Eph­em­era ex­per­i­ences an ap­par­ently un­usual union, but one in real­ity rich in mean­ing and co­her­ence, link­ing activ­it­ies re­lated to the body and move­ment to the per­form­ing arts. Where does this need come from?

The corner­stone of the cur­at­orial pro­ject has to do with the strength — as mys­ter­i­ous and in­tan­gible as it is evid­ent — of pres­ence. Ac­tiv­at­ing won­der, of­fer­ing a col­lect­ive and re­spect­ful en­joy­ment is a ne­ces­sary cul­tural act. Pres­ence is a cor­pus foun­ded in won­der – the im­port­ant meet­ings loc­ated in fest­ival sites and the land that hosts them, his­tor­ical and nat­ural. 

Pres­ence is a cor­pus foun­ded in won­der – the im­port­ant meet­ings loc­ated in fest­ival sites and the land that hosts them, his­tor­ical and nat­ural.

 

 

We have chosen places that pre­serve im­port­ant meet­ings of ab­so­lute worth which, however, share in com­mon the de­sire to “be lived” not to “be looked at”. Of­fer­ing an ori­ginal site-spe­cific per­form­at­ive pro­duc­tion for each of these places makes clear the need for the pres­ence of the artist as well as of the pub­lic. Body aware­ness — both being and move­ment — in re­la­tion to dif­fuse cul­tural her­it­age is a cul­tural act. 

We were in­ter­ested in show­ing and get­ting to know places that already host con­tem­por­ary art col­lec­tions. Places there­fore that it was not ne­ces­sary to “fill” with “phys­ical ob­jects” (ex­hib­i­tions, works of art, in­stall­a­tions, etc) but rather to switch on and ac­tiv­ate. We con­sidered the per­form­ing arts be­cause these, by defin­i­tion, dir­ectly in­volve the body and the dir­ect ex­per­i­ence – both phys­ical and sens­ory — of the viewer.

 

 

Let’s not for­get that sport, just as much as art, is a cul­tural and so­cial device.
First and fore­most, the shared ex­per­i­ence between people co-present in a place is called into ques­tion; the work­shops on offer, just as much as the per­form­at­ive events, pro­mote an act­ive and syn­aes­thetic fruition (or one that ex­am­ines the dif­fer­ent senses), that would gen­er­ate greater self-aware­ness and a con­nec­tion between body and mind and with the sur­round­ing en­vir­on­ment. For ex­ample, just like a con­tem­por­ary dance per­form­ance, the Felden­krais les­sons among the works of the Prato d’Arte Mar­zona in Verzeg­nis have in­cor­por­ated the sounds and scents of nature, the tact­ile sen­sa­tion of the lawn, light and sight into the ex­per­i­ence of the nat­ural land­scape, the ac­quired aware­ness of that artistic her­it­age.
Fur­ther­more, the se­lec­ted sports dis­cip­lines, if on the one hand they are ac­cess­ible to all in terms of us­ab­il­ity, on the other hand they are still a nov­elty from the re­gional per­spect­ive, and our pro­posal was an op­por­tun­ity for many people to ex­per­i­ment and take a closer look.

 

 

After the sta­ging of the first chapter of Eph­em­era 2022, the events presen­ted at the Prato d’Arte Mar­zona, at the Vigne Mu­seum and at Palazzo Lantieri seem to tend or want to in­ter­twine the per­form­ance with the ‘hap­pen­ing’ by es­tab­lish­ing the “act­ive” emotive and emo­tional par­ti­cip­a­tion of the viewer. In this light, the ses­sions of walk­ing, the Felden­krais method, yoga ac­quire their own value as an­ti­cip­at­ory and pre­par­at­ory mo­ments for artistic per­form­ances.
If so, has the choice been in­cor­por­ated cor­rectly or does it take more time for the two areas to in­teg­rate their pro­cess of work­ing along­side each other?

We have tried to offer activ­it­ies that are as in­clus­ive as they are un­com­mon in order to in­vest­ig­ate and ex­per­i­ence en­gage­ment to­gether with new aware­ness. We are deeply con­vinced of the cul­tural value that sport has, both in a broad sense and spe­cific­ally in terms of re­la­tion­ship and so­matic aware­ness, es­pe­cially today. We have re­lied on well-known and in­clus­ive prac­tices – primar­ily yoga, which, not sur­pris­ingly, has re­cently been re­cog­nized by UN­ESCO as an In­tan­gible Her­it­age of Hu­man­ity – but also to lesser known sug­ges­tions deeply linked to the search for so­matic aware­ness – such as the Felden­krais Method and ChiRun­ning. We are proud that this sug­ges­tion was able to tap into a truly cros­sover audi­ence – from kids to over 80s – and we have chosen to en­trust the guid­ance of the work­shops to teach­ers with long ex­per­i­ence in so­matic dis­cip­lines but with solid roots re­lat­ing to the per­form­ing arts. The road is long, first and fore­most for us. We must have the cour­age to carry this idea for­ward to the end, ad­di­tion­ally en­han­cing the depth and the cur­at­orial vis­ion for the sug­ges­tions linked to so­matic dis­cip­lines. For fu­ture edi­tions it would be nice to make this ef­fort ex­pli­cit; once cer­tain of the valid­ity of this com­bin­a­tion we can work to in­teg­rate and merge the two ex­per­i­ences, or the par­ti­cipants in the two sec­tors.

 

 

As re­gards this first edi­tion, the work­shop activ­it­ies have cer­tainly al­lowed us to in­tro­duce the themes of the Fest­ival, its places and its con­tents to a dif­fer­ent, var­ied and very het­ero­gen­eous audi­ence. In some cases the par­ti­cipants of one work­shop then de­cided to stay for the next one, as for the Yoga and Felden­krais ses­sions at Parco della Per­siana in Palazzo Lantieri. In other cases, however, the op­pos­ite happened: par­ti­cip­a­tion in a per­form­at­ive event led people to fol­low us on sub­sequent dates of the Fest­ival: for ex­ample a couple, after hav­ing par­ti­cip­ated in the dance per­form­ance event at Prato d’Arte, fol­lowed us on all sub­sequent dates, tak­ing part in both the work­shops and other per­form­at­ive events.

Thanks to this, and the en­thu­si­asm seen in people’s faces, we be­lieve that our cur­at­orial man­age­ment is head­ing in the right dir­ec­tion, as is the planned pro­gramme. This was well re­ceived, es­pe­cially tak­ing into ac­count the high num­ber of par­ti­cipants we had at the vari­ous work­shops which, in all cases, sold out. And, moreover, it was also true for the three per­form­ances.

Thanks to this, and the en­thu­si­asm seen in people’s faces, we be­lieve that our cur­at­orial man­age­ment is head­ing in the right dir­ec­tion, as is the planned pro­gramme.

 

 

Cer­tainly, however, it is un­deni­able that these are long pro­cesses in which phys­ical activ­ity must be com­bined, either be­fore or after mo­ments of com­par­ison, ex­plan­a­tion and con­tex­tu­al­isa­tion. However, this is also true in re­verse: we real­ized that there were times, for ex­ample, when we spoke about the vari­ous sports work­shop activ­it­ies to the audi­ence at our events.

 

 

At first glance, the loc­a­tions of Eph­em­era have a strong charge of en­ergy. Places where ar­chi­tec­tural and artistic in­stall­a­tions are in open dia­logue with nature, the land, the ele­ments. An added value for the per­form­ance it­self.
How did you choose the loc­a­tions?
Are there other places in Fri­uli Venezia Gi­ulia that have en­dowed the same sense of awe to you and that we will see in the fu­ture of Eph­em­era?

The choice of loc­a­tions was made in a simple and very nat­ural way, without par­tic­u­lar dif­fi­culties, com­bin­ing well-known in­sti­tu­tions that hos­ted ex­traordin­ary col­lec­tions of con­tem­por­ary art within them. From a cur­at­orial point of view, Eph­em­era was con­ceived start­ing from these five places and, for each of them, we have ima­gined an ad hoc and site-spe­cific artistic of­fer­ing, using the char­ac­ter­ist­ics of each site as a start­ing-point. The choice of artists took into ac­count both the par­tic­u­lar his­tor­ical im­pact of the places – for ex­ample, the idea of in­volving a per­son­al­ity like Alvin Cur­ran was born from here, whose cre­at­ive path span­ning al­most sixty years of ex­per­i­ment­a­tion is closely linked to the po­et­ics of Yona Fried­man – and also took ac­count of solid net­works throughout the coun­try, which sug­ges­ted the in­volve­ment of Fabio Ac­curso and the Gi­uli­ano Centre for An­cient Music for the event at Palazzo Lantieri, in dia­logue with Gior­gio Pa­c­orig; a re­gional artist known and ap­pre­ci­ated in Italy and Europe, as well as being the artistic dir­ector of the Centro d’Arte di Padova, a ref­er­ence point for re­search in ex­per­i­mental music for over sev­enty years.  

 

The choice of artists took into ac­count both the par­tic­u­lar his­tor­ical im­pact of the places – for ex­ample, the idea of in­volving a per­son­al­ity like Alvin Cur­ran was born from here, whose cre­at­ive path span­ning al­most sixty years of ex­per­i­ment­a­tion is closely linked to the po­et­ics of Yona Fried­man – and also took ac­count of solid net­works throughout the coun­try, which sug­ges­ted the in­volve­ment of Fabio Ac­curso and the Gi­uli­ano Centre for An­cient Music for the event at Palazzo Lantieri, in dia­logue with Gior­gio Pa­c­orig,…

Hence the net­work (the back­ground points) of our visual iden­tity: we looked at what was already in ex­ist­ence, at the cul­tural her­it­age of the re­gion and widened our gaze, mak­ing the con­nec­tions more fer­tile and mean­ing­ful. As for Lib­reria Mar­tincigh and Trieste Con­tem­por­anea, these are high level spaces of artistic qual­ity for us, and their dir­ect­ors are women whom we es­teem be­cause with tenacity, res­ist­ance and pro­fes­sion­al­ism they have been deal­ing for years with the in­nov­a­tion, pro­duc­tion and dis­sem­in­a­tion of the con­tem­por­ary, with an at­tent­ive eye on local com­munit­ies but also with an in­ter­na­tional open­ness. 

 

 

However, there is an­other im­port­ant fact, which con­cerns the three places chosen for the three artistic per­form­ances: Prato d’Arte Mar­zona, Vigne Mu­seum, Palazzo Lantieri and con­cerns the ty­po­logy of the at­tend­ing artists and their re­spect­ive in­stall­a­tions.
The Prato d’Arte Mar­zona, for ex­ample, was an es­sen­tial place, both be­cause of its loc­a­tion in the Prealpi Car­niche – “the moun­tains” of both Michela and Ele­onora – also be­cause the Mar­zona col­lec­tion has been the ob­ject of at­ten­tion and in­vest­ig­a­tion in Michela’s work for sev­eral years. The nuc­leus of artists that com­prises it, even though nu­mer­ic­ally more abund­ant, seemed nat­ur­ally and by prox­im­ity to also in­clude the oth­ers: Yona Fried­man and Michelan­gelo Pis­to­letto, even if they were fur­ther away in geo­graph­ical terms. The Mar­zona col­lec­tion con­sists of a very im­port­ant sec­tion of Arte Povera which is not found in Verzeg­nis; and Pis­to­letto’s “Skies” in Palazzo Lantieri seems to fill this gap, this “not vis­ible”. In the same way Yona Fried­man, vis­ion­ary and uto­pian av­ant-garde, an artist whose eph­em­era on uto­pian ar­chi­tec­ture are found in the Mar­zona Archive and, in our loc­al­ity, at Vigne Mu­seum. In ad­di­tion to this, however, the fun­da­mental fact con­cerns the char­ac­ter­ist­ics of the in­stall­a­tions them­selves and their pe­cu­li­ar­ity of de­fin­ing them­selves as a space, which, in an in­stant of rapid con­tact with the body of the viewer, can be en­joyed, passed through, ob­served. All are united by a series of com­mon prin­ciples: the ques­tion­ing of the viewer’s point of view, the in­ter­pen­et­ra­tion between in­side and out­side, the in­vit­a­tion to an act­ive fruition and cross­ing that dir­ectly in­volves the body, the strongly site-spe­cific char­ac­ter and a slight sense of con­ceal­ment: they do not re­veal them­selves boldly to the eye.

 

the ques­tion­ing of the viewer’s point of view, the in­ter­pen­et­ra­tion between in­side and out­side, the in­vit­a­tion to an act­ive fruition and cross­ing that dir­ectly in­volves the body, the strongly site-spe­cific char­ac­ter and a slight sense of con­ceal­ment: they do not re­veal them­selves boldly to the eye.

Even Pis­to­letto’s re­mark­able mir­ror, ul­ti­mately, des­pite its iconic un­veil­ing, makes the other vis­ible from it­self: as Car­o­lina Lantieri re­called when in­tro­du­cing the Eph­em­era mu­sical event at the Palazzo, mir­rors are said to be used to ab­sorb dreams. We are al­ways left in that mys­ter­i­ous hid­ing-place that con­nects dis­cov­ery and won­der in a del­ic­ate but im­port­ant dia­logue with the his­tor­ical and nat­ural con­text in which they are im­mersed, and where they are to be sought.

We are al­ways left in that mys­ter­i­ous hid­ing-place that con­nects dis­cov­ery and won­der in a del­ic­ate but im­port­ant dia­logue with the his­tor­ical and nat­ural con­text in which they are im­mersed, and where they are to be sought.

 They are tools for ob­serving the land­scape that sur­rounds them, or devices for read­ing ima­gin­ary geo­graph­ies and, given their spa­tial nature, they are an­chor points in space, points from which to start or ar­rive in order to see, dis­cover and know it.
This edi­tion has def­in­itely con­sol­id­ated the choice of these places, which will re­main es­sen­tial for the iden­tity of the fest­ival. But we have care­ful an­ten­nae, cer­tainly within the Re­gion but also bey­ond re­gional and na­tional bor­ders.

 

 

Can we ex­pect an over­flow in ter­rit­orial terms? Not just re­gional but cross-bor­der?
The net­work model you have built seems to have been made to gen­er­ate bridges and ex­changes.
Maybe it’s too early to talk about it, but is the idea part of a fu­ture vis­ion or does the Fest­ival in­tend to pro­ceed along a dif­fer­ent cur­at­orial path?

If you look at our visual iden­tity, you’ll un­der­stand how Eph­em­era was ima­gined as a mo­bile and rhizo­matic struc­ture, made up of people, col­lab­or­a­tions and thus fuelled by the vis­ions and pro­fes­sion­al­ism that each of them brings. As in any mov­able ob­ject, re­main­ing static is not con­sidered, so within this con­stel­la­tion it is likely that some people will be able to con­tinue to feed their vis­ion while oth­ers will come, with the end of this first edi­tion, to a nat­ural con­clu­sion. 

 

 

 

In this sense, you speak well when you de­scribe the pro­ject as an ac­tiv­ator of bridges and ex­changes and, once again, our visual iden­tity seems to con­firm this. The points that form the back­ground to our logo are for us pulsat­ing nuc­lei to be con­nec­ted, they are spaces of pos­sib­il­it­ies, new places and geo­graph­ies to reach, geo­graph­ical co­ordin­ates of a “si­lent” map that can be that of Fri­uli Venezia Gi­ulia (such as this year) or else­where. 

The points that form the back­ground to our logo are for us pulsat­ing nuc­lei to be con­nec­ted, they are spaces of pos­sib­il­it­ies, new places and geo­graph­ies to reach, geo­graph­ical co­ordin­ates of a “si­lent” map that can be that of Fri­uli Venezia Gi­ulia (such as this year) or else­where.

We do not shut ourselves out from the pos­sib­il­it­ies: we think that we should ally ourselves with like-minded coun­ter­parts, seize the op­por­tun­it­ies that the un­ex­pec­ted en­counter presents. In light of all this, it is dif­fi­cult to con­sider Eph­em­era locked only within re­gional bound­ar­ies, even con­sid­er­ing the geo­graph­ical spe­cificit­ies of the place where it was born and the people who cre­ated it: a bor­der re­gion, close to Aus­tria and Slov­e­nia, a land of mi­gra­tion and open­ness to oth­ers; three cur­at­ors who, al­though act­ive here, have lived abroad and are nour­ished by ex­per­i­ences that go bey­ond the peri­met­ers of this re­gion.

 

 

2025 will mark an im­port­ant mo­ment for Gor­izia / Nova Gor­ica but more gen­er­ally for the en­tire re­gion. An op­por­tun­ity to cap­it­al­ize on so that the events that will char­ac­ter­ize not only that year but also the ap­proach to it will not only bring media ex­pos­ure but are the shoots of a re­vival of places, ter­rit­or­ies, pro­jects.
Are you already look­ing at that mo­ment as an op­por­tun­ity to fur­ther en­large the links, or it is still too early?

Let’s start with the pulsat­ing dots men­tioned above: this first phase of Eph­em­era was hos­ted in one of the sym­bolic places of Gor­izia and in­volved im­port­ant en­tit­ies of the Gor­izia area. It is not pos­sible to think that there will be no de­vel­op­ments which, moreover, will be strictly con­nec­ted to the de­sire to con­vey con­tem­por­ary cul­ture in this much-loved bor­der area.

This mo­ment in which you con­tac­ted us is ac­tu­ally a sum­mer time in­ter­val for Eph­em­era, the Fest­ival is not yet com­pletely con­cluded be­cause it will con­tinue in the au­tumn months with other activ­it­ies: the Ric­cardo Arena ex­hib­i­tion, sports and artistic work­shops with schools, guided tours. That’s to say that we are in the midst of the pro­cess, while hav­ing the aware­ness that we want to carry on Eph­em­era in the com­ing years. We know that the work will be long and de­mand­ing: find­ing funds, search­ing for tenders, con­sol­id­at­ing re­la­tion­ships with part­ners, search­ing for new col­lab­or­a­tions, etc; but we are con­vinced that the con­di­tions are all there, it will not be ne­ces­sary either to con­strain or to be­tray the pro­ject.

2025, which may seem far away, is ac­tu­ally around the corner and we think that for such an im­port­ant mo­ment it is ne­ces­sary to adopt long-range strategies cap­able of ar­riv­ing at that event with solid and in­nov­at­ive cur­at­orial pro­gram­ming. In­di­vidu­ally, each of us already has act­ive con­tacts and ini­ti­at­ives that look to the bor­der area and bey­ond. The pos­sib­il­ity of this be­com­ing a centre of grav­ity for fu­ture edi­tions of Eph­em­era will also de­pend on the op­por­tun­it­ies and con­sist­ency between these and our design ideas: in short, the in­terest is cer­tainly there, but we don’t want GO2025! To be­come a “must-do”, and in ad­di­tion the com­pet­i­tion, both for re­sources and for pub­lic at­ten­tion, will be very high. Cer­tainly it may be an op­por­tun­ity for us, but per­haps it is still a little early to think about it.

 

 

Par­al­lel to Eph­em­era, each of you in your own field car­ried out cur­at­orial, en­tre­pren­eur­ial and pro­ject man­age­ment activ­it­ies in­de­pend­ently. We would like to ask you to give a brief sum­mary of your other in­di­vidual pro­jects. Out of curi­os­ity, but also as a way of un­der­stand­ing your al­chemy in the con­text of Eph­em­era.

Al­chemy is a good term to de­scribe this very suc­cess­ful joint ad­ven­ture that com­bines paths that are so dif­fer­ent yet so sim­ilar in terms of feel­ing.

Ele­onora Ce­daro – Al­chemy is a good term to de­scribe this very suc­cess­ful joint ad­ven­ture that com­bines paths that are so dif­fer­ent yet so sim­ilar in terms of feel­ing. My train­ing is linked to the Arts and Dis­cip­lines of Per­form­ing Arts: live en­ter­tain­ment has al­ways been my area of in­terest and my pas­sion. I gradu­ated in Per­form­ing Arts at the Uni­versity of Trieste and the found­a­tion ex­per­i­ence for my sub­sequent paths is un­doubtedly linked to the years I spent in New York, work­ing for The Liv­ing Theater and for other in­de­pend­ent or­gan­isa­tions that I en­countered while liv­ing the un­sleep­ing dy­namo of the big apple. I deal with the or­gan­isa­tion and design of live shows, dis­tri­bu­tion and cul­tural man­age­ment; I am a proud in­de­pend­ent cur­ator. The de­sire to make something beau­ti­ful hap­pen has al­ways moved me, bring­ing to­gether minds, tal­ents, ideas, pro­jects and trans­form­ing them into pro­duc­tions.

I am a proud in­de­pend­ent cur­ator. The de­sire to make something beau­ti­ful hap­pen has al­ways moved me, bring­ing to­gether minds, tal­ents, ideas, pro­jects and trans­form­ing them into pro­duc­tions.

Re­turn­ing to Trieste in 2014 I foun­ded to­gether with Gary Brack­ett – we worked to­gether for many years in the United States – Per­Form, a centre ded­ic­ated to the dis­cip­lines of the body and the per­form­ing arts (which in 2016 was formed in ASD) and crown­ing the dream to have a truly in­de­pend­ent and wel­com­ing space:  in the past eight years we have hos­ted local and in­ter­na­tional artists, re­search pro­jects, res­id­en­cies, pro­duc­tions and built an im­port­ant net­work in the area. In Trieste I re­cently col­lab­or­ated with the Miela Theatre for which I cur­ated the Happy Birth­day Satie! from 2019 to 2022 and with Trieste Con­tem­por­anea for the pod­cast pro­ject ded­ic­ated to the con­tem­por­ary Sarà il Mare. Out­side the re­gion I col­lab­or­ate per­man­ently with Centro Stu­dio At­tori in Milan, a the­at­rical train­ing and re­search centre, to be pre­cise, I run the ad­vanced train­ing mas­ter-classes pro­duced in col­lab­or­a­tion with John Stras­berg Stu­dios in New York. And then there is the ESYO youth or­ches­tra, Young European Mu­si­cians, for which I take care of the tour man­age­ment – a very tir­ing, chaotic but in­cred­ibly big-hearted and in­dis­pens­able ex­per­i­ence. A pro­ject which has been in ex­ist­ence for 30 years brings to­gether chil­dren aged 13 to 20 chosen by Maes­tro Igor Cor­etti among the stu­dents of Con­ser­vat­or­ies and Music Schools from all over Europe who meet as “strangers”, study­ing with in­ter­na­tional teach­ers and at the end of the course they ma­gic­ally be­come an or­ches­tra (one which is much greater than the sum of its parts). I really care about this atyp­ical and pir­at­ical ad­ven­ture, it is not easy to ex­plain but it is one of the most valu­able ex­per­i­ences I have en­countered.

 

 

Michela Lupieri – I start with a premise, use­ful for un­der­stand­ing my cur­at­orial prac­tice: I am fas­cin­ated by un­con­ven­tional ex­hib­i­tion spaces, the places where nature is the star and where art is in­ser­ted into un­usual con­texts, thus com­mu­nic­at­ing both with the sur­round­ing land­scape and with the com­munit­ies that live within or move across it. 

I am fas­cin­ated by un­con­ven­tional ex­hib­i­tion spaces, the places where nature is the star and where art is in­ser­ted into un­usual con­texts, thus com­mu­nic­at­ing both with the sur­round­ing land­scape and with the com­munit­ies that live within or move across it.

I was lucky enough to grow up near the Prato d’Arte Mar­zona, a place that has marked my life and pro­fes­sional path. Not only did I find it stim­u­lat­ing to walk among those in­stall­a­tions whose mean­ing I did not un­der­stand, but doing so led me to study Visual Arts at the IUAV in Venice where I de­cided to ded­ic­ate my third year de­gree thesis to him. Today the Mar­zona col­lec­tion is the theme of my PhD re­search pro­ject which I am car­ry­ing out in Dresden, an­other place that I would like to men­tion. In fact, here I worked for three years on the Archive of the Av­ant-garde that Mar­zona donated to the SKD, an archive of eph­em­era from the Av­ant-garde until the end of the twen­ti­eth cen­tury that cer­tainly led me, in­dir­ectly and to­gether with other things, to think about and design this Fest­ival. But my re­search and activ­it­ies go bey­ond all this, I work as an in­de­pend­ent cur­ator and since 2018 I have been part of the Pal­insesti team, an ex­hib­i­tion that for over thirty years has brought the con­tem­por­ary to the his­toric spaces of San Vito al Taglia­mento. Spe­cific­ally, I cur­ate In Sesto, an Award for in­ter­na­tional artists for the cre­ation of a site-spe­cific in­stall­a­tion for a pub­lic space in the town. Fi­nally, since last year, I have been teach­ing con­tem­por­ary art his­tory at ABA UD, Academy of Fine Arts in Udine, a pro­fes­sion that I really like be­cause un­for­tu­nately con­tem­por­ary art is not al­ways un­der­stood but it is ne­ces­sary, a tool with which to read what is hap­pen­ing, the present in dia­logue with his­tory. It is very im­port­ant and en­rich­ing to offer young people the keys to do so.

… un­for­tu­nately con­tem­por­ary art is not al­ways un­der­stood but it is ne­ces­sary, a tool with which to read what is hap­pen­ing, the present in dia­logue with his­tory. It is very im­port­ant and en­rich­ing to offer young people the keys to do so.

 

Rachele D’Osu­aldo – After train­ing in art man­age­ment in Milan, I have been work­ing in the field of con­tem­por­ary art since 2009: in Venice, at the Bevilac­qua La Masa Found­a­tion for seven years I was in charge of the res­id­ency pro­gramme and ateliers for young artists and the pro­duc­tion of ex­hib­i­tions by emer­ging and es­tab­lished artists; sub­sequently, for a couple of years I col­lab­or­ated with the artist Gior­gio An­dreotta Calò and his stu­dio. Thanks to the role of Venice as a mag­net for the pro­duc­tion of in­ter­na­tional con­tem­por­ary art and the fact that it is still a very im­port­ant edu­ca­tional centre for Italian artists, the ex­per­i­ence was fun­da­mental not only for the pro­fes­sional skills gained, but for the very im­port­ant net­work of pro­fes­sional and in­ter­per­sonal re­la­tion­ships born in those years, es­pe­cially with artists of my gen­er­a­tion, all of us “we grew up to­gether” and now achieve im­port­ant res­ults at both na­tional and in­ter­na­tional level. Back in Fri­uli, I ten­a­ciously fol­lowed a path in this sec­tor as a freel­an­cer, while being aware of how dif­fer­ent the scen­ario and its re­la­tion­ship with art were. It is thanks to my meet­ing with Elena Tam­maro and Fe­d­er­ica Man­aigo and with the ETRAR.T.E. As­so­ci­ation, of which I am now also Pres­id­ent, that I have been able to carry out won­der­ful pro­jects over the past three years, based on par­ti­cip­a­tion and the cre­ation of ter­rit­orial net­works: by col­lab­or­at­ing with pub­lic and private in­sti­tu­tions, schools, so­cial co­oper­at­ives, cul­tural as­so­ci­ations, by link­ing pro­fes­sional artists and com­munit­ies we are car­ry­ing out pro­jects that, in ad­di­tion to artistic out­put, have an im­pact in terms of pro­mot­ing so­cial in­clu­sion and the psy­cho-phys­ical well-be­ing of in­di­vidu­als, train­ing, urban re­gen­er­a­tion, cul­tural and tour­ist en­hance­ment of sites.

… I have been able to carry out won­der­ful pro­jects over the past three years, based on par­ti­cip­a­tion and the cre­ation of ter­rit­orial net­works: by col­lab­or­at­ing with pub­lic and private in­sti­tu­tions, schools, so­cial co­oper­at­ives, cul­tural as­so­ci­ations, by link­ing pro­fes­sional artists and com­munit­ies we are car­ry­ing out pro­jects that, in ad­di­tion to artistic out­put, have an im­pact in terms of pro­mot­ing so­cial in­clu­sion and the psy­cho-phys­ical well-be­ing of in­di­vidu­als, train­ing, urban re­gen­er­a­tion, cul­tural and tour­ist en­hance­ment of sites.

At the same time, I col­lab­or­ate with train­ing in­sti­tu­tions and busi­ness in­cub­at­ors such as Fri­ulin­nov­azione, deal­ing with cul­tural pro­ject man­age­ment and col­lab­or­a­tions between the world of cre­ativ­ity and that of so-called “tra­di­tional” com­pan­ies (from other sec­tors), work­ing to pro­mote a re­cog­ni­tion of the so­cial role of artists and their skills, points of view and op­er­at­ing meth­ods that gen­er­ate value, often not re­cog­nized and val­ued, for the com­munity and its or­gan­isa­tions.

 

 

To fin­ish, a pre­view of what we will see in Septem­ber in the Ric­cardo Arena ex­hib­i­tion in Trieste con­tem­por­ary.

The Trieste Con­tem­por­anea space will host Eph­emerides, a new pro­duc­tion on which Ric­cardo Arena has been work­ing for sev­eral months, the res­ult of the artistic res­id­ency loc­ated and spread throughout the Re­gion that saw him in­volved from be­fore to dur­ing the days of the Fest­ival. It is an in­stall­a­tion on an en­vir­on­mental scale that ex­tends from the centre of the ex­hib­i­tion space to the walls from the bot­tom to the top.

It is an in­stall­a­tion on an en­vir­on­mental scale that ex­tends from the centre of the ex­hib­i­tion space to the walls from the bot­tom to the top.

 The artist speaks of this in­ter­ven­tion as a “spa­tial dia­gram”, a field of ab­stract forces within which the vis­itor can enter and while walk­ing sur­round him­self with traces, signs, tem­poral foot­prints of vari­ous scales and places. With lines drawn in re­la­tion to the move­ments and sounds of the Fest­ival, such as cre­at­ive pro­cesses or con­fig­ur­a­tions of ges­tures, Ric­cardo Arena has layered them to­gether in order to tran­scend the spe­cificit­ies of the con­text. Eph­emerides visu­al­ises the gen­eral but also the pro­ced­ural move­ment of the Fest­ival, the fleet­ing and eph­em­eral ten­sions.

Eph­emerides visu­al­ises the gen­eral but also the pro­ced­ural move­ment of the Fest­ival, the fleet­ing and eph­em­eral ten­sions.

 

 

eph­em­erafest­ival.it