Category Archives: Projects

Image: Daniel Salomon, The Politics of Fermentation, 2015 Image: Daniel Salomon, The Politics of Fermentation, 2015

Spaces of Anticipation
A symposium
20 - 21 November 2015


Roberto Poli (UNESCO Chair in Anticipatory Systems, University of Trento)
Stephen Wright (writer and researcher, Collège International de Philosophie, Paris).




Bar Project (organization, Barcelona); Roberto Gigliotti, Professor UNIBZ (Bolzano); Emanuele Guidi, artistic director ar/ge kunst; Krüger & Pardeller, artists (Vienna); Lorenzo Sandoval, artist and curator (Berlin); Manuel Segade, curator (Rotterdam).




The Politics of Fermentation
Daniel Salomon, artist (Berlin)


Curated by Emanuele Guidi and Lorenzo Sandoval

from past participle stem of anticipare: ante ‘before’ + capere
‘to take (care of) ahead of time’

‘1 Regard as probable; expect or predict.
1.1 Guess or be aware of (what will happen) and take action in order to be prepared.
1.2 Look forward to.
2 Act as a forerunner or precursor of.
2.1 Come or take place before (an event or process expected or scheduled for a later time’

‘…If the last forty years have been marked by ‘posts’ (post-war, post-colonialism, postmodernism, post-communism), then today, at least, we seem to be in a period of anticipation – an era that museums of contemporary art can help us collectively to sense and understand.’

The forthcoming symposium at ar/ge kunst is the third iteration of the research project Spaces of Anticipation by Lorenzo Sandoval and Emanuele Guidi. The project began in May 2014 with an initial symposium at the EACC in Castellón and was followed by the research exhibition Making Room – Spaces of Anticipation at ar/ge kunst from June to July 2014.
Anticipation, both as ‘looking ahead’ and ‘looking forward’, evokes an idea of expectation and excitement towards what and who is yet to come. It also suggests the idea of taking action in the present to get prepared for potential encounters.

Anticipation is becoming a field of study in itself, a field that continuously analyses present conditions to respond to upcoming events, developments and trends.

Starting from these considerations and implications, the project Spaces of Anticipation looks at this manifold notion in relation to artistic and cultural institutions. It proposes various strands of research that might help to define the fields of action in which institutions work and communicate with their communities. In these terms, the word anticipation is proposed as a conceptual and linguistic prop, a support from which the research unfolds and around which various positions are gathered in discussing institutional models, practices and attitudes.

The symposium brings together various contributors: artists, curators and researchers who, in their own practices and investigations, expand the grammar of exhibition making by intertwining it with other formats of (collective) knowledge production and distribution. Accordingly, their attention to forms of orality and ‘narratorship’, to the practices of care and hospitality and to the politics of time and display are essential when discussing modes of relations and exchange that can be established through and within the institution.

The Politics of Fermentation
Performance by Daniel Salomon

Daniel Salomon’s contribution to the symposium is a hands-on sauerkraut participative performance. He states: ‘Fermentation preserves food, is healthy, saves energy and tastes delicious. But besides all these benefits, the reason why I am so fond of fermentation is because I see it as an endless source of metaphors opening up for new ways of engaging with the world. On a microscopic scale bacteria and fungi interact, coevolve, exchange DNA, compete, die, feed on the organic rest of each other and so on, all that according to a complex environment. Fermenting food is thus more a collaboration with other species (bacteria and fungi) rather than a process we have complete control on. Applied to the idea of anticipation, I would like to propose sauerkraut making as a relevant paradigm for a pragmatic and humble approach to how we could influence our environment’.

The symposium takes place within the context of Ingrid Hora`s exhibition “der Grillentöter/ L’ammazzagrilli’ and coincides with its finissage.

The Symposium is kindly supported by Acción Cultural Española (AC/E)


The Great Refusal
23 September 2015, 8:30 pm

In collaboration with Festival Transart


Ex- Electronia
Schlachthofstr. 38
39100 Bozen

booking compulsory & 0471 673070

The collective Ligna, based in Germany and founded in 1997 by the performing artists and radio activists Ole Frahm, Michael Hueners and Torsten Michaelson bring on stage a vision, a possible European History that never happened.

In August 1914, a congress of the Second Socialist International was supposed to take place in Vienna with the aim of reacting to the potential beginning of the Great War with a general strike, which should have desirably brought to collapse the infrastructures of involved countries and thus prevented the conflict burst. The congress and the strike never took place. The participants’ speeches and interventions were already written, the permit requests had been transmitted, but the war anticipated them and blocked its actualization.

In the year of the hundredth anniversary of WWI, Il grande rifiuto (original title “Die große Verweigerung”) investigates the individual and collective possibilities to refuse by re-enacting a story that never happened and whose end is unknown. The audience is invited to partake to a historical fiction: the congress of the Socialist International will take place in Santarcangelo, opening up a parallel universe, where the war as ineluctable destiny is called into question. Every one will deal with a series of “resistance exercises”, a training of individual and collective refusal poses and gestures.

Die große Verweigerung is the result of a series of artistic research residencies in Bolzano, Bologna, Genova and Reggio Emilia, that took place in April 2015.

In German and Italian

artistic coordination and production:
Elena Basteri; Emanuele Guidi; Elisa Ricci
Verena Rastner (ar/ge kunst, Bolzano/Bozen)
translation: Elena Basteri, Elisa Ricci

co-production: ar/ge kunst Bolzano / Bozen, Festival Transart Bolzano / Bozen, Santarcangelo 2015 Festival Internazionale del Teatro in Piazza; On Bologna; Fondazione Luzzati – Teatro della Tosse; Terni Festival Internazionale della creazione contemporanea (t.b.c.)
supported by: Goethe – Institut Genua; Goethe – Institut Mailand, Nationales Performance Netz (NPN) International Guest Performance Fund for Dance.

Residency program supported by Goethe – Institut e.V. Ligna
thanks to: Franco Berardi Bifo; Max Herold; Hans Heiss; Marco Marzi; Sandro Mezzadra; Cecilia Muraro; Hannes Obermair; Matteo Pasquinelli; Mirko Saltori; Sebastiano Tringali; Cecilia Troiano; Oswald Überegger.


Festival Santarcangelo dei Teatri, 10 July 2015 (National Premiere)

Festival Transart and ar/ge kunst, 23 September 2015

Terni Festival Internazionale della creazione contemporanea, 20 September 2015

Teatro della Tosse, Genova, 26/27 November 2015

Loghi Ligna

Studio Practice: On the Act of Reading
/ Valentina Desideri Studio Practice: On the Act of Reading / Valentina Desideri

Studio Practice:
On the Act of Reading

Valentina Desideri
2-3-4 July 2015, from 2 to 8 pm

in collaboration with philosopher DENISE FERREIRA DA SILVA and choreographers JENNIFER LACEY, CRISTINA RIZZO and MARA CASSIANI

Dear reader,

You are invited to join us for Studio Practice: On the Act of Reading. The studio will be open from 2 to 8 pm on 2, 3 and 4 July 2015. You can stay for as much or as little time as you like.

Valentina, Denise, Jennifer, Cristina and Mara will gather in study and in the studio to take a close look at the act of reading.

Together we share several practices, among which are dance, healing practices (both fake and real), philosophy, astrology, writing and teaching. We consider each of these practices a kind of reading. But also, reading is going on all the time. We all constantly read text, images, situations, expressions, bodies and space, and a lot of our understanding is built upon these instantaneous readings.
Any reading is an imaging, already a composition and a representation of what is read. This view of reading as imaging draws on Walter Benjamin’s writings on reading and imaging as modes of expression that privilege intuition over a view of knowing and existing that relies on reflection, understanding and recognition.
We invite you to enter this study through a loose methodology we call Studio Practice, which refers to both the practice of being in the studio and the practice of studying.
If we consider study as something we do with others – modes of learning that produce other ways of living together, and vice versa – then the studio is not just
a place in which to study but also a place that makes study possible by virtue of its specific conditions.
The specific type of studio we are borrowing from is the dance studio, where multiple proposals, spoken or simply enacted, follow one another and travel through bodies and dimensions (physical, intellectual, emotional, spiritual). In the studio we enter into sequences of actions, silences, discussions, attempts, banalities, conflicts, excitements. In other words: we engage in the specific mode of ‘ensembling’ that is study.
Assuming none of us knows what study might come
to mean to us, we invite you to join us in the studio,
to spend time reading, moving, talking, watching, listening, meeting, getting bored or interested or activated, gathering material around reading and following all possible lines of inquiry that might emerge.

Feel free to bring ‘things’ you would like to read; a book, a letter, an object, a movement, your hands…
We hope to see you there,

Valentina, Denise, Jennifer, Cristina and Mara

Studio Practice: On the Act of Reading
is a three-day event organised by Valentina Desideri in collaboration with Denise Ferreira de Silva, Jennifer Lacey,
Cristina Rizzo and Mara Cassiani.

Studio Practice: On the Act of Reading takes place within and activates the exhibition Bassin ouvert by French designer and artist Clémence Seilles
(until 1 August 2015).

Co-produced by Bolzano Danza | Tanz Bozen.

Thanks to Museion for the participation of Cristina Rizzo.

Studio Practice: On the Act of Reading and Bassin ouvert are part of PIANO, Prepared Platform for Contemporary Art, France–Italy 2014–2016, initiated by d.c.a. \ French association for the development of centres d’art, in partnership with the Institut français in Italy, the French Embassy in Italy, the French Ministry of Foreign Affairs and International Development, the French Ministry of Culture and Communication and the Fondazione Nuovi Mecenati.

Schermata 05-2457155 alle 12.57.03

bir ihtimal with works by Nils Norman, Ceren Oykut, Sinek Sekiz, and the Park Collective. 2010. Photo: Laleper Aytek bir ihtimal with works by Nils Norman, Ceren Oykut, Sinek Sekiz, and the Park Collective. 2010. Photo: Laleper Aytek

One Year-Long Research Project / second
2014 – 2016



A collaborative project with Lungomare, Bolzano/Bozen

By inviting Can Altay ar/ge kunst continues the series ‘One Year Research Project’, a long-term project, which started in the summer of 2013 with the invitation to Irish artist Gareth Kennedy.

In this context, ar/ge kunst and Lungomare jointly curate the long-term Residency project “Radical Hospitality” and invite the artist Can Altay to deeply confront with issues related to ideas of welcoming and openness and to question them. Hospitality describes in this context a social space intended as a temporary condition as well as a relationship that is subject to a negotiation between power positions.
The collaboration between ar/ge kunst and Lungomare is the outcome of a dialogue and common interest between the two institutions as well as of their different research paths.
Both institutions engage together in an active dialogue with Can Altay and make accessible the process to the public in different moments and places – the public space, the spaces of both institutions, through publishing or other places.

Can Altay is an artist living in Istanbul. He investigates the functions, meaning, organisation and reconfigurations of public space. His ‘settings’ provide critical reflection on urban phenomena and artistic activity. His work traverses sculpture, photography and installation, and is staged and manifested through the spaces, exhibitions and publications he produces. Solo exhibitions at Arcade, London (2012), Casco, Utrecht (2011), The Showroom, London (2010). His work has been included in Biennials of Istanbul, Havana, Busan, Gwangju, Marrakech, Taipei; and in museums and galleries such as the Walker Art Center (Minneapolis), VanAbbe Museum (Eindhoven), ZKM (Karlsruhe), Artists Space (New York), and SALT (Istanbul)

Gareth Kennedy Gareth Kennedy

One Year-Long Research Project / first
2013 - 2014




In September 2013 ar/ge kunst inaugurated its One Year-Long Research Project, which invites one artist for a series of short residencies over the course of one year. The project begins with a public lecture and culminates in a solo exhibition.

The first artist is Gareth Kennedy (Ireland, 1979).
Invited for his work on expressions of ‘folk’ culture, Kennedy has undertaken an investigation of the troubled history of folklore and visual anthropology in the South Tyrol.
Gareth Kennedy’s solo exhibition Die Unbequeme Wissenschaft (The Uncomfortable Science) opened on the 19 September and run through 15 November 2014.

Gareth Kennedy is an artist from the west of Ireland. His work explores the social agency of the handcrafted in the twenty-first century and generates ‘communities of interest’ around the production and performance of new material cultures. Deploying an anthropological approach as an operational aesthetic, these works draw on the particular social, cultural and economic histories of a location. Outcomes typically include architectural or designed structures, hand-crafted objects, as well as live performative events which bring these physical entities to life within specific public contexts. Kennedy has produced and shown work both nationally and internationally. His practice to date includes public art commissions, educational projects, exhibitions, residencies and collaborations. In 2009, he co-represented Ireland at the 53rd Venice Biennale along with artist Sarah Browne. Kennedy also works on another, distinct artistic practice called Kennedy Browne in collaboration with Sarah Browne.

Gianni Pettena, La Mia Scuola di Architettura, 2011 Gianni Pettena, La Mia Scuola di Architettura, 2011

La Mia Scuola di Architettura
2013 - ongoing


La Mia Scuola di Architettura is an ad-hoc series of public presentations on the notion of landscape. It takes its name from a series of photographs by artist and ‘anarchitect’ Gianni Pettena – photographs depicting the landscape of the Dolomites around Bolzano/Bozen. La Mia Scuola di Architettura considers the idea of landscape, its influence upon the development of the individual as artist and citizen, and its wider implications for the overall shape of the community. The series stimulates reflection on how knowledge is produced and transmitted, extending this idea to encompass education and schooling.

Conversation between Gianni Pettena (artista), Pierre Bal-Blanc (direttore Cac Bretigny, curator in residence Museion), Emanuele Guidi (artistic director ar/ge kunst)

The School of Narrative Dance, Marinella Senatore

Like First Love, Andreas Pichler

Fertility Rites, Youth and Identity in South Tyrol: The case Study of Stilfs im Vinschgau
Marta Villa – Lecturer in cultural anthropology at the university in Trent
Organised by EVAA – Anthropological Association of the South Tyrol

Hidden Islam / Sacred Interiors in Profane Buildings

Learning From The Landscape / BAU with INLAND

JAPANESE ALPS / Lecture by Francesco Tenaglia

ELEMENTI PER UNA PRATICA, incontro con Riccardo Previdi

ON THE MOVE with Maria Walcher