In a new guise, starting with the artistic direction of Sarah Cosulich and going all the way up to the distinctive fiery red visual identity, Pinacoteca Agnelli, a stone’s throw from the fairgrounds, reopened its doors a few months ago and is ready to welcome visitors at Artissima with the second edition of “Beyond the Collection”, an exhibition project created to occur again year after year and which develops from an ever-changing work from the Agnelli collection. This time, Giambattista Tiepolo’s work A Halberdier in a Landscape is compared with Simon Starling’s exhibition project as part of the Tiepolo x Starling exhibition, on view until Feb. 5. At the same time, four new installations by artists of different generations are on display on La Pista 500 (i.e., on the rooftop of the Lingotto, an area of the Pinacoteca renovated for the new opening): the parking area by Liam Gillick, the billboard with photography by Nan Goldin, the SUPERFLEX sign, and the special road signs by Marco Giordano. These join the eight works previously exhibited in a tight dialogue with the architecture of the former FIAT factory. Enriching the proposal is the performance All Fours by Nina Beier and Bob Kil, which overturns the symbols of power represented in the monuments. On view on La Pista 500, at sunset, until Nov. 6. 

Curated by Irene Calderoni and Amanda Sroka and on view in Turin until Feb. 26 – along with a series of new exhibitions opening on the occasion of Artissima at the Fondazione Sandretto Re Rebaudengo, including the Illy Future Prize won by Diana Policarpo – Air Pressure (A diary of the sky) is the new multichannel video and audio installation by Lawrence Abu Hamdan, an independent audio researcher and winner of the third Future Fields Commission in Time-Based Media, awarded jointly by the institutions Fondazione Sandretto Re Rebaudengo and the Philadelphia Museum of Art. Based on a screenplay written by the artist, the work explores the ecology of noise typical of Lebanese airspace and focuses on incidents in which the Israeli Air Force crossed Lebanese skies in violation of agreements between the two nations. To produce the work, the artist drew on visual and sound recordings and archival materials, which include digital content posted by users and citizens through social media, using the Arabic hashtag #حربي_بالاجواء (which translates to #warintheatmosphere). Abu Hamdan also made his research accessible through an online database AirPressure.info.  

Moving in that hybrid territory between art and cinema that brings together the different technical experimentations related to moving images under the term video art, the collective exhibition includes works mostly unreleased in Italy made by internationally renowned artists such as Larry Achiampong, Yael Bartana, Adelita Husni-Bey and Jonathas de Andrade. On view until April 30, 2023, the group show addresses urgent contemporary issues such as the relationship between the individual and the collective, providing multiple readings from different cultural contexts, capable of highlighting the contradictions of the present in a society increasingly polarized between conflicts, ideologies and inequalities. The event, organized by Artissima in collaboration with Intesa Sanpaolo, can be visited downtown at the Gallerie d’Italia headquarters in Piazza San Carlo. Leonardo Bigazzi has curated the project, curator of In Between Art Film and Schermo dell’arte, who recently co-curated another unmissable exhibition in Venice, entitled Penumbra, dedicated to video art too (on view until Nov. 27, for those in the lagoon).

Until November 6, OGR is hosting Ludovica Carbotta’s project I come from outside of myself, an ideal pavilion, a fragile, mobile and extra-territorial architecture designed to move ideally from country to country. Moreover, it does not, as its traditional functions would have it, include hosting people. In doing so, the space is transformed into a source of production of pavilions and displays sculptures made from casts, replicated thanks to self-made machinery that recycles plastic. The exhibition, curated by Samuele Piazza, speaks of the present time through a device to reflect on the nature of European borders, between limits and possibilities. After the Turin launch phase, the pavilions will begin to circulate, giving rise to other occasions for debate. The next one will be in Rome, on November 17, on the occasion of The European Pavilion, a multidisciplinary and pan-European initiative.

Cleo Fariselli’s exhibition Your Storm Our Dew at the Almanac Inn space is inspired by the events of the past two years and reflects on the concept of “dilated emergency”, a contemporary topic that has established itself as a paradoxical state of normality. In response to this constant feeling of distorted and inherent unpredictability, the artist creates an emotional environment on view until Jan. 29, made up of imaginative narratives that revolve around object elements typical of states of emergency, capable of generating alien and distorted ecosystems. Realized thanks to the support of the Italian Council (2021), the work consists of a video with a documentary and at the same time surrealistic style where the movements and visual effects are inspired by those of black light theater, an expression of puppet theater based on a principle of optical illusion, where the human eye does not distinguish the actors from the background. 

Like a TV series starring a number of detective investigations which are difficult to solve, a performance by artist Luca Bosani will be held on Nov. 5 from 6 to 11 p.m. at the headquarters of Osservatorio Futura. Bosani will stage a series of elements related to a strange, apparently unidentifiable event that occurred on the morning of Sept. 30, 2022 in the Lombardy countryside between Saronno and Paderno Dugnano. From that moment on, Bosani has been investigating the event, playing the role of a private detective. A series of unexplained events, involving strange morning sightings, lead him to Turin at Osservatorio Futura, a nonprofit space founded in September 2020 and dedicated to experimentation and research for emerging art. At the end of the exhibition, Bosani’s props and sculptures will remain on display and go into a set design. To find out if you can solve the puzzle, there is time until Dec. 9.