We’re proud to say that CASTRO Abitante Caterina De Nicola has been selected to participate to this amazing show while at CASTRO.

Vernissage jeudi 7 février 18:00

Le ciel, l’eau, les dauphins, la vierge, les flics, le sang des nobles, l’ONU, l’Europe, les casques bleus, Facebook, Twitter

Exposition du 8.02 au 17.03

Mélanie Akeret, Marilou Bal, Trudy Benson, Deborah Bosshart, Vittorio Brodmann, Ralph Bürgin, Guillaume Dénervaud, Anna Diehl, Natacha Donzé, Othmar Farré, Marie Gyger, Catherine Heeb, Séverine Heizmann, Lauren Huret, Ken Kagami, Jan Kiefer, Real Madrid, Laure Marville, Thomas Moor, Flora Mottini, Kaspar Müller, Markus Augustinus Müller, Caterina de Nicola, Jean Otth, Max Ruf, Arnaud Sancosme, Liem Truong, Andrew Norman Wilson

We’re proud to say that CASTRO Abitante Jennifer Taylor has been selected to participate to this amazing workshop while at CASTRO.

Testing Ground Master Class is a week-long intensive for emerging artists developed in collaboration with artist Doug Fishbone at the Zabludowicz Collection.

Now in its seventh year, Master Class offers a unique and free opportunity for eight emerging artists selected through a national Open Call. Over the course of a week, the participants work closely with leading international artists and key arts professionals to discuss and develop their individual practices through a series of lectures, tutorials, workshops, gallery visits and seminars.

The week is structured around four public lectures and closed teaching days from guest artists. The guest artists this year are Janice Kerbel, Haroon Mirza, Keith Piper and Amie Siegel. Previous guest artists include Jake Chapman, Michael Dean, Richard Wentworth, Monster Chetwynd, Marcus Coates, Omer Fast, Joseph Kosuth, Linder, Heather Phillipson, Elizabeth Price, and Mark Titchner, among others.

The emerging artists participating in this year’s initiative are: Catalina Barroso-Luque(Scotland), Alexandra Brunt (Northern Ireland), Steve Burden (South West), Claire Davies(Midlands), Jure Kastelic (London), Angel Rose (South East), Jennifer Taylor (Wales),Joshua Ward (North). Past participants have gone on to have exhibitions at Hannah Barry Gallery (Lindsey Mendick, Master Class 2015), Matt’s Gallery (Bronwen Buckeridge, Master Class 2014), Jerwood Gallery (Chris Alton, Master Class 2017, Joe Fletcher Orr, Master Class 2016, Simeon Barclay and Lindsey Mendick, both Master Class 2015), Liverpool Biennial 2018 (Holly Hendry, Master Class 2016), Vitrine Gallery (Sam Blackwood, Master Class 2018), and Tate Britain (Simeon Barclay, Master Class 2015).

Now in its 11th year, Testing Ground for Art and Education is an annual season offering creative and professional development opportunities for emerging artists and curators. Through collaboration with educational and artist-led organisations, Testing Ground facilitates a consideration and testing-out of new ideas and modes of practice, and the development of experimental exhibitions and events. This year’s iteration includes Master Class; an exhibition curated by students from MA Culture, Criticism and Curation at Central St Martins; MA Curating and Collections at Chelsea College of Art; and MA Film Programming and Curating at Birkbeck; and a project with students from the Royal College of Art’s MA Sculpture programme, to take place in February.



Zabludowicz Collection is a philanthropic organisation including a growing collection of contemporary art and a programme of international exhibitions, events and artists’ residencies. Founded in 1994, the Collection is dedicated to fostering new audiences and a sustainable environment for contemporary art, offering a variety of opportunities and support for artists and art organisations. All of its activities are privately funded and free for the public to access.

The collection contains over 3000 works of art by more than 600 artists, spanning 40 years of art production. Its focus is on emerging art from the late 20th century to the present day and it is in constant development. The Collection has been directed since 2006 by Elizabeth Neilson.

In 2007 the Collection opened its main exhibition space in London, in a 19th Century former Methodist Chapel, where it has worked with artists, curators and the collection to produce exhibitions and events examining contemporary art practice in a public forum. The Collection now also runs an international programme of exhibitions, events, residencies and commissions across four permanent venues in the UK, USA and Finland. The programme is directed by Maitreyi Maheshwari.

We’re proud to say that CASTRO Abitante Catherine Parsonage will be showing in Milan while at CASTRO.

Clima presents

Notes in Green

A solo presentation by Catherine Parsonage

Text by Rosanna Mclaughlin

Opening reception

Friday, February 8th

7.00 – 9.00 pm


We’re proud to say that CASTRO future Abitante Alberta Romano is curating this amazing show in Naples.

Every breath you take

Eva Papamargariti, Giulio Scalisi, The Cool Couple
curated by Alberta Romano
18 December 2018 – 22 February 2019
Galleria Umberto Di Marino

Every breath you take wants to build a path through the various forms that the manipulation of our surrounding can
take. The works of Giulio Scalisi, The Cool Couple and Eva Papamargariti respectively investigate three aspects of
everyday life: politics, signals/communication management, and nature, trying to describe their characteristics, their
developments and their social, cultural and political implications with everyday life.

Every breath you take
Every move you make
Every bond you break
Every step you take
I’ll be watching you
Oh can’t you see
You belong to me

click here to see the exhibition

click here to read a sci-fi novel written by Alberta Romano

We’re proud to say that CASTRO Abitante Vincenzo Di Marino is curating this amazing show in Naples.

Pubblication made for the finissage of Luca Staccioli solo exhibition, Donner à voir, at Fondazione Pini, Milan.
The pubblication was presented during the conversation between Luca Staccioli (artist), Matteo Binci (researcher, independet curator, contributor for several italian art magazine), Piergiorgio Caserini (editor, graphic designer, independent researcher), Sonia D’Alto (art historian, independent curator, editor and contributor for several national and international magazine).

click here to donwload the pubblication

click here to see the exhibition

Iron Shield Against The Sun is a pubblication curated by Bite The Saurus, presented in the occasion of Studi Festival at Fabbrica del Vapore, Milan. The pubblication is a collection focused on how scientifc progress affects the perception of the body, revealing it as a “lacking machine”. The technological grafting process not only aims to the functional improvement of the human being as a biological organism, but leads to its progressive physical disappearance. Through the use of different media, the visual and textual compendium tries to reflect on the advent and use of some of these “super-prostheses” that overlap more and more flters between man and the reality that surrounds it. A reality that is dissolved in the hybrid and transhuman experience between real and virtual and which ultimately questions the identity of the individual.

click here to donwload the pubblication

click here for the open source drive

We’re proud to say that CASTRO Abitante Caterina De Nicola is hosting this amazing show in her project space in Lusanne.

Stefania Carlotti – Garantie

“Here’s the person I want. Hullo, person! Doesn’t hear me.
Perhaps if the future existed, concretely and individually, as something that could be discerned by a better brain, the past would not be so seductive: its demands would be balanced by those of the future.
Persons might then straddle the middle stretch of the seesaw when considering this or that object. It might be fun. But the future has no such reality (as the pictured past and the perceived present possess); the future is but a figure of speech, a specter of thought.

Hullo, person! What’s the matter, don’t pull me.
I’m not bothering him. Oh, all right. Hullo, person . . . (last time, in a very small voice).

When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object. Novices must learn to skim over matter if they want matter to stay at the exact level of the moment. Transparent things, through which the past shines!

Man-made objects, or natural ones, inert in themselves but much used by careless life (you are thinking, and quite rightly so, of a hillside stone over which a multitude of small animals have scurried in the course of incalculable seasons) are particularly difficult to keep in surface focus: novices fall through the surface, humming happily to themselves, and are soon reveling with childish abandon in the story of this stone, of that heath. I shall explain. A thin veneer of immediate reality is spread over natural and artificial matter, and whoever wishes to remain in the now, with the now, on the now, should please not break its tension film. Otherwise the inexperienced miracle-worker will find himself no longer walking on water but descending upright among staring fish. More in a moment.”

Transparent things, Vladimir Nabokov

“Garantie” was a one-day solo show by Stefania Carlotti at Chavannes 45, Route de chavannes 45, 1007, Lausanne (CH).Chavannes45 ‘n WishingWell Crossover, Opening reception monday 14th january 2019 6 – 10 pm.
Wishing Well is an exhibition project created and run by the students of the European Art Ensemble Master Program at ECAL and the artist Mélanie Matranga. Each month, since november 2017, a show presenting the work of one or more students is organized and curated collectively by the student body and Mélanie Matranga.
Wishing Well is hosted by Chavannes 45, a collective and artist runspace situated in Lausanne

Theoretical pubblication producted in occasion of the exhibition
Bite The Saurus #1, Luca Staccioli, The other other, familiar other
Riot Studio, Naples
from 26.01 to 08.02.2018

click here to read:
Bite The Saurus #1 Luca Staccioli, The other other, familiar other

Theoretical pubblication producted in occasion of the exhibition
Bite The Saurus #2, Roberto Casti & The Boys and Kifer,
INTROITUS (Parte del Tutto)
Chiesa di San Giuseppe delle Scalze a Pontecorvo, Naples

click here to read:
Bite The Saurus #2 Roberto Casti & The Boys Kifer, INTROITUS (Parte del Tutto)

Theoretical pubblication producted in occasion of the exhibition
Bite The Saurus #3 Giuliana Rosso, A Creepy and Holy Jingle (Un Timoroso e Sacro Tintinnio)
La Casaforte S.B., Naples
from 08.12.2018 to 03.01.2019

click here to read:
Bite The Saurus #3 Giuliana Rosso, A Creepy and Holy Jingle (Un Timoroso e Sacro Tintinnio)

We’re proud to say that CASTRO Abitante Caterina De Nicola is curating this amazing show in her new project space in Lusanne.


I sincerely hope this email finds you well. I follow the endless engagement and amazing work you carry on, therefore I would like to invite you to contribute to a project which reflects and researches on the structures and dynamics of operating within an independent art scene. Below you will find the invitation to participate in the exhibition Opening Reception.

Nowadays, endless turnover of exhibitions pullulates art spaces. Sometimes, exhibition making feels like an accelerated practice that follows rules of accumulation and overproduction. Artists and curators alike are on the constant need of producing relations, concepts, situations, and of stimulating discourses, assemblages, and meaning.

Opening Reception deals with the practice of exhibition making and pushes its production to the edge of ephemera. The exhibition moves from Italo Calvino’s novel “If on a winter night a traveler”.

“If on a winter night a traveler” is a meta-novel: a novel about the experience of reading, whose protagonists are both the fictional and the actual reader. Narrating the readers’ thoughts, difficulties (like the layout of the book) and happenings which occur while reading, Calvino creates a book that collects incipits of potential novels. Each chapter is a new beginning of a story that the readers will never have the chance to finish because they do not exist yet -and never will.

Opening Reception might work in the same way: it is a meta-exhibition, an exhibition about possible exhibitions and narrates the story of the beholder who is confronted with different narratives and subjects which might be on display, without ever completing their experience.

We would like to kindly invite you to participate in our speculative exhibition by contributing with the format you think it makes sense: a title, participating artists, a text, a refusal, a poster, a flyer, an invitation letter, a picture, or anything that would make sense for you.

Opening Reception is part of a research project on collaborative dynamics and economies of generosity within the independent art scene and will take place in Lausanne at Route de Chavannes 45 on the 8th December, in occasion of the festival Les Urbaines.

With our kindest greetings,

Francesca Brusa, Caterina De Nicola, Elin Gonalez, Lucas Erin, Benjamin Louis Xavier Zollinger

Anton Mirto – https://vimeo.com/a2company

[…] The idea of the performance was literally try to “take presence”. As Nancy notices, presence is a temporal “intensity” expressed through bodies representation, that is their actions and affective moves; it means “incarnate” an action for obtained a specific body as concretion of subjectivity. Is in this way that bodies are theatre, and perform the self as representation. The historical urgency for which arose a need for a different time-theory in art, is strictly related to big change that cities and society were facing […]

[Piergiorgio Caserini]


click here to read the text by Piergiorgio Caserini on Lo Squaderno #49

click here to read the entire pubblication – Lo Squaderno #49


A “crit” is a seminar in which student-artists present their work for collective critique

Crits have no rules except students have to listen to and respect each other.

Crits may be opportunities to hash out communal meanings, but that doesn’t mean that students finish the semester with uniform values.

Group critiques offer a unique situation in which everyone focuses on the student’s work with a mandate to understand it as deeply as possible.

Crits can also be painful rituals that resemble cross-examinations in which artists are forced to rationalise their work and defend themselves from a flurry of half baked opinions that leave them feeling torn apart.

To get the most out of your crit, you have to have a mysterious blend of complete commitment to your decisions and total openness to reconsider everything. There is no point in being too brazen.

Falling apart in a crit is not as shameful as one might expect. Intellectual breakdown is an essential component of pedagogy.

Exhaustiveness is necessary. Key. Endurance is also essential. When one has nothing to say, that becomes the question, in which case that’s a really interesting conversation.

Crits prepare students for a professional career because “negotiating interviews, conversations with critics, press releases, catalogues, and wall texts are part of the responsibility of the artist. It helps them develop thick skins and come see criticism as rhetoric rather than personal attack. Also students need to understand their motivations, deeply, to discover which parts of their practice are expendable.

CRITICALITY shouldn’t be confused with being harsh or hostile, because you can be unthinkingly negative; it’s a deep inquiry so as to expose a dialectic. If you are on autopilot, you are not critical.

Criticality is a strategy for the production of knowledge. Our view is that art should interrogate the social and cultural ideas of its time. Other places might want a work to produce pleasure or feelings.

Criticality is the code word for a model of art-making that foregrounds research and analysis rather than instincts and intuition.

You can do anything you want if you can defend it.

“The people who matter most for artists are the peer group. If you look at art history, all the Renaissance artists knew their contemporaries. So did the impressionists. There was a moment in their lives when they were all friends and acquaintances. The cubists were not simply individual geniuses. Their greatest works happened in conjunction. Who was Van Gogh’s best friend? Gauguin.”




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