ARP-Art Residency Project is a project conceived and promoted by the Centro Di Sarro, implemented with the support of the Ministry of Foreign Affairs and International Cooperation (MAECI). Now in its 12th edition, it invites young artists to engage with the present through practices that intertwine art, care, technology, ecology, and accessibility.
In an era marked by conflict, climate crises, and radical technological transformation, art becomes a space for listening, connection, participation, repair, and resistance.
The project also reflects on the new cultural sovereignties shaped by artificial intelligence: who produces knowledge, who controls data, and who is excluded by algorithms. In response, a resilient dimension emerges—one that restores value to materiality, manual gestures, and imperfection, understood as forms of resistance against digital dominance.
Furthermore, ARP embraces a geopolitics of inclusion, fostering decentralized narratives and “minor” perspectives that challenge dominant canons. This involves not only dismantling architectural barriers but also removing the cultural, economic, and linguistic obstacles that increasingly render the art world elitist and inaccessible.
For the 21st Gdc, on October 4, 2025, the Luigi Di Sarro Museum will have special opening hours: morning hours from 10 am to 12:30 pm and afternoon hours from 4 pm to 7:30 pm.
The Luigi Di Sarro Center for Documentation of Contemporary Artistic Research, founded in Rome in 1981 following the artist’s sudden passing, has been a point of reference for emerging and experimental art for over 40 years. Today, to enhance its role as a place of contemporary art, it is being expanded as a private museum and permanent collection space. Its rotating displays will be open to dialogue, allowing the public to experience the work of Di Sarro, who worked in the 1960s and 1970s, embodying with full conviction the spirit of informed, forward-thinking, interdisciplinary and multimedia research.
The Center’s four exhibition spaces—which to date have hosted over 400 solo and group exhibitions by emerging artists—display a first selection of works that showcase Di Sarro’s research and method.
A method continually torn between scientific practice and pure imagination, the need for reality and the desire for fantasy, that guided all of Di Sarro’s speculative research and artistic practice, consigning to the duty of memory a weighty mass of works that continue to demand a voice. “My works of art will be like swords that will conquer. The new forms for the world of tomorrow,” the artist wrote in January 1971, and later also “If art accompanies my life. If my life serves art. I… can even die” (February 1978). He died a year later, in February 1979, at just 37 years old. In his studio remain sheets, notes, images, and texts already drafted from what was to become his “Manual of Artistic Anatomy,” his Discourse on Method. This museum aims to perpetuate his epistemological, artistic, and aesthetic legacy.
TGR LAZIO – 4 ottobre 2015 h.14,00 – servizio di Antonella Pallante
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.
What does contemporary art mean and, above all, how -and to what extent- can the definition of contemporary adapt to the continuous flow of time and history?
ARP returns with a new edition of its training residency to explore the notion of the contemporary. The White Cube will be at the center of the discussion. What relationship does the creative idea maintain with the place in which it is realized? What urgencies or motivations lead the Artist to position themselves inside, outside or beyond the White Cube?Is it the artwork that gives meaning to the space, or the spaces that gives meaning to the artwork?
Are you a young artist or curator with a multidisciplinary approach who is eager to engage with diverse perspectives?
As an artist, do you have the ability to create a work that can travel with you -one that represent your poetics- in an exchange of ideas, techniques and languages?
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.
Francesca Brugola – Italy, Rebecca D’Eramo – South Africa/Cyprus, Natalie Hasan – Cyprus, Biel Llinàs – Spain, Pia Truscott – South Africa and in the role of curator Angelica Piras – Italy, are the six young winners who will arrive in Rome to participate in the residency Hic et Nunc workshop n.3 which investigates the concept of contemporary.
They were selected by the jury composed of the Director of ARP Alessandra Atti Di Sarro, the curator, critic and art historian Simone Ciglia and the art historian and professor Carlotta Sylos Calò.
The workshop talk program is an exciting cavalcade between the most discussed themes of contemporary art debate, and will take place with a group of esteemed professors, scholars, researchers and art critics and curators. Most of the programs will take place at Centro Di Sarro and in Museums, archeological sites and other locations in Rome, but thanks to the hospitality of Fondazione Morra Greco the workshop will take the opportunity to have also a stage in Naples.
Return of the residency is the Pack and go circuit which allows the winning artists to show and discuss their work and the curator to create the concept of the events. Thanks to the participation of the Espronceda Institute of Art and Culture and the support and collaboration of the Italian Cultural Institutes of Barcelona, the 10th Edition of ARP, after Rome, will move to Spain with a new show that will fall within the initiatives of the 20th Contemporary Day promoted by Amaci-Mic-Maeci.
The Centro Luigi Di Sarro presents the “POZI” project by the students of the Architecture and Design Course at the University of Cape Town (UCT), which arrives in Rome thanks to the collaboration with the Embassy of South Africa.
On display are the visionary works of the artists who participated in the project, conceived and led by the South African artist Giggs Kgole.
The project, accompanied by Kgole himself, demonstrates not only the skill of these budding architects, but also stimulates their ability to engage in global contexts and artistic expressions.
The collaboration with Giggs Kgole, active internationally, “symbolizes the bridge between local talent and global opportunities”, as Professor Buhle Mathole writes “the students explored and interpreted the essence of Kgole’s artistic world, developing environments that are more than simple work spaces: they are reflections of creative synergy and cultural dialogues.”
Young artists/curators, under the age of 30, from Europe, Africa and the Balkans can participate. Applications by 14 July 2024. Focus of the program, which will take place in September-October 2024, is the Hic et Nunc workshop which delves into the concept of the contemporary with a series of meetings and visits. Return of the residency is the Pack and go circuit which allows the winning artists to show and discuss their work and the curator to create the concept of the events.
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)
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