trotte (FR); Dennis Van Gaalen (NL); Maria Vastola (IT); Lorelinde Verhees (NL); Benjamin Volta (US); Paul Wiebinski (DE); Francesco Zanatta (IT); Annalisa Zegna (IT); Edith Zeier-Draxl (AT).
UNIDEE RESEARCH RESIDENCIES
Sarasija Subramanian (IN); Luz Nadina Zapata (CO); Katherine Lee (AU); Kirsten Farrell (AU); Raneem Turjman (US/PS).
UNIDEE CONNECTIVE RESIDENCY
“Banca del Germoplasma Migrante”: Leone Contini (IT)
UNIDEE PROJECTS
The Shifting Place. Aesthetic, spatial and temporal fractures of transitional territories: Asad Alaa Abu (PS); Sílvia Cruells (ES); Andrew Friend (UK); Emma Gibson (AU); Eleni Kamma (GR/CY); Wayne Lim (SG); Teresa Palmieri (IT); Elja Ranta (FI); Chiara Sgaramella (IT); Moonis Shah (IN)
2015
UNIDEE MODULES
Anna Andrich (DE/BE); AVES project - Matteo Gatti (IT) & Demetrio Giacomelli (IT); Victor Brustet (FR); Adelaide Cioni (IT); Milica Ćirović (RS/IT); Giulia Crisci (IT); Aleksandra Anna Czuba (IT); Jessica Esther Decorvet (CH); Ekarasa Mara Doblanovic (HR/IT/NZ); Marta Ferretti (IT); Olivia Garro (IT); Ilaria Genovesio (IT); Genevieve Goffman (USA); Mohamed Zacharia Hamideche (DZ/FR); Lucia Mammana (IT); Anne Marchal (FR); Julie Martin-Cabétich (FR); Gemma Rosa Medina Estupiñán (ES/NL); Alma Oneida Sauret (FR); Parasite 2.0 - Stefano Colombo (IT) and Eugenio Cosentino (IT); Anna Teresa Pfeiffer (PL/IT); Sofya Postnikova (RU/NL); Giorgia Zoe Righini (IT); Karim Rochdi (MA/IT); Giulia Roncucci (IT); Ewa Rossal (PL); Aela Yanina Royer (FR); Irene Ruiz Bazán (ES/IT); Peter Philippe Schreuder (CH); Maria Slavnova (RU/USA/AZ); Edgar Tom Owino Stockton (UK/CH/FR); Chiara Tirloni (IT); Allard van Hoorn (NL); Linda Vigiani (IT); Eszter Wolf (HU); Annalisa Zegna (IT); Andrea Alauria (IT); Anita Bacic (AU); Ágnes Básthy (HU); Roberta Bernasconi (IT); Johanna Bratel (SE); Anna Bromley (DE); Jeanette Castioni (IT/IS); Dandara Catete (BR); Queenie Clarke (UK); Marta Colpani (IT/NL); Sergey Kantsedal (UA/IT); Mariapia Colzani (IT); Marta Duzzi (IT); Nathalie Esther Eldan (IL); Simone Frangi (IT); Valentina Furian (IT); Katia Greco (IT); Miles Greenberg (CA); Bahar Habibi (IR/CA); Diva Helmy (US); Lorenza Ippolito (UK); Mako Ishizuka (JP/SE); Pablo Jansana (CL/US); Astrid Kaemmerling (DE); Lia Krucken (BR/DE); Lila Lee (KR); Clara Madaro (IT); Luciana Maia Dos Santos (BR); Abigale Neate-Wilson (UK); Pietro Nocita (IT); One in the Loop (IT); Ji Hyun Park (KR/DE); Alessandro Perini (IT/SE); James Phillips (CA); Anna Pirri (IT); Ricardo Portilho (BR); Sofya Postnikova (RU); Alessandra Ricci Ascoli (IT); Katia Schneller (FR); Miriam Secco (IT); Vittoria Soddu (IT/BE); Roxane Spang (CO/IT); Vitalij Strigunkov (LT); Laurent Vernet (CA); Asia Valencic (IT); Valerio Veneruso (IT); Filippo Vinci (IT/BR).
UNIDEE RESEARCH RESIDENCIES
Mariangela Aponte (CO); Juhikadevi Bhanjdeo (IN); Rebecca Blocksome (USA); Aya Kirresh (PS); Muhammad Taymour (EG).
UNIDEE CONNECTIVE RESIDENCY
“I Malus”: Andrea Caretto and Raffaella Spagna (IT).
UNIDEE PROJECTS
Creating Territorialities: Nour Abd Elrahman Abu Arafeh (PS/CH); Valentina Bonizzi (IT/UK); Thomas Fabien Martin (FR); Alexia Mellor (UK); Marianna Orlotti (IT); Fabienne Trotte (FR).
Ottomans & Europeans: Leone Contini (IT); Erol Eskici (TR); Eda Gecikmez (TR); Naci Gunes Guven (TR); Driant Zeneli (AL); Mary Zygouri (GR).
2014
UNIDEE RESEARCH RESIDENCIES
Sergey Kantsedal (UA); Vitali Kokhan (UA); Ivan Svitlychnyi (UA); Santiago Reyes Villaveces (CO).
2013
UNIDEE IN RESIDENCE
Ayed Arafah (PS); Carolina Rito (PT); Charles-Antoine Blais Métivier (CA); Ilaria Biotti (IT); Khaled Galaleldeen (EG); Marica Vitas (HR); Muhammad Sohail Azad (PK); Olga Zhitlina (RU); Rabindra Patra (IN); Richard Soriano Legaspi (PH); Anastasia Ryabova (RU); Luisa Ungar (CO).
2012
UNIDEE IN RESIDENCE - Publication
Ayman Alazraq (PS); Lindsay Benedict (USA); Angela Henderson (CA); Dina Karaman (RU); Karl Logge (AU); Hektor Mamet (CH/PL); Alecia Neo (SG); Marta Romani (IT); Shah Zaman (PK); Meghna Singh (IN).
2011
UNIDEE IN RESIDENCE - Publication
Aastha Chauhan (IN); Ángel Masip (ES); Anna Acciarino (IT); Cai Weidong (CN); Eduardo Cachucho (ZA); Ekaterina Kravtsova (RU); Elmas Deniz (TR); Ibada Wadud (USA); Ibrahim Jawabreh (PS); Karolina Rychlik (PL); Matthew Mazzotta (USA); Nicoletta Daldanise (IT); Olga Karyakina (RU); Özgür Demirci (TR); Raphael Franco (BR).
2010
UNIDEE IN RESIDENCE - Publication
Alexandrija Ajduković (RS); Alioum Moussa (CM); Anna Moreno Castells (ES); Arnaud Hollard (FR); Bora Petkova (BG); Chiara Tinonin (IT); Davide Ligas (IT); Inass Yassin (PS); Juliana Mori De Oliveira (BR); Kosta Tonev (BG); Maggie Lawson (USA); Maria Jobelle Tayawa (PH); Sara Hany Mohamed Abed (EG); Veronica Tzekova (BG).
2009
UNIDEE IN RESIDENCE
Asiya Wadud (USA); Bona Park (KR); Camille de Galbert (FR); Cecilia Guida (IT); David Behar-Perahia (IL); Diego Bonetto (IT); Diego del Pozo Barriuso (ES); Hani Amra (PS); Julia Staniszewska (PL); Marcela Ceballos Gonzales (CO); Natalia Gil Medina (CO); Saioa Olmo Alonso (ES); Sumakshi Singh (IN); Yana Kostova (BG).
2008
UNIDEE IN RESIDENCE
Yael Bar-On (PS); Biljana Ciric (CN); Yolanda De los Bueis (UK); Manuela Macco (IT); Ahmad Malki (PS); Elisa Marchesini (IT); Pavlina Mladenova (BG); Josefina Posch (SE); Christoph Schwarz (AT); Marko Stamenkovic (CS); Sakiko Sugawa (JP); Nidhi Sundram (IN); Daniel Alejandro Urrea Peña (CO); Yulia Usova (UA); Sarah Vanhee (BE); Flávia Vieira (PT).
2007
UNIDEE IN RESIDENCE
Rei Dishon (IL); Wafaa Yasin (PS); Chelsea Knight (USA); Ika Peraic (HR); Juan Pablo Jimenez Carvajal (CO); Marthe Van Dessel (BE); Lieven Paelinck (BE); Nerita Oeiras (BR); Francesca Montà (IT); Sakshi Guptà (IN); Zofia Wollny (PL); Vicentiu Gârbăcea (RO); Natalia Pershina (RU); Andres Torca (ES); Jason Waite (USA); Fiona Whitty (IE); Rotimi Batatunde (NG).
2006
UNIDEE IN RESIDENCE
Qiu Jun (CN); Paula Andrea Rengifo Valencia (CO); Nataša Perković (BA); Tehila Lapidot (IL); Antonella Alunni (USA); Raouf Haj-Yihya (PS); Ajay Kumar Tiwari (IN); Rakhi Peswani (IN); Liron Shua (IL/ES); Katia Meneghini (IT/GR); Christian Niccoli (IT); Julieta Aranda (MX); Nazgol Ansarinia (IR); Francesco Perratone (IT); Andy Abbott (UK); Yvonne Carmichael (UK).
2005
UNIDEE IN RESIDENCE
Saϊd Aϊt El Moumen; Aziz Čeho (BA); Eunji Cho (KR); Gayle Chong Kwan (UK); Vered Dror (IL); Michele Fontana (IT); Shadi Habib Allah (PS); Ke Jipeng (CN); Dejan Kaludjerović (AT); Eden Morfaux (FR); Victor Andrés Muñoz Martínez (CO); Andrea Paoletti (IT); Sigrid Pawelke (DE); Enza Reina; Esther Ribot Cabarrocas (ES).
2004
UNIDEE IN RESIDENCE
Isabel Andreu Roglá (ES); ts Beall (USA/UK); Mary Bellamy (UK); Beatrice Catanzaro (IT/DE); Rafram Chaddad (IL); Daniel Cuberta Touzón (ES); Pratul Kumar Dash (IN); Matteo Ferrario (IT); Tania Goloviznina (RU); Ishan Gosh (IN); Will Kwan (USA); Walid Maw’ed (PS); Alfredo Luís Vásquez Elorza (CO); Sarah Rifky (EG); Alejandro Vásquez Salinas (CO); Margarita Vazquez Ponte (UK/ES); Peter Verwimp (BE); Çagil Yurdakul (TR).
With the participation of: Paolo Angelosanto (IT); Ives Maes (BG); Martin Koppenhöfer (DE).
2003
UNIDEE IN RESIDENCE
Iman Abou Hmid (PS/IL); Vaibhav Bhawsar (IN); Jean Charles Boilevin (FR); Ryan Doolan (UK); Oier Etxeberria (ES); André Guedes (PT); Hannah Hewetson (UK); Ayumi Minemura (JP); Michal Oren (IL); Chiara Pirito (IT); Kai Takeda (JP); Rufus Willis (UK).
2002
UNIDEE IN RESIDENCE
Anas Al-Aili (PS); David Cañavate Cazorla (ES); Joe Cutler (UK); Brigitte Enslein Ulrike; Kameli Katia (FR/DZ); Marzabal Galano Miquel (NL); Meshulam Liron (IL); Modrinjak Matej (SI); Paes Leão Daniela (PT); Scaria Gigimon (IN); Sousa Cardoso João (PT); Solè Coromina Laia (ES); Raphaëlle de Groot (CA); Bryan Davies and Laura Quarmby (UK); Aya Iguchi (JP); Steve Duval (USA).
2001
UNIDEE IN RESIDENCE
Chung Haessen (KR); Agustin Parra Grondona; Natalia Restrepo (CO); Brigitte Zerle (AT); Ulrike Kohnen-Zülzer (AT); Raphaële Maffesoli (FR); Charlie Jeffery (FR/UK); Consol Rodríguez (ES); Dafna Moscati (IT); Temsyanger Longkumer (IN); Oscar Vargas Hernandez; Dirk Vogel (DE); Maria Joao Calisto (PT); Cameron Sinclair (UK); Markus Weber (DE).
With the participation of: Michael Blum (CA); Noraset Vaisayakul (TH).
2000 UNIDEE “ANNO ZERO”
UNIDEE IN RESIDENCE
Biju Joze (IN); Leopold Kessler (DE); Thomas Dale (UK); Gloria Safont-Tria (ES); Jaume Parera Casals; Esther Knoblich and Steffen Wolfrum (DE); Armin Mobasseri; Benoît Roussel (BE); Yoav Weiss (IL); Juan E. Sandoval (CO/IT); Natasha Janković (RS).
With the participation of: calc - Teresa Alonso and Tomi Scheiderbauer (SP); Tal Adler (IL); Hans op de Beeck (NL); Leopold Kessler (DE); Cees Krijnen (NL); Paolo Grassino (IT); Lyn Lowenstein (UK); Suwan Laimanee (AU); Stephen Miller (UK); Haegue Yang (DE); COPA & SORDES - Birgit Krueger and Eric Schmutz Krueger (SW).
1999
UNIDEE IN RESIDENCE
Gunter Anderlik (AT); Tal Adler (IL); Rotem Balva (IL); Laurent Barnavon; Olivier Feraud; Sophie Fougy; Fabrice Gallis; Simone Girault; Lyn Lowenstein (UK); Peter Lütje; Masahiro and Fumijo Morigouchi (JP); Astrid Nippoldt (DE); Judith Pichlmueller; Tania Ristovski; Bojan Sarcevic (RS); Thomas Seidemann (DE); Naomi West; Maria Wimmer; Haegue Yang (KR).