What does contemporary art mean and above all how (and to what extent) does the definition of contemporary adapt to the continuous change of time and history? What relationship does the creative idea maintain with the historical, social and environmental context? With the present, past and future? The new edition of the Arp itinerant training residency will delve into the notion of White Cube, or the idea of exhibition space.
ARP-Art Residency Project is a cultural and training and exchange programme in the field of visual arts, now in its 11th edition. The programme is conceived and promoted by the Documentation Center of Contemporary Artistic Research Luigi Di Sarro, with the contribution of Ministry of Foreign Affairs and International Cooperation (MAECI) and other partners, aiming to provide the beneficiaries with an opportunity for training, career development and promotion.
The winners this year are Ludovica Tata as curator, and Monika Milosewski, Xanthe Scout Lardner-Burke, Pierpaolo Perrone, Anna Tappari e Jakub Zawadzki as artists.
The ARP – Pack & GO formula challenges young artists to conceive and create a work that represents its own idea of contemporaneity and is transportable everywhere, in order to allow maximum mobility. The work submitted by each participant was evaluated and chosen by a jury composed of Alessandra Atti Di Sarro, who directs the project, and professors Simone Ciglia and Carlotta Sylos Calò. A young curator was also selected and tasked to work in dialogue with the artists to create the concept for exhibition events.
The heart of this project formula is the Hic et Nunc workshop, conducted by teachers, researchers, curators and art historians. The workshop opens with the revealing of artworks hidden in the physical and emotional luggage of the participants and pushes the group to confront and discuss the most current themes of thought on the contemporary. Over the two weeks of talk, visits and meetings the “giving back” exhibition is born, with its first location at Center Luigi Di Sarro, offering new life and sense to the artworks, according to a multidisciplinary approach and respecting the exchange of ideas, techniques and languages.
Apertura del workshop Hic et Nunc n.4: svelamento e presa di parola
The first location for the public to meet the artists and see the works is then Rome, on 1st October at the h.6 pm with the opening of the first iteration of the exhibition. The Pack & Go circuit will continue with two international events, under the umbrella of the 21st Day of the Contemporary – promoted by Amaci, Maeci and Mic, in Italy and in the world – fully welcoming the theme for the 2025 edition which is “training, understood as a broad and plural process that crosses education, research, exchange of experiences and knowledge”.
Final Exhibition of ARP 11° Edizione at Luigi Di Sarro Museum on 1st Ottobre 2025
“Giving back” exhibitions are unique events of a single evening (or a little more), where the works are presented, inviting the public to enjoy the art and offer a feedback in conversation with the artists. This suggests a path that emphasizes the need for a kind of theoretical and practical nomadism – an approch that keeps contemporary artistic research open to new ideas and opportunities. The second iteration of the exhibition will take place at Kulturno Informativni Centar (KIC) in Zagreb on the 7th of October at 5pm, made possible by the contribution of the Italian Cultural Institute of Zagreb. The final event will follow on 10th October at 7pm at the Turnus Gallery in Warsaw, thanks to the contribution of the Italian Culture Institute of Warsaw.
This year’s Hic et Nunc workshop is conducted by Giulia Bordi, Simone Ciglia, Barbara D’Ambrosio, Matteo Piccioni, Carlotta Sylos Calò and Alessandra Troncone, with the participation of Michaela Limberis in Zagreb and Ilaria Bernardi in Warsaw.
The exhibition presents Gianna Parisse’s work Mundus Patet, shown for the first time in Italy, an installation composed of different photographic, audio and video elements, which invites us to enter a poetic path of research on the meaning of a place: a house and all that concerns it before and after the Amatrice earthquake of 2016.
The installation inhabits the three rooms of the Luigi Di Sarro Center, with a composition of 171 images of stones collected from the location by the artist; a table, where two display cases containing 342 photographs of glass objects and branches collected from the apple orchard of the house are arranged; a video projection (4′ 43″), whose soundtrack spreads throughout the three exhibition spaces.
The work is composed of fragments aimed at suggesting the dichotomy between the subtle dialogue of man-made elements with elements of nature, and the silent rumbling of the delicate balance between man and nature.
Gianna Parisse’s meticulous work of researching and stitching together the numerous fragments using a portable scanner, a camera and audio recordings, results in an installation that, in its simplicity and essentialism, is immersive and engaging.
The title of the work, Mundus Patet, refers to an ancient Roman festival, which took place every year on the 24th of August at the Palatine Hill and celebrated the world of the dead, but more importantly that which is hidden underground, the soil, the earth. August 24 is also the date of the Amatrice earthquake. The land which embraced the house for many years, the land inhabited by the house, shifts, changes its course, and from a place that welcomes it becomes a place that encompasses it, that reappropriates what has emerged.
The artist’s work restores the intimacy of what has been submerged and investigates the intricacies and veins uncovered by the action of nature on man, and man on nature.
Gianna Parisse artist, architect, PhD, has dedicated herself to the research of the relationship between art and architecture for many years. More recently, she graduated in painting and specialized in graphic arts, particularly in the technology of paper materials, at the Academy of Fine Arts in Rome. She has exhibited in Italy and abroad: Dresden, Germany; Seoul, Korea; and New York, USA.
Anna Maria Antoinette D’Addario Deep in Their Roots, All Flowers Keep the Light, curated by Simone Azzoni e Francesca Marra
Giordana Citti/Annalaura Tamburrini Anima Naturae, curated by Marco Rapaccini
Vernissage: Saturday 4 May 2024 at 6.30 pm
Man and the environment are part of an ecosystem in which fragility, temporality and persistence, slowness and sedimentation coexist. The two projects that the Centro Luigi Di Sarro exhibits trace the line of this dialogue on the ephemeral memory of the relationship between man and nature.
Anna Maria Antoinette D’Addario is an Italian-Australian photographic artist, writer and book maker. Her work revolves around the investigation and resurrection of memory and our emotional connection to place. She has published two artist books, Farewell Angelina (2018) and Deep in Their Roots, All Flowers Keep the Light (ceiba Editions 2019). Anna holds a MFA in Fine Art, Sydney College of the Arts, and is a current PhD candidate at Monash University in Fine Art.
This work began as a response to the sudden and violent death of my sister in 2015 and gradually became a path to live and make sense of life again. It was an act of resistance, an attempt to speak in the face of silence. With her murder, time stopped, all became fractured and fragmented. I, together with my mother and all who loved her, were drawn into an obscure world without her, a world broken and changed.
As children my sister and I spent hours in the bush, and by the ocean. After her loss I sought to regain the connection to the landscape that existed in my memory and reflected our origins, a desire to be clear again in my understanding of it. Landscape endures. It takes and hold its form. Landscape speaks in my work, in part, in its resilience, of survival in the present and for survival of the past; it holds memories; it speaks of connections, but it also speaks of violence and irretrievable loss. It represents then, continuity and also absence, it stands for what can never be lost and for all that has been lost; it embodies trauma and it embodies endu- rance, the persistence of which no violence can erase.
My sister was thirty-five when her life was taken. Her future has been lost and the past and our childhood has been altered and affected. The knowledge and weight of our history has only one side now, one gaze, and one recollection. Here I accompany my sister in story, photos of myself as a child mirror and connect with those of Daniela. We break silence together, identities entwined.
This project was conceived through the creation of an artist’s book, Farewell Angelina, and a successive photo book, Deep in Their Roots, All Flower Keep the Light. (Anna Maria Antoinette D’Addario)
What is then left of the landscape when the people who loved it, lived in it, are no longer there? Powerlessness and absence do not turn a place into a view, a space into a landscape. Representation, which attempts to repair the trauma of loss, cannot be a layer of memory above others.
“My spaces are fragile: time will consume them, destroy them: nothing will no longer resemble what it was,” wrote Georges Perec. If memory can erase, trauma can instead hold the glimpse of what was. Memories reinvent, narrate, betray, trauma instead fixes. The fracture pierces the veil of the landscape, not repairs it. The violent tear of loss cannot but lacerate representation – even of the usual landscape – and open the Montale’s wonder. (Simone Azzoni)
Giordana Citti was born in Rome in 1993. In 2012, she began attending evening courses in photography and darkroom printing at Officine Fotografiche, training with te- acher Samantha Marenzi. After graduating in “History and conservation of the artistic and archaeological heritage”, he decided to devote himself full-time to photography by enrolling in the Biennial School of Photography at Officine Fotografiche Roma. He first became a darkroom assistant and later refined his professional training by starting an internship at Davide di Gianni’s Digid’a Art Prints workshop in Rome. He currently teaches darkroom courses at Officine Fotografiche, attends the Faculty of “Conservation and Restoration of Cultural Heritage”, concerning the restoration of book and photographic material, at the University of Rome Tor Vergata and works in the photographic archives of the National Film Library of the Experimental Centre of Cinematography in Rome.In 2021 he was among the ten artists selected to take part in the photography masterclass Contatto of the Istituto Luce Cinecittà and TWM Factory. He has taken part in many exhibitions in recent years: Of Analogica on the occasion of Fotoleggendo (2016), Female in March, a group exhibition of female photographers at Lanificio (2018), Temporary Wall, an open air exhibition at Fotoleggendo (2018), The Family of no Man for Arles cosmos (2018), In Praise of Imperfection at Fondamenta gallery (2019), GeneraHumana on the occasion of the Genera Festival (2019) in Cister- nino, Walk With Women on the occasion of the MedFilmFestival in Rome (2019), Hier, mais aussi aujourd’hui, solo exhibition at the Fusion Art Gallery in Turin (2020), The Darkroom Projet Otto, group exhibition curated by Luciano Corvaglia, at the Palazzo Doria Pamphilj in San Martino al Cimino (2020), Contatto, at WeGil (2021), MarteLive, national finalist Biennale MarteLive at Planet Roma (2021), Premio Daniela Semprebene, exhibition of the winners of the visual arts sections MarteLive Lazio 2021, at the ART G. A.P. Gallery, Rome (2022), Tevere Art Gallery/Arles 2022, collective photographic exhibition curated by Luciano Corvaglia on the occasion of Les Rencontres d’Arles, in “Arles Exposition-Off”(2022), MarteLive: Lo spettacolo totale, national finalist Biennale MarteLive, at Qube, Rome (2022), Venere Vs Medusa on the occasion of Paratissima, at Cavallerizza Torino (2023).
Annalaura Tamburrini was born in Fasano in 1994. She trained as a photographer at the “Officine Fotografiche” school in Rome where, during the period from 2015 to 2019, she deepened her knowledge of darkroom practices, black and white printing and ancient printing techniques under the guidance of teacher Samantha Marenzi. During this path, she has the opportunity to exhibit and curate various photographic projects within the local independent scene. In June 2017, during the international photo- graphy festival ‘FotoLeggendo’, she participates in the group exhibition ‘Analogica 2017’. In February 2018, she presents the project “Sono una strega” at the Cinema Palazzo Occupato in Rome as part of the group exhibition “Tecne”. In May 2018, she co-curates the exhibition cycle “Analogies”, presented at the Officine Fotografiche school in Rome. In the same month, she exhibited the project ‘Sono una strega’ within the same cycle. Also in May 2018, she co-curates the exhibition ‘Nel corpo dell’immagine’, part of the international photography festival ‘FotoLeggendo’ in Rome. In February 2019, he took part in the group exhibition ‘In Praise of Imperfection’ with the project ‘Moral to Censorship’ at the Inside Art Gallery in Rome. In August 2019, she curates the international group exhibition ‘GeneraHumana’ at the Torre Civica in Cisternino. From 2020, after moving to Turin, she collaborates with the cultural association Mostro Collettivo. From 2023 she is represented by the Raw Messina gallery in Rome and collaborates actively with Gabriele Stabile. In January 2024 she exhibits in Bologna, in the context of the Arte Fiera fuoriisalone, during the Booming Art Show in an exhibition curated by Raw Messina, entitled ‘La vita sognata dagli angeli’.
The Anima Naturae project aims to portray the contrast between the fleeting es- sence of humanity and the timeless spirit of nature. Each diptych pairs a weathered stone portrait, bearing the marks of time, mold, and the relentless forces of weathering, with an untouched photograph capturing the pristine landscape. The stone portrait serves as a tangible testament to the vulnerability of the human soul over time, narrating a story of transience conti- nually shaped by transformative elements in its natural habitat. On the flip side, earth unfolds as the epicenter of an eternal animation of nature, presenting an ideal and idyllic realm that underscores primordial soul and spirituality, untouched by human manipulation.
Through this visual reflection, viewers are invited to contemplate the duality offragility and strength, transience and persistence, fostering a profound aware- ness of the intricate connections between humanity and the broader living world. Anima Naturae emerges as a conceptual bridge, blurring the boundaries betwe- en human finiteness and the boundless vitality of nature, illustrating how, despite human endeavors, we inevitably yield to the unstoppable power of the natural world, prompting reflection on the sustainability of our interactions with the planet. All photographs are made with black and white analog film [portraits with 135mm, landscapes with 120mm]. (Giordana Citti and Annalaura Tamburrini)
In the fortieth anniversary of the death of Luigi Di Sarro, the exhibition organized by the MLAC with Centro Di Sarro offers a glimpse of the production of Luigi Di Sarro between the 1960s and the 1970s, highlighting the transversal nature of his approach to techniques and materials and his characteristic conception of the “sign” as a generative element of shapes and spaces, without a real caesura between abstraction and figuration, evident both in graphic and pictorial work, and in photography and sculpture.
Di Sarro, avid experimenter in his artistic activity, has practiced drawing, painting, engraving, sculpture, photography and performance, focusing in particular on themes related to the body, movement, light and abstraction capacity of the sign and the geometric figures. Di Sarro died only thirty-seven years old, killed for a fatal misunderstanding in the tense climate of the years of lead in Rome, on February 24, 1979; he left a vast artistic production (paintings, drawings, photographs, sculptures, graphics, projects, notes, aphorisms). Works by Luigi Di Sarro are in several Italian and foreign public collections (including GNAM, MACRO, Palazzo Braschi and the National Institute for Graphic Design in Rome, Pompidou Center in Paris).</p>
Active since 1987, the Museo Laboratorio di Arte Contemporanea-MLAC, directed by Prof. Claudio Zambianchi, has been proposed since the beginning as a meeting place between the university and the contemporary cultural world, distinguishing itself for its vocation to research and training. Among the initiatives that have animated the program for thirty years, there are exhibitions, conferences, round tables, book presentations, festivals, video reviews and musical proposals, which aim at first hand to put in contact the most lively artistic and cultural realities of the moment with the students and scholars of the University, often coming to involve them actively. In the same way, the will to open up to the city is strong, involving all citizens through the proposal of a very varied program.
Exhibitions and events promoted and organized by the MLAC take place in the spaces set aside in 1985 by the La Sapienza University of Rome, at the Rettorato Building, in the heart of the University City.
On the occasion of organizing and carrying out the exhibition the MLAC offers a possibility of internship to students who have an interest in deepening in the field the craft of the historian and art critic in all facets. The internship foresees, in fact, an active commitment both during the preparation stage, with the possibility of working in close contact with the curators, and during the opening period of the exhibition, managing the guided tours, the reception of visitors and, last but not least , all the work related to the promotion of the exhibition, learning to manage the various online communication channels, from the blog to the main social networks.
Inaugurated in Pretoria, South Africa, the exhibition with which the international celebrations for 40 years after the death of Luigi Di Sarro starts. The event is promoted by the Istituto Italiano di Cultura in Pretoria with the collaboration of the UP ARTS Department of the University of Pretoria. The images of the opening and the academic lecture.
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