Are memories collectable? How can we collect an artist residency? Open House reflects on the significance of artists’ residencies at Delfina Foundation over the last 10 years. The format ex- pands on the traditional iteration of Open House, where the public are invited to wander through the interior of architecturally significant buildings. As such, over a single weekend visi- tors are invited to explore Delfina Foundation’s domestic spaces, and access past residents’ memories in a unique collision of past and present.
Drawing on their respective residency memories at Delfina Foundation, artists now based both in the UK and internationally, have produced a series of new site specific artworks. The Open House project invites audiences to reflect on and engage with the period of research, domestici- ty and conviviality which typifies artists residencies, but remains largely a private experience. Through commissioned artworks and a parallel programme of events, this temporary reassem- bly of a collection of memories encompasses the digital, performative, gastronomical and sculp- tural. Open House aims to foster new lines of creative enquiry into the role of residency pro- grammes in the UK, as well as the intersections between public and private in contemporary art today.
Open House is a partnership between Delfina Foundation and six curators from the Curating Contemporary Art MA Programme at the Royal College of Art, part of Graduate Projects 2017.
School of Humanities
MA Curating Contemporary Art, 2017
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I perceive Curating as taking care, on a total level, throughout a multiplicity of actions. Orchestrator, choreographer and pre-situationist, the Contemporary Curator is to me mostly a thinker, remarkably curious and unceasingly aware. Like pollinators do for flowers, so the Curator gravitates around Art to propagate its own force. Not as a demiurgic presence but more like an acute observer and nearly invisible performer.
Live Art particularly interests me for the dynamics it generates in time and space, when performances of Presence interchange and mingle. I pursue the impetus of the live, to achieve the mutual feeling of both the spectator to experience the Real, the flesh, and of the artists To be, Presence, alive. I strongly believe the career of the artist should be more sustainable and supported in contemporary societies, to include creative talents and genius that can enlarge Art’s own potential to educate, empower and liberate.
My practice focuses on bringing bodies together to enjoy, reflect and proactively experience in the here and now, using the exhibition as a dialogical space for the production and re-generation of experiences of Presence. Always seeking to reach different audiences to incorporate what can be considered as marginal, my attention lies on subjects more than objects — acknowledging that any artistic process defined as such is built on collaboration.
Technology fascinates me as opportunity to reflect on the possibilities for the Performance to exist, to develop and perpetuate within multiple spaces and layered temporalities. I promote creativity as integral component necessary to critically challenge static operational modes of reception and perception of Contemporary Art, approaching the Internet as playground and arena, as field of activity and space for experimentation. I am interested in ways to mediate, document, archive and collect time-based practices to guarantee future access and finally discuss immateriality and the ephemeral as substantial values and not just evening’s entertainments.
- BA Humanities, Sciences and Technologies of Arts and Entertainment Arts, Università Cattolica del Sacro Cuore (IT), 110 with Honours, 2015
- Domestic Violins, Courtyard Gallery 1 RCA, London, 2016; Lime-in-aid: Prevention is the cure, Limehouse Town Hall, London, 2016; Rhythmic Osmosis, Limehouse Town Hall and Courtyard Gallery 1 RCA, London, 2016; Barangay South Kensington, London, 2017; Open House, Delfina Foundation, London, 2017