The Winners of the call for artists 2018–2019

The Fondazione Spinola Banna per l’Arte and GAM - Galleria Arte Moderna e Contemporanea of Turin announce the 5 winners selected to participate in the three-year collaboration project between the two institutions, promoted and made possible thanks to the support of the Compagnia di San Paolo, which for the third consecutive year consolidates the collaboration between two important cultural organizations in Piedmont: a public institution and a private foundation that continue to provide an arena for the exchange of ideas, of experimentation and analysis. Thus, the formula of the residence dedicated to young artists is consolidated, having been broadened in 2016/17 with the project Atlante Energetico by Elena Mazzi, the first artist-cum-tutor, and continued in 2017/18 with IperPianalto by Andrea Caretto and Raffaella Spagna.

The call for artists for 2018–2019, dedicated to talents under 35 working in Italy or abroad, is won by: Daniele Costa (born in 1992 in Castelfranco Veneto), Alice Mazzarella (born in 1991 in Foligno), Virginia Russolo (born in 1995 in Conegliano), Davide Sgambaro (born in 1989 in Cittadella), and Caterina Silva (born in 1983 in Rome).

These 5 young artists will participate in the annual project that will include a series of workshops, conferences, performances, and their work will be presented in an exhibition and final publication.

The residence workshops will take place in three stages: the first designed to familiarize tutor and participants with one another, outlining the research and analysis of the theme proposed by the tutor, with the intervention of international experts; the second aimed at providing feedback on the projects developed by the participants; and lastly, working towards the publication of a volume and the staging of an exhibition at the Fondazione Spinola Banna per l’Arte. Furthermore, throughout the year, activities and conferences will be held at GAM, giving the chosen artists the opportunity to come face to face with experts and scholars from various disciplines.

The selection committee following each phase of the project is made up of Riccardo Passoni and Elena Volpato for GAM, Gianluca Spinola, Luisella Molina, and Francesca Doro for the Fondazione Spinola Banna per l’Arte.

Through a shared project, each year a theme is proposed by an artist, invited by both institutions, who as a tutor will outline a program and a work plan to be carried out between the fall and spring of the following year, at both locations.

For 2018/2019, the artist tutor is Maria Morganti with the project titled Diaries among Diaries.

 

MARIA MORGANTI
Il sostituto: lo studio itinerante
Work “in progress”

From September 25, 2018 until the work is complete (GAM ticket office)

For the residence project for artists under 35 years of age, the GAM and the Fondazione Spinola Banna per l’Arte have invited Maria Morganti, tutor for the 2018–2019 edition and creator of the project “Diaries among Diaries,” to make a work “in progress” that will take shape, day after day, along the wall facing the museum’s ticket office.

This is how Maria Morganti defines Il sostituto: lo studio itinerante, an unfolding work: “How can I bring forth my own intimacy? How can I make my own inner world move around in the world, connecting the inside with the outside? How can I keep intact the sense of what I’m doing in the Museum—the public and crystallizing space par excellence—if it can be described only by words like precariousness and transience? How can I not block in a definitive image something that by its very nature proceeds through perpetual temporary motion? I saw myself moving ‘my studio,’ the space of ideas and of work, to inside the Museum, thus giving more importance to the process than to following a form. I recreated, or rather, I evoked the space dedicated to the everyday practice of painting in my studio, bringing the ‘substitutes’ of my work tools and the reproductions of all those elements that make up my horizon: the ‘bowl,’ the ‘replacing the infinite painting,’ the ‘diary,’ the ‘flooring,’ the ‘sedimenting,’ the ‘diarytheque,’ and the ‘infinite painting.’

Anyone who stops by the Museum over the next months will see a work that will slowly, in layers, intensify with painting material and which, each time, will change color. The Museum spectator, through his gaze, will be the first witness, together with the artist, of an event I’d say is almost physiological. Almost as if I were a mediator, a siphon of color, she who creates the conditions so that the thing may happen, so that color may flow freely from an inside to an outside.”