EVA FRAPICCINI Selected Works

Transcription

1 1 EVA FRAPICCINI Selected Works

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3 MAGNIFICI MISTERI (MAGNIFICENT MYSTERIES) 2012 [video, 7 42, HD cam, 16:9, blu-ray] Magnifici Mysteri (Magnificent Mysteries) resumes three times and three different subjects, the first two belong to the past, to a piece of the Italian history, the history of my family. The background is a true story, the kidnapping by the german soldiers of a horse, Stella,belonging to the family of my grandparents. The inspiration star-ted from the extensive research that my uncles, Alessio and Dario, did follo-wing the Germans per 100 km,calling the horse, invain. Towards the end of July 1944, German troops crossed Italy, a country without a go-vernment, an army, raiding families in the countryside and in the city. Magnifici Misteri (Magnificent Mysteries) is an a hypnotic video, without narration, a chase between people belonging to different times and places, they have walked for a few moments the same lands. History is always an open mechanism, where you can reactivate the past in the actuality, in a fusion of time. Magnifici Misteri (Magnificent Mysteries),

4 Magnifici Misteri (Magnificent Mysteries),

5 Magnifici Misteri (Magnificent Mysteries), 2012, installation view, Museo Castello di Rivoli, Torino,

6 DREAMS TIME CAPSULE project on progress [audio archive] Dreams Time Capsule: a temporary audiorecording station, where visitors can entrust their own dreams to a sound archive, to understand those archetypes surfacing in dreams, and their variation in time, at the distance of one generation. It should make its appearance in a number of places worldwide in a long trip unfolding through different legs, for a couple of years, until a substantial number of dreams will be reached. Once the creation of the audio archive of dreams will be completed, it will be sealed and re-opened only ten years later, to be analysed together with a team of researchers, and the dream will be sent back to the dreamer, after ten years. The work drawing its inspiration from dreams as traces of a collective imagery, it requires the participation and engagement of the visitors, whose testimonies of oneiric experiences it collects. An experimental version of this phase of materialisation of the project was installed in the Piazza Santa Teresa, in Turin, in November 2011, as a test-study structure to be used once. The actual version has been especially designed by myself in collaboration with the designer Michele Tavano, with the support of the Arkitekturmuseet (a partial funder). It will gently take the public into an extraordinary spatial dimension, projecting him/her outside the immediate surroundings, stepping into a dimension characterized by deep feelings of lightnes s and intimacy: the perfect atmosphere for the visitor s individual recording of his/her own testimonies and memories. The first stage of the final version will be in Cairo, during my residency program at the Townhouse Gal lery, on July On September, it will be hosted by Arkitekturmuseet and Botkyrka Konsthall /Fittja Open in Stockholm, Sweden. Ideator: Eva Frapiccini Curator: Elisa Tosoni Designer: Michele Tavano Project supported by Arkitekturmuseet, Stockholm and Botkyrka Konsthall] Dreams Time Capsule, 2012, sketches Dreams Time Capsule, 2012, luggage used to transport the inflatable structure. 6

7 Dreams Time Capsule, installation views, Arkitekturmuseet, Stockholm, Sweden, September

8 Dreams Time Capsule, dreamer, Townhouse Gallery, Cairo, Egypt, July

9 Dreams Time Capsule, installation view, Townhouse Gallery, Cairo, Egypt, July 2012 Dreams Time Capsule, dreamer, Stockholm, Sweden, September 2012 Dreams Time Capsule, Arkitekturmuseet, Stockholm, Sweden, September 2012 Dreams Time Capsule, dreamer, Fittja Open Festival, Fittja, Sweden, September 2012 Dreams Time Capsule, blocknotes with dreamers,

10 UNDER THE ROUGH 2012 [photography] The photographic project was commissioned by the Turin s Goethe Institute, the Volksbuhne of Berlin and the Teatro Stabile of Turin. The task was to realize a photographic project about the Fatzer, the Brecht s unfinished opera, and to set it in Berlin. Fatzer is a soldier who decides to abandon the War, boycotting the orders, and he bring with him a group of compains who fol low him because their lack of ideas, and courage. Fatzer isn t an ideal ist, he understands to be manipulated, but he pursues its own interests. The opportunism of the company reveals the truth of gradual decay and the corruption of human expectations. I wondered what a woman would do in the same conditions, l iving in a degraded state, being crushed by an unfair State. For this reason I imagined the journey of a girl, who moves aimless. As the Fatzer company s trip she moves seeking peace, or ideas, she has only the illusion to find it. Untitled, from the series Under the Rough,

11 From the series Under the Rough,

12 MUSEO CANEIRA LA FISICA DEL POSSI- BILE (MUSEUM CANEIRA THE PHYSICS OF THE POSSIBLE) 2011 [26 lockets with photographs, a video, a series of letters, diaries, notes and scientific journals] For my first solo show in a private gallery I worked closely with the curator Elisa Tosoni, creating a fi-ctional character: the scientist Aleksander Prus Caneira. The exhibition turning the private gallery into a museum through the commissioning and collaboration with the Caneira Foundation (again fictional) - was in itself a fictional operation. My aim was to legitimise the scientist s research and his collection of specimens - all created by myself - in order to question contemporary knowledge production systems, and the role institutions like museums play in such processes. The exhibition itself, and not only the objects it houses (a video documentary, diaries, correspondence, photographs, scientific and cultural journals, and a collection of lockets containing photographs of places), became my medium to re-write history. The creation of a museum dedicated to Caneira, whose story - written by myself and Elisa Tosoni is firmly anchored in last century s history of science and culture, proposed a meta-reality. In so doing, I m trying to criticize not only the logic behind the production of history, inserting a cha-racter who could have actually existed and been forgotten, but I aim to discuss the validity of sour-ces, our way of relating our cultural History, and what could be truly considered auctoritas. Still from the video Aleksander Prus Caneira. Quantum Physics and Portals of the Unconscious,

13 Museo Caneira la fisica del possibile (Museum Caneira the physics of the possible), 2011, Installation views, Alberto Peola Gallery, Turin,

14 Lockets archived, series Museo Caneira la fisica del possibile (Museum Caneira the physics of the possible), 2011, Installation views, Alberto Peola Gallery, Turin,

15 Diaries, notes and scientific journals, Museo Caneira la fisica del possibile (Museum Caneira the physics of the possible), 2011, Installation views, Alberto Peola Gallery, Turin,

16 Aleksander Prus Caneira. Quantum Physics and Portals of the Unconscious, 2011 Installation views, Alberto Peola Gallery, Turin,

17 stills from the video Aleksander Prus Caneira. Quantum Physics and Portals of the Unconscious,

18 THANK YOU FOR COMING! 2011 [5 Posters spread in an advertising campaign, Performance, Sound-piece] Thank you for Coming! (2011) is a Artist in Residence project about historical and present Dutch identity utilizing a multiplicity of media and ways of engagement (including breakdance and theatre) with the Dutch public, focusing breakdancers of migrant origin. The project was especially conceived for the residency program at the Nac Foundation in Rotterdam. The first phase (answering the Spatial tactics hea-ding) is rooted in historical identity seen through pictorial images of the bourgeoning XVII Century Dutch Republic and, already, multiethnic society. A selection of these images, in the form of a poster campaign through Rotterdam, sought to challenge the present identity of Rotterdamers, opening a space for self reflection by recalling the Dutch society in its naissance. The second phase (answering the Collaborative tactics heading) looked at present Dutch identity, explored through alternative languages of expression, rather than language alone. The Netherlands is an example of tolerance rooted in the historical acceptance of different cultures. However, to make this possible a system of rules, matured over the centuries, today describes the Dutch society in every single aspect: economical, educational and cultural. The resulting system of values is used to communicate the Dutch way of life to both autochthon and allochtoon (literally originating from another country) Dutch citizens. Further, since 2004, various tests, cal led inburgering test (trasl. the citizen test ) as ses s both the social integration level and knowledge of the Dutch language and culture of new migrants. In this second phase We organized a laboratory to work on the performance with 3-4 people, from different communities, who expresses themselves with an alternative kind of language, like music or dance, outside any regulation or educational system (breakdance, rap). The collaboration between four breakdancers, an urban sociologist (with six years of acting experience) and an electronic music composer, brought me to create a final performance. During a month we worked about the concept of tolerance and emargination, working in a sound-piece, using the inburgering test and working with gradi di tensione (literally degrees of tension ): a technique used to explore inner and outer tensions of the body Ideator and director: Eva Frapiccini Coreographer: Veronica Olivotto Skiba Graphic designer: Lucas Rampazzo Musician and composer: Enka Performers-breakdancers: Natha Gouverneur, Hicham Mahdoufi, Darnel Raphael Laboratory with 4 breakdancers based in Rotterdam, breakdance meets the tecnique Degrees of Tension, and how they feel themself in the Dutch society. Thank You for Coming!,

19 Laboratory with 4 breakdancers based in Rotterdam, breakdance meets the tecnique Degrees of Tension, and how they feel themself in the Dutch society. Thank You for Coming!,

20 Thank You for Coming!, Posters created from a selection of paintings from the Dutch iconography of XVI Century. 20

21 Thank You for Coming!, Posters spread in a advertising campaign, Rotterdam, Netherlands, Next page: Excerpt from the inburgering text, Basis Examen April 2011,

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24 Thank You for Coming!, 2011, documentation images of the performance at Around the Corner project space, Nac Foundation, Rotterdam, Nederland, June 26th

25 WENEAD (SVEZZATI) 2011 [Mixed Media installation, Video with images from different archives, 10 Led Digital Boards with texts in italian and english] Weaned is a public art project pointing to the everyday and the suffering generated by history and personal experiences. It stems from the necessity to unveil the connections between someone s life cycle and that of the city he/she lives in. The question Whereare you, and where are you going to? was asked to the inhabitants of Bologna, who embraced its metaphoric meanings, about their position towards life rather than a specific physical place. In fact, only children answered by indicating places or actions, possibly because of their lack of experience in relation to the past, as they have not yet reviewed the correspondance between their desire and reality-reflections, these, typical of adults. The experience of time matures in adults a perspective for the end, a reading key that allows for evaluation of daily actions in a broaden life frame. There s a real connection between one s history, and the history of a square, between the consciousness of one s past and the long history of a city like Bologna. The project was realized under the invitation of the festival ON.Luci di Pubblica Piazza, curated by Anna de Manincor and Martina Angelotti, during the Bologna Art Fair. WENEAD (Svezzati), 2011, public art intervention, University area, Bologna, Italy,

26 NAME / AGE Mirta, 36 Valerio, 38 Massimiliano, 38 Gianni, 38 Simona, 26 Chiristian, 38 Salvatore, 35 Claudia, 35 Piero, 26 Cinzia, 27 Valeria, 33 Dario, 31 Christian, 33 Franco, 54 Severino, 65 Luigi, 34 Costanza, 26 Gion, 27 Romana, 22 Anonymous Anonymous Marco, 34 Alice, 35 Luca, 42 Katia; 33 Ilaria, 45 Daniela, 35 Daria, 30 Marco 38 Caterina, 39 Elena, 33 Anna, 38 Nicola, 33 Michele, 34 Giulia, 16 WHERE YOU ARE GOING? I carry on I don t know where I m going I m seeking fulfillment I m heading to C I m heading towards a better life I m going back to my point of departure I m heading towards a state I know I m heading towards the nearest planet I m going where the road takes me I m drifting I keep going straight, till the end of life I m heading towards new things, and changes I m heading East I m heading towards my old age, I hope I m heading towards the End I m heading towards the adagio I m heading towards the death I m going on a quest I m going to Africa I m heading towards composure I m heading towards the Truth I m heading to a better future I m heading to my destination I m heading to my fulfillment Nowhere I m learning to get up again, every time forward I m heading to a longer travel I m going to play I only know where I d rather not have to go I m heading towards a vague idea I m headin towards the other half. I m heading down Towards the Summer 2011 s hit to get know the love List of the answers collected, during 15 days, asking to the inhabitants of Bologna Where are going?. 26

27 WENEAD (Svezzati), 2011, public art intervention, University area, of Bologna, Italy, January projection of the answers collected in the city. 27

28 Image used for the projection. Piazza Verdi, Incisione Panfili, 1794, from the archive of the Archiginnasio, Bologna. Image used for the projection Portico della Chiesa S. Giacomo Maggiore, 1888/ante, from the archive of the city of Bologna. Image used for the projection. Piazza Verdi, 1977, private archive of Enrico Scuro. 28

29 WENEAD (Svezzati), 2011, view of the public art intervention Piazza Verdi in Bologna, under the invitation of the festival ON-Luci di Pubblica Piazza,

30 STANZA 2010 [Sound-installation and Performance, 7 voices, students of the Library. They play six dantologists from the Nineteenth Century, about the Divine Comedy, Inferno [Hell] XXVI and the sense of ethic] Stanza is a performance and sound installation, espe-cially conceived for the Sala Arturo Graf - a 19th century Italian poet and literary critic - of Turin s Arts and Philosophy Library, reflecting upon the limitations of human vision, and the transformations of thought and ethics in time. The title, Stanza, plays with the double meaning of the word in the Italian language: it denotes a physical space, but also a linguistic one, as a portion of a poem, or a verse in a song; it is in this second acceptation that this word is used in English. Stanza is a performance on Dante s Inferno canto XXVI, a cross reading of the original and six critical interpretations chosen from the Graf Room. The performance takes place in the room itself, starting with a sound recording of a reading of the original canto, to which six actors respond. Playing the role of six dantologists from the Nineteenth Century they read interpretations in Italian, German and English, while walking in circles, creating a babele of voices and different languages. In Inferno, canto XXVI, Dante places Ulysses between the fraudulent, as he transgressed the divine laws and convinced his crew to sail beyond the Hercules Co-lumns (now Gibraltar). During the Nineteenth Century, the age of Naturalism and Scientific Rationalism, critics historicised Dante s choice, biased by the mo-rals of their time. Stanza is also a permanent sound installation,in which the voices of literary critics come from the library s bookshelves, like whispers filling the spaces left empty by the books currently on loan. Texts used for the sound pieces and the performance: - Voice Over: Dante Alighieri, La Divina Commedia, Inferno, Canto XXVI, Firenze [Italian] - 1st Performer: Gaspare Finali, Cristoforo Colombo e il viaggio di Ulisse, 1895 [Italian] - 2nd Performer: Francesco d Ovidio, Guido da Montefeltro da Montefeltro nella Divina Commedia, da Nuova Antologia di Lettere, Scienze ed Arti, Roma, 1892 [Italian] - 3rd Performer: Arturo Graf, Miti, leggende e superstizioni del Medioevo, Torino, 1892 [Italian] - 4th Performer: Edward Moore, Studies in Dante, Oxford, 1896 [English] - 5th Performer: Alessandro Chiappelli, Lectura Dantis, Firenze, 1901 [Italian] - 6th Performer: Schuck, Dante Classische Studien und Brunetto Latini, Frankfurt, 1928 [German] Stanza, 2010, some texts used for the Texts used for the sound pieces and the performance. 30

31 Stanza, 2010, installation view, Graf s room in the Turin s Arts and Philosophy Library, Turin (IT) /

32 Io e compagni eravam vecchi e tardi quando venimmo a quella foce stretta dov Ercule segnò li suoi riguardi, acciò che l uom più oltre non si metta; da la man destra mi lasciai Sibilia, da l altra già m avea lasciata Setta. O frati, dissi, che per cento milia perigli siete giunti a l occidente, a questa tanto picciola vigilia d i nostri sensi ch è del rimanente non vogliate negar l esperïenza, di retro al sol, del mondo sanza gente. Considerate la vostra semenza: fatti non foste a viver come bruti, ma per seguir virtute e canoscenza. Li miei compagni fec io sì aguti, con questa orazion picciola, al cammino, che a pena poscia li avrei ritenuti; e volta nostra poppa nel mattino, de remi facemmo ali al folle volo, sempre acquistando dal lato mancino. Tutte le stelle già de l altro polo vedea la notte e l nostro tanto basso, che non surgea fuor del marin suolo. Cinque volte racceso e tante casso lo lume era di sotto da la luna, poi che ntrati eravam ne l alto passo, quando n apparve una montagna, bruna per la distanza, e parvemi alta tanto quanto veduta non avea alcuna. Noi ci allegrammo, e tosto tornò in pianto, ché de la nova terra un turbo nacque, e percosse del legno il primo canto. Tre volte il fé girar con tutte l acque; a la quarta levar la poppa in suso e la prora ire in giù, com altrui piacque, infin che l mar fu sovra noi richiuso. [excerpt from La Divina Commedia, Inferno, Canto XXVI, Firenze ] Tardy with age Were I and my companions, when we came To the strait pass, 5 where Hercules ordain d The boundaries not to be o erstepp d by man. The walls of Seville to my right I left, On the other hand already Ceuta past. O brothers! I began, who to the west Through perils without number now have reach d; To this the short remaining watch, that yet Our senses have to wake, refuse not proof Of the unpeopled world, following the track Of Phoebus. Call to mind from whence ye sprang: Ye were not form d to live the life of brutes, But virtue to pursue and knowledge high. With these few words I sharpen d for the voyage The mind of my associates, that I then Could scarcely have withheld them. To the dawn Our poop we turn d, and for the witless flight Made our oars wings, still gaining on the left. Each star of the other pole night now beheld, And ours so low, that from the ocean floor It rose not. Five times reillumed, as oft Vanish d the light from underneath the moon, Since the deep way we enter d, when from far Appear d a mountain dim, 6 loftiest methought Of all I e er beheld. Joy seized us straight; But soon to mourning changed. From the new land A whirlwind sprung, and at her foremost side Did strike the vessel. Thrice it whirl d her round With all the waves; the fourth time lifted up The poop, and sank the prow: so fate decreed: And over us the booming billow closed. [Translation from The Harvard Classics ] The Inferno [Hell] XXVI, the Ulysses monologue (in Italian and English) 32

33 Stanza, 2010, still from video-documentation of the performance, Turin s Arts and Philosophy Library, Turin, Italy,

34 STREET FIGHTERS 2010 [Interactive game cabinet with touchscreen and electric wires, 8 videos] Street Fighters addresses the delicate theme of death at work in Italy, the country with Europe s highest professional mortality rate. An unfortunate record of more than 1300 victims a year, meaning that 4 or 5 workers die every day, for the greediness of those managers who don t stick to health and safety regulations. The project consists in a video installation: short videos played by an 80 s game cabinet, from the bottom of which many power cables run across the floor and walls of the space. The viewer - ironically trapped by the desire of playing - can interact with the videogame, and choose which videos and features to watch. Street Fighters, 2010, still from the video documentation of the work, Fondazione Cassa di Risparmio di Modena, exhibition TRE, Modena, Italy

35 Still from the video Pal, in Street Fighters, 2010 Stills from the video Bruno, in Street Fighters, 2010 Stills from the video Bruno, in Street Fighters,

36 Street Fighters, 2010, installation view, Fondazione Cassa di Risparmio di Modena, exhibition TRE, Modena, Italy

37 CONTAINER SWEET CONTAINER 2009 [Video installation, pvc model from a real scale 1:1000 / projection 280x280 cm / model 70x100 cm] Container Sweet Container is a mixed media installation with a life sized projection showing images of containers interiors and an architectural model of a Roma ghetto. The piece comments on the temporary dislocation of Roma communities in abandoned empty fields, so called Camps, situated in the poorest areas of the italians cities. It attempts to picture their needs, their expectations of comfort, and their desire for a normal home. Untitled, series Container Sweet Container,

38 Untitled, series Container Sweet Container,

39 Untitled, series Container Sweet Container,

40 Container Sweet Container, 2009, installation view, Fondazione Cassa di Risparmio di Modena, exhibition TRE, Modena, Italy

41 NEMA PROBLEMA (NO PROBLEM) [series of photographs and texts with interviews / dim. 70x100 cm / 35x35 cm] Nema Problema (No Problem) is a series of nine images and nine texts, that recounts, through portraiture, landscape and interviews, the dramatic lives of women touched by the trauma of war in former Jugoslavia. They are victims of torture and sexual abuse, who were imprisoned in Bosnian detention camps - housing an estimate of abducted women - and are now fighting to take the perpetrators of these crimes to the International Court of Justice in The Hague. 41

42 Nuna, from the series Nema Problema,

43 Nuna s interview, from the series Nema Problema,

44 Nema Problema, , installation view, Museum of Contemporary Photography in Cinisello Balsamo, Milano, Italy,

45 MURI DI PIOMBO (LEAD WALLS) [photographs and articles selected from the newspapers; 44x44 cm / 20x44 cm] Muri di piombo / Lead Walls proposes an analysis of national and historical identity, through a series of 50 texts and 50 photographs taken at scenes of the terrorist attacks of the Anni di Piombo (the period of leftwing terrorism in Italy from the mid- 1970s to the early 1980s). The piece recounts this often ignored, or forgotten chapter in Italian history: each photograph is taken at the same time and on the same day that the original terrorist attack took place on. 45

46 Roma, Largo Belgio, from the series Muri di Piombo,

47 TORINO LARGO BELGIO MARCH 10th 1978, 8 a.m. ROSARIO BERARDI...As always this morning too Warrant Officer Berardi left home a little before a quarter to 8. He walked down the five steps outside his home and turned right towards Largo Belgio, where there is the stop for trams 5 and 7. His journey towards the ambushed measured 170 steps. Berardi met the eyes of a private security guard and saluted him [...] he slowly walked along the walls of the Italgas facilities. There were a number of people at the bus stop and traffic on the streets; it looked reassuring. The killers were waiting for their victim in a blue Fiat 128 parked in Largo Belgio, on the other side of the road. Four of them, three men and a girl [...] Berardi was standing with others waiting for tram number 7, he was not in uniform and smoking his pipe. They shot him in the back, they fired three shots. The Warrant Officer fell to the ground instinctively attempting to desperately and pointlessly protect his face. But the assassins fired again and aimed at his head: this is an execution [...] The man with the machine gun in the meantime joins his companions, pointing the weapon at the terrified onlookers [...] The killers re-turned to their car and left. Someone ran to the Vanchiglia police station They have been shooting; they have killed a man out here. A man ran out of the police station holding his gun. It was too late. From La Stampa, March 11th 1978 Torino, Largo Belgio, from the series Muri di Piombo, text s translation in English 47

48 Roma, via Caetani, from the series Muri di Piombo,

49 ROMA VIA CAETANI MAY 9th p.m. ALDO MORO An anonimous call shortly after 1.30 p.m. to the police switchboard stated that: In via Caetani there is a red car with Moro s body in it. An alert was immediately sent out. As the area filled with police and carabinieri, the rumour spread that a bomb was about to go off [...] Moro had died many hours earlier, perhaps at dawn of the previous day. There were a number of spent shells under Moro s body on the carpet of the Renault [...] Moro was killed while standing, facing his assassins. He instinctively used his left hand to shield his heart; one of the fingers had been lacerated by a bullet [...] The killers then dressed him in his tie, vest and jacket and put in his shoes. They picked up the shells and threw them into the car. They then left the scene of the ruthless execution and drove into the centre of Rome, all the way to the street - one that was certainly not chosen at random - a few dozen metres away from the headquarters of the Communist and the Christian Democratic parties. It was a sort of macabre warning and a last challenge to the police forces that patrol the area night and day. From La Repubblica May 10th 1978 Roma, via Caetani, from the series Muri di Piombo, text s translation in English 49

50 Torino Re Umberto, from the series Muri di Piombo,

51 TORINO CORSO RE UMBERTO, n. 56 NOVEMBER 16th 1977, 2 p.m. CARLO CASALEGNO Yesterday was supposed to be a normal working day for Carlo Casalegno, deputy-editor for La Stampa [...] But yesterday morning Casalegno had a dentist appointment, so he left alone in his pale blue Fiat 125. He arrived in the newsroom at the usual time, and left alone. He got home at He parked in the side street near the pave-ment in Corso Re Umberto. He got out of his car and walked into the hallway, at the end of which there is a door on the left leading to the lift.he did not even have the time to open it. The terrorists appeared. It was very dark, there was no one around; no one saw a thing, or was capable of telling the police what happened exactly. [...] Someone heard the shots. The criminals shot four times. They aimed and fired four shots. Casalegno did not have time to react,he fell on his back on the marble floor losing his glasses. Alarmed by the sound of gun shots and the noise made by the fleeing commando, the first to rush to his assistance, suffocating a scream was the building s caretaker [...] Carlo Casalegno was on the floor, his face covered in blood. The woman called for help; she ran outside shouting They have shot Professor Casalegno; call the police, call an ambulance-.. From the third floor, where the Casalegnos lived, his wife and the maid came running. His wife knelt on the floor and embraced her husband... From La Stampa, November 17th 1977 Carlo Casalegno died in Turin on November 29th 1977, after a long struggle that lasted 13 days. Torino Re Umberto, from the series Muri di Piombo, text s translation in English 51

52 Muri di Piombo, , installation view, Nederlands Fotomuseum, Rotterdam, Netherlands, exhibition Angry, Young and Radicals,

53 Muri di Piombo, , installation view, MamBO - Modern Art Museum of Bologna, Italy, exhibition Collezione I. Focus on contemporary Italian Art,

54 Eva Frapiccini (Recanati, Italy ) CV EDUCATION IED European Institute of Design, Torino, IT (BA Photography) University of Bologna, Bologna, IT, (BA and MA Art History) RESIDENCIES 2012 The Townhouse Gallery, Cairo, EG 2011 Nac Foundation, Rotterdam, NL FELLOWSHIPS / STIPENDS 2012 GAI - Association for the Young Italian Artists Circuit / Ministero per i beni e le Attivita Culturali - MOVIN UP, IT 2011 Reso program, by the Piedmont and CRT Foundation, artist-residency at the Townhouse Gallery in Cairo, EG 2005 Passport for Art Prize, Unicredit & Art, IT 2003 Scholarship Merit-Based, European Institue of Design, Torino, IT AWARDS 2010 Special Italia Prize, Fondazione Fotografia Modena, IT 2008 Best 5 Portfolios at the Festival Rencontres d Arles, Arles, F 2006 Descubrimientos PhotoEspana - Nomination, E Pesaresi / Contrasto - Si Fest, IT 2005 Canon Prize 54

55 RESEARCH PROJECTS Dreams Time Capsule, curated by E. Tosoni 2014 (upcoming) Casa TresPatios, Medellìn, CO (upcoming) Umea, SE 2013 (upcoming) Federation Square, Melbourne, AU (upcoming) RM Gallery, Auckland, NZ (upcoming) Press to Exit project space, Skopje, MK (upcoming) 5533 Art Space at IMÇ Istanbul Textile Traders Market, Istanbul, TR (upcoming) KIM? Contemporary Art Center, Riga, LV 2012 Arkitekturmuseet, Stockholm, SE Townhouse Gallery, Cairo, EG 2011 Piazza Maria Teresa, Torino, IT SOLO EXHIBITIONS 2011 Museo Caneira La Fisica Del Possibile, curated by E. Tosoni, Alberto Peola Gallery, Torino, IT Thank You For Coming!, Nac Foundation, Rotterdam, NL 2008 Muri Di Piombo, UniCredit Project Room, Milano, IT Muri Di Piombo, Museo Diffuso e della Resistenza, Torino, IT GROUP EXHIBITIONS (Selected) 2013 (upcoming) Biennale Giovani Artisti / Young Artists Biennal, Villa Reale, Monza, IT Incheon Art Platform, 4th Preview Exhibition the Incheon Art Platform, Incheon, Korea La Storia Che Non Ho Vissuto. Testimone Indiretto (The History I Never Lived Through (Indirect Witness) curated by Marcella Beccaria, Museo Castello di Rivoli, Torino, IT Essere Deboli e Umano e Percio Deve Cessare, Turin Goethe Institute, project commissioned by the Turin Goethe Institute and Volksbuhne Theater - Teatro Stabile di Torino, Torino, IT 2011 Angry, Joung And Radical, curated by Iris Sikking, Nederlands Fotomuseum, Rotterdam, NL WENEAD, Piazza Verdi, Bologna, public art project commissioned by the festival ON. Luci di Pubblica Piazza, curated by A. De Manincor and M. Angelotti, Bologna, IT 55

56 2010 Ricerca tra le righe, Art and Humanities Library, University of Torino, Torino, IT The 12th International Architecture Exhibition, Italian Pavillion, curated by Luca Molinari, Venice, IT Tre, curated by F. Maggia, Fondazione Fotografia Cassa di Risparmio di Modena, Modena, IT 2009 GE09, Da Guarene all Etna, , curated by F. Maggia, Sandretto Re Rebaudengo, Guarene d Alba, IT Eppur Si Muove, curated by I. Guerrero, J. Klaring, P. Vermoortel, Palazzo Ducale, Genova, IT 2008 Focus On Contemporary Italian Art, c. by G. Maraniello, MAMbo, Modern Museum of Bologna, Bologna, IT 2007 Mutation I, Museum Auf Abruf, Wien, Austria, A Pazi Mine, Fondazione Sandretto Re Rebaudengo, Torino, IT Mutation I, curated by Emiliano Paoletti, Museo Bilotti, Roma, IT Mutation I, House of Photography, Moskva, Russia, RUS 2006 Mutation I, curated by Jean - Luc Monterosso, Maison de la Photographie, Paris, F Mutation I, Martin Gropius Bau, Berlin, Germany, DE Mutation I, curated by P. di Felice, Casino Luxembourg, Luxembourg, L Mutation I, Bratislavsky Hrad, Bratislava, SK Ge06 Da Guarene All Etna 2006, c. by F. Maggia, Sandretto Re Rebaudengo Foundation, Guarene d Alba, IT Festival Internazionale di Fotografia di Roma, Museum of Rome Trastevere, Roma, IT Sarajevo Winter Festival, Sarajevo, BIH 2005 Nuovi Arrivi 11, Albertina Academy of Fine Arts, Torino, IT SCREENINGS 2013 Aleksander Prus Caneira. Quantum Phisycs And The Portals Of The Unconscious, Lys i Gamle Hus, Dale, NO, organised by NKD, Nordic Artists Centre Dale, NO 2012 Aleksander Prus Caneira. Quantum Phisycs And The Portals Of The Unconscious, Kunsthaus Tacheles, Berlin, DE 2011 Art Of Inexperience, curated by Simone Menegoi, KIM? Contemporary Art Centre Spikeri, Riga, LT Invisible Blindness, curated by Aria Spinelli, Mkhitar Sebastatsi Educational Complex, Yerevan, ARM 56

57 LECTURES 2012 Arkitekturmuseet, Stockholm, panel with Magnus Ericson (Arkitekturmuseet), Joanna Sandell (Botkyrka Konsthall) and Elisa Tosoni (curator), Stockholm, SE Fittja, Festival Fittja Open, panel with Magnus Ericson (Arkitekturmuseet), Joanna Sandell (Botkyrka Konsthall) and Elisa Tosoni (curator), Fittja, SE 2011 Talk The Day of Anger, Nederlands Fotomuseum Rotterdam, NL RAiR Artist Talk, Het Wilde Weten, Rotterdam, NL 2010 Public talk about the book Eva Frapiccini. Muri di Piombo at the Italian Parliament Library, upon invitation by the Italian Senate, Roma, IT TEACHING ACTIVITIES 2013 Master MFA in Imaging Arts - Photography - tutor - Fondazione Cassa di Risparmio di Modena, IT Course of Video - teacher - IED European Institute of Design, Torino, IT Course of Documentary Photography - teacher - Academy of Fine Arts, Bologna, IT 2012 Course of Documentary Photography - teacher - Academy of Fine Arts, Bologna, IT 2011 Talk The Day of Anger, Nederlands Fotomuseum Rotterdam, NL RAiR Artist Talk, Het Wilde Weten, Rotterdam, NL 2010 Public talk about the book Eva Frapiccini. Muri di Piombo at the italian Parliament Library,upon invitation by the Italian Senate, Roma,IT 2009 Course of Documentary Photography - teacher - Academy of Fine Arts, Macerata, IT Lecture at the International Festival of Photography, Palazzo delle Esposizioni, Roma, IT PUBLIC COLLECTIONS & FOUNDATIONS Museum Castello di Rivoli, Rivoli, IT MAMbo Collection - Modern Museum of Bologna, Bologna, IT Sandretto Re Rebaudengo Foundation - Torino, IT Fondazione Torino Musei (Turin Museums Foundation), GAM Modern Art Gallery, Torino, IT Fondazione Cassa di Risparmio di Modena Collection, Modena,IT 57