As part of the Phenomenology of Contemporary Arts course, the Corpo presente (Present Body) workshop will be led by one of the most important figures on the dance scene (creator, dancer and performer), Marco Mazzoni, co-founder of the Kinkaleri group in Florence, to experiment with and develop appropriate teaching methods together with the students. The event/workshop begins with a number of performances to explore, through words and movement, some of the core elements of the group’s work: body, synthesis and language. These themes give rise to practices that can challenge established perspectives and open up new realms of imagination. Kinkaleri is an artistic collective founded in the late 1990s, active in dance, performance and the visual arts, whose work is characterised by an essential and radical aesthetic, as the relationship between body and language is at the heart of Kinkaleri’s research.

Their most important productions include: Doom (1996), OTTO (2002/2003), WEST (2003–2006), I Cenci/Spettacolo (2004), Nerone (2006), Yes Sir! (2008), Nessun Dorma (2009–2010), All! (2012-2017), No Title Yet (2017), OTTO (2003/2018), INFERNO (2021), OtellO (2021), HellO° (2022/23), AcrossKissKissYou (2024), IO DANZO IO PARLO (2025), Some Dances on Dickfaces (2026). In 2002, the company received the LO STRANIERO AWARD for Promising Talent and, also in 2002, the UBU AWARD for OTTO as the best theatre/dance production of the year.

Phenomenology and method for contemporary hyper-connectivity.

Workshop by the duo LU.PA as part of the course “Performance Techniques for the Visual Arts” led by Prof. Elena Bellantoni.

How can we give visible form to the constant external stimuli that affect us in our daily lives?
What impact does a sudden phone call have on our relationship with our environment, with our own bodily presence and with others?
The light from a screen attracts attention. Does this detract from the attention needed to be in the here and now? Or does it enhance hitherto hidden human abilities?

The LU.PA workshop explores the contemporary state of hyperconnectivity and uses it as a tool to create a group choreography with the students.
The method explored during the various sessions will be based on exercises developed by the duo during the creation of the performance Iperconnesse, while the final outcome of the course will result in a new performance work.

The workshop is intended to support a performance by the duo Lupa with students from the Department of Multimedia Arts for the Costellazione Boario project, which will be presented at the Romaeuropa Festival on 24 October 2026.

The workshop, proposed for the 2025/2026 academic year and organised by Prof. Fabio Dell’Aversana, aims to provide students with practical tools to understand and address the transformations in the processes of creating, producing and disseminating works of art and visual content.

The workshop offers a training programme divided into an initial theoretical phase and a second phase of a practical, workshop-based nature: the first aims to address the main legal aspects related to the use of artificial intelligence in creative processes, while the second involves practical activities and case study analyses, with the aim of equipping students with a critical and informed approach.

Schedule of sessions:
Thursday 14/05/2026: 10:00–15:00
Monday 18/05/2026: 10 am – 1:30 pm / 2 pm – 7 pm
Monday 25/05/2026: 10 am – 1:30 pm / 2 pm – 7 pm
Thursday 11/06/2026: 10 am – 4 pm

Speakers:

• Tommaso Zanello (artistically known as “Piotta”) – Artist and Nuovo IMAIE Representative;
• Renato Tanchis – Catalogue and Strategic Marketing Director at WARNER MUSIC ITALY;
• Francesco Marchese – Expert in copyright law in the music industry and Label Manager;
• Silvio Pascucci – Legal consultant in the field of AFAM;
• Simona Caramia – Academic Director of the “Performing Festival” at the Academy of Fine Arts in Catanzaro;
• Angelisa Castronovo – Expert in Film Law;
• Errico Formichella – Expert in Cultural Design;
• Manuel Fabozzo – Expert in Third Sector Associations and Organisations;
• Pietro Graziano – Expert in Digitalisation of Cultural Heritage.

Professionalism and craftsmanship.
The commedia dell’arte, from the beating of the mask to the dramaturgical definition of the characters

This is an institutional project of the Academy of Fine Arts in Rome – BIP (Blended Intensive Programme) ERASMUS + conceived and directed by Marcello Gallucci, with CLAUDIA CONTIN ARLECCHINO and LUCA FANTINUTTI, with the friendly and indispensable collaboration of Professors Alessandro Zicoschi, Emanuela Trixie Zitkowski and Claudia Federici, and the cheerful complicity of Profs. Fakiye Özsoysal and Metin Balay.

Participants:
Academy of Fine Arts in Frosinone
Yeditepe University, Istanbul, Turkey
ESAD in Seville, Spain
EDI of Murcia, Spain

 

The subtitle of the workshop aims to draw attention to an internal process of the Commedia dell’Arte in all its forms, even if it is often overlooked. From the early days of coming together and organising themselves to produce performances, to the establishment of permanent theatres in the golden age of Riccoboni’s Paris, and on to the decline in the 19th century, the Commedia dell’Arte actors combined the extraordinary skill of their performing art and the exceptional quality of the “improvised” dramaturgy that characterised the genre with the ability to organise themselves independently, creating all the material resources necessary for their performances themselves. While a moving and still recent film (The Adventures of Captain Fracasse, by Ettore Scola, 1990) gave us a detailed and accurate depiction of what was plausibly the “travelling home” of the comedians, and the design of the costumes for the main characters is defined with increasing precision. However, the “mask” remains, essentially, a separate story and difficult to investigate. For the most part, the related issues are resolved by invoking a contrived “collaboration” between actors and professional “mask-makers” to justify the evolution of the masks and the clarification of the different types.

However, this interpretation has an objective limit in terms of its applicability: while it is true that the guild of mask-makers had been active in Venice since as early as 1436, specialising in the production of masks for court performances and for the carnival, the creation of a “mask” for a professional actor is such a personal matter that it cannot be delegated to others under any circumstances. It is as if to say that an actor puts his face into the mask…
In their analytical project on commedia dell’arte, CLAUDIA CONTIN ARLECCHINO and LUCA FANTINUTTI reconstructed the methods used to design and create traditional masks. They not only explored the symbolic universe of archetypes but also, with an analytical depth that encompasses both Eastern and Western theatre, identified the constants and adjustments of the expressive lines, the evolution of which (in the author’s view) guides and influences the development of the genre and its associated dramaturgy.
Together with CLAUDIA CONTIN ARLECCHINO and LUCA FANTINUTTI, an exceptional exponent of the great craft of theatre and film, EZIO FLAMMIA, will enable us to explore the new possibilities for recreation offered by an ancient technology, but one that he has revisited with the precision of a leading figure in contemporary art.
During the workshop, Claudia Contin Arlecchino will present the new edition of the Mondologo di Arlecchino, the show that, thirty-five years ago, hailed her as the new incarnation of the mask, ensuring her success in Europe, America and Asia.

 

Timetable

GIORNO	ORA	LUOGO	INFO
Lunedì 4	ore 10	Aula Magna dell’Accademia, Via di Ripetta 222	Ricevimento studenti stranieri e procedure di registrazione al workshop
	ore 11		Prof. Alessandro Zicoschi, Responsabile Erasmus ABAROMA – indirizzo di saluto e introduzione ai lavori. M° Ezio Flammia (artista e ricercatore, Roma): “La Maschera: il vero volto dell’Uomo”. Prof. Gennaro Vallifuoco(Scenografia, ABA Napoli): “La Maschera tra origini rituali, teatro e iconografie”. Prof.ssa Beatriz Prior, ESAD Sevilla: “Habitar la máscara. El cuerpo frente al espejo”. Prof.ssa Dalma Frascarelli, ABAROMA: “La storia senza eroi: la pittura di bambocciata e la Commedia dell'Arte”. Prof. Marcello Gallucci, ABAROMA: "A dir sempre di sì…”.
Martedì 5	ore 10 - 13	Sede di Campo Boario Largo Dino Frisullo	Avvio del workshop di Claudia Contin Arlecchino: 1) fisiognomica delle maschere, elementi di disegno e progettazione grottesca delle maschere.
	ore 13 – 14,30		PAUSA PRANZO
	ore 14,30 – 17,30		Workshop 2) analisi del movimento grottesco del corpo sotto maschera; principi della lavorazione del legno e del cuoio.
	ore 17,30	Campo Boario	Il caffè dell’Arte. Incontro studenti e docenti sui temi del workshop.
Mercoledì 6	ore 15	Forum Theatre, Piazza Euclide 34	IL MONDOLOGO DI ARLECCHINO A 35 anni dalla prima edizione, Claudia Contin Arlecchino ripropone, aggiornato, lo spettacolo che l’ha resa celebre nel mondo.
	A SEGUIRE		Il Mondologo di Arlecchino. Presentazione del libro a cura di Marcello Gallucci
Giovedì 7	ore 10-13	Campo Boario	Workshop 3) dimostrazione di battitura del cuoio bagnato su matrici lignee di Porto Arlecchino e finitura (incollaggi, tagli e messe a misura) su pre-lavorati in cuoio forniti da Porto Arlecchino.
	ore 13 – 14,30		PAUSA PRANZO
	ore 14,30 – 17,30		Workshop 4) dipintura maschere in cuoio e applicazione elastici ed accessori.
	ore 17,30		Il caffè dell’Arte
Venerdì 8	ore 10 – 13	Campo Boario	Workshop 4) prove pratiche delle maschere con gli allievi, elementi di uso della maschera, colpi di maschera, comportamento caratteriale delle maschere.
	ore 13 – 14,30		PAUSA PRANZO
	ore 15	Campo Boario	Dimostrazione di lavoro pubblica sull'uso delle Maschere a cura di Claudia Contin Arlecchino, dal manuale Gli Abitanti di Arlecchinia, musiche di Luca Fantinutti.
	ore 17		Conclusioni e saluti

 

Given the highly practical nature of the workshop and the need to maximise the learning process for mask-making and use, 15 students will actively participate in the craftwork stages, while the same number will be able to take part as models or for the “physical” parts of the process.
All other students will be able to register as observers.
N.B. The certificate for credits will only be issued at the end of the workshop, subject to participation on all days. Partial attendance will not be taken into account.

The Blind Automatic Drawing Project Academic Year 2026

The workshop on “blind and automatic drawing” is one of the events of the Sculpture Course curated by Prof. Alessandra Maria Porfidia. The practice of Blind Drawing is structured around specific references in the various working sessions, which characterise its personal methodological value, developed by the artist Christoph Maria Loos.

The experience was brought to the Academies of Brera, Florence and Rome by Porfidia and Loos. This is a research project, carried out jointly, which has yielded very significant results. This year, Professor Christoph Maria Loos will be at ABAROMA with the status of Visiting Professor to explore this strategic creative process, which is based on the voluntary suspension of sight and the centrality of inner vision.

In the specific seminar, Loos named the practice “Poor Metaphysics”.

The process aims to destabilise traditional ways of making art in order to open up the subject to new forms of perception and image generation. Structured in an intensive format, the workshop introduces students to an experiential approach that combines practical exercises and theoretical reflection on perception, image creation and metamorphosis. In the past, the contribution has already been enriched by educational opportunities for exchange and reflection with other lecturers.

This invitation is being renewed again this year, as it makes a valuable contribution to the seminar for the analytical development of the work, with key theoretical insights into creative practice. In particular, the programme focuses on fundamental concepts of artistic practice such as intuition, imagination and inspiration, broadening the aesthetic frame of reference.

Through opportunities for discussion and brainstorming, students develop individual outcomes that are subsequently addressed through an analytical process of interpretation and selection. The archive documentation and the most significant drawings should be presented in a future exhibition and compiled in a publication, conceived as a critical and visual account of the process undertaken.

Room 7 Campo Boario: Monday 27 and Tuesday 28 April, 9:00 am – 5:00 pm. Wednesday 29 April, 9:00 am – 12:00 pm.

Seminar by Marco Carniti at the Teatro dei Documenti, Via Nicola Zabaglia 42: Wednesday 29 April, 1:00 pm to 5:00 pm.

The Geometries of Dreams workshop invites students of set design, as well as those on other courses, to explore the relationship between reality and the dream dimension through the construction of the space-environment or the stage space.
The course begins with the observation of reality in order to transform it, through a process of geometric abstractions and postulates of the theory of multifocal perspective, in relation to productions staged in Italy. In this regard, we will apply a methodology that will enable us to analyse the parameters of perception of the perspective image: the rendering of perspective, derived from the set designs for each of his productions staged in both Italy and France. We will therefore draw on texts on stagecraft to identify the relationship between theatrical architecture and scenographic architecture, examining three distinctive productions: Life of Galileo (1963) by Bertolt Brecht, The Venetian Twins (1964) by Carlo Goldoni and The Cherry Orchard (1974). In addition, we will draw a parallel between the latter production and Le cochon noir (1973), directed by Roger Planchon, as well as analysing his theatre architecture projects, such as the Nuovo Teatro in Trieste and the Teatro dei Documenti in Rome. The proposed method combines technical tools such as sketches and models with imaginative processes that enable us to rethink space as a living and changing organism. The workshop is based on three key figures in the history of modern and contemporary stage design: Adolphe Appia, Edward Gordon Craig and Luciano Damiani. With his conception of light as a sculptural element and of volumes as architectures of action, Appia ushered in a new way of thinking about the stage. Craig, on the other hand, introduced stage abstraction, pure forms and the reduction of naturalistic detail in favour of a symbolic and poetic vision. Finally, Luciano Damiani, an innovative heir to this tradition, brought to Italy a set design that was both minimal and profoundly evocative, capable of transforming space through a few elements of great expressive value. His research into light, materials and the relationship with the director is now an essential reference point for the use of space as a dramaturgical setting. These three contributions guide the process of transformation that students will undertake in the workshop, balancing formal rigour, imagination and the poetry of space.

The workshop programme also includes a discussion with director Marco Carniti, whose vision of the stage will offer students a contemporary perspective on the construction of the theatrical imagination. The discussion will start with his most recent work, Prima della Tempesta – Omaggio a Luciano Damiani e a Giorgio Strehler (Before the Tempest – A Tribute to Luciano Damiani and Giorgio Strehler), a production that presents a human, poetic and formative portrait of artists in post-war Italy, highlighting the authentic value of art beyond market logic. Inspired by the preparatory materials for Shakespeare’s The Tempest, the work celebrates two key figures of 20th-century theatre: director Giorgio Strehler and set designer Luciano Damiani. Prima della Tempesta is configured as an explosion of poetry capable of deeply engaging the audience, even those who have never set foot in a theatre. During the performance, the actress Antonella Civale brings to life the almost forgotten role of the prompter, a hidden observer of the wonders of the stage, as if she were peering at the stage through a tiny keyhole.

The workshop will lead students to directly observe a real-world environment through surveys, photos, drawings and graphic and digital design. Decomposition of space into essential forms and construction of the “geometric atlas” through Luciano Damiani’s theory of geometric abstractions, applied to his productions. References are also made to Appia and Craig to understand how the stage or environment can distil reality into pure, meaningful structures.

Body and performative action

Wednesday 22 April 9:00 am – 2:00 pm Classroom 305
Thursday 23 April, 12:00 noon – 4:00 pm, Room 8/B Campo Boario
Wednesday 29 April, 9:00 am – 2:00 pm, Classroom 305
Thursday 30 April, 12:00 noon – 4:00 pm, Room 8/B Campo Boario
Tuesday, 16 June Group performance – Venue and time to be announced on 30 April

To register: L.ciotti@abaroma.it Please specify in the subject line: Paola Ricci workshop

Explanatory note on the workshop

I ask myself, “WHAT IS A PERFORMANCE?”.
Perhaps your body will be able to give different answers.
Will they be different from what we will see from some artists who do Performance?
Perhaps in the end, you won’t discover anything for certain, but you will certainly discover something that will be your becoming.
“Sometimes doing something leads to nothing” could be our paradox, and we might discover that the body is full of surprises and doubts. Uncertainty is an art, and each limb of your body says something different; perhaps together we will discover that the energy of your body reveals aspects that you need to learn to listen to.
Every threshold you cross leaves something behind, which ends up transforming you, and beyond this boundary lies your sacredness.

The workshop is open to students from the Department of Visual Arts and New Technologies for Art.
Max 30 places.
Students who intend to attend the five sessions must come wearing comfortable clothing that is all black and without any visible branding or other features. Bring a white paper or plastic mask.
Bring a lightweight cotton scarf, white or black, preferably both colours, with no writing or decoration of any kind. Bring a blank notebook without squares or lines, and coloured pencils and graphite pencils.

 

Between analogue resistance and digital culture

Workshop consisting of 6 meetings and 1 practical session

The meetings
Following the workshops held in recent years and dedicated to music video directors and Italian animators, this third series is dedicated to experimental filmmakers and video artists who, from the late 1970s to the present day, have innovated the kinetic medium through meticulous work on the device, whether electronic (such as Sambin’s “videoloop”, which marks an early phase of experimentation) or analogue (Super 8 in the case of Arcangelo Mazzoleni, 16 mm in its various process stages by the Doria-Guadagnuolo duo, and 35 mm adopted by di Martino).

At the heart of the six meetings will be, above all, a historical-aesthetic reflection on a wide range of practices, from artisanal ones linked to film to digital ones in the realm of post-production. These creative practices, in many cases, are not mutually exclusive as a result of a choice made by the artists, but rather coexist, according to a logic that can, on a case-by-case basis, involve “remediation”, reworking or rethinking of the images.

The topics addressed will include the relationship between static (photographic) and moving (video) images, which can be seen, for example, in the work of Antonello Matarazzo; the combination of documentary, narrative and experimentation; and the creation of multi-channel installations that involve a redefinition of the viewing space itself by the viewer, including through immersive, interactive approaches linked to the use of machines or AI (as in the case of Francesca Fini).

During the sessions, the creators will present a selection of their audiovisual works.

The workshop
Immediately after the morning sessions with the artists, the filmmakers will lead a workshop that will explore technical aspects, using Super 8, 16 mm, videotape and digital formats, and will involve creating some found-footage films from pre-existing materials. Access will be limited to a maximum of 20 people due to space constraints and to ensure that the activity can be carried out in the best possible way. The workshop will be supervised by Prof. Giancarlo Torri.

The workshop and the studio are linked to the artistic production and research project for the 2025-2026 academic year entitled DATAVERSI, which is dedicated to the theme of the archive, explored in all its facets and in the various fields of expression and communication (from moving images to the web to the visual arts). In this sense, all the creators will be asked to reflect during the sessions on their relationship with the concept of the archive, as well as on the various ways of appropriating and reworking pre-existing images.

Each session will last 4 hours.
Students who attend the entire series will be awarded 1 CFA.

The workshop will last 4 hours.
Students who attend the workshop will be awarded 1 additional CFA

First meeting – 21 March
Arcangelo Mazzoleni

Second meeting – 11 April
Michele Sambin

Third meeting – 18 April
Rä di Martino

Fourth meeting – 9 May
Rä di Martino

Fifth meeting – 16 May
Salvatore Insana

Sixth meeting – 23 May
Francesca Fini

 

BIOGRAPHIES OF THE ARTISTS
Rä di Martino was born in Rome in 1975 and has lived in London since 1997, where she completed a Master’s degree at the Slade School of Art. In 2005, she moved to New York, initially with the New York Prize. She works primarily as a visual artist, focusing on the language of film/video and photography. She has taken part in numerous exhibitions in Italy and abroad at institutions such as PS1 in New York, Palazzo Grassi, the Fondazione Sandretto, MACRO in Rome, Mart in Rovereto, HANGARBicocca, Montevideo Netherlands Media Arts, the Museum of Contemporary Art in Chicago, the Bronx Museum and Artists Space NY, as well as exhibitions such as the Busan Biennale, the Turin Triennale and Manifesta. She has also taken part in numerous international film festivals, including the Locarno Film Festival, the Turin Film Festival, the Dutch Impakt Film Festival, Les Urbaines in Lausanne, the Viper Kunstifilmbiennale (Basel), Transmediale in Berlin, the New York Underground Film Festival, Vila do Conde, Les Recontres in Paris/Madrid/Berlin and the Kassel Video & Doc Festival. Her first monographic catalogue was published in 2011.

Tiziano Doria and Samira Guadagnuolo Their work, carried out under the name of the production company they founded, Warshadfilm, is based on practices related to the processes of analogue photography and film on celluloid. This is closely linked to the search for a form and a language that find a conceptual and poetic correspondence in the processes and technical possibilities of the tools used. The reciprocity between image and word and the search for an isomorphism between the visual and the auditory are of great importance. They have created several film installations, short films and photographic collections, and have also worked with photographic and film archives. They have been invited to various international film festivals, including the Locarno Film Festival and the Turin Film Festival. Their films include: La zita, L’albume d’oro and Festa nuziale.

Francesca Fini (Rome, 1970) is an interdisciplinary artist who, for many years, has been working in that liminal space where the visual arts hybridise, generating a new synthesis precisely in the language of contemporary performance. She has created numerous audiovisual works (animations, documentaries and video performances), including: Immortali (2006), The Mirror (2010), Blood (2011), Virus (2011), A Love Letter (2015), Dadaloop (2015), Gold/looking for Oz (2016). Over the years, the artist has performed and exhibited her work at MACRO in Rome, the Manege Museum in St Petersburg, the Schusev State Museum of Architecture in Moscow, the Tese dell’Arsenale in Venice, in Toronto for the FADO Performance Art Festival, in Chicago for the Rapid Pulse Festival, in Belo Horizonte for the FAD Festival De Arte Digital, in São Paulo and Rio for the FILE Electronic Language International Festival, in Madrid for IVHAM and the Proyector Festival, in Mumbai for Kala Ghoda and in Tokyo for the Japan Media Arts Festival. In 2014 and 2016, she was selected by Bob Wilson to take part in the artist-in-residence programme at the Watermill Center in New York and, subsequently, invited to the Milan Triennale for a Watermill event at the Illy Art Lab. In February 2016, after a year in production, she completed the experimental feature film Ofelia non annega. She has been working with artificial intelligence in all its forms for many years.

Antonello Matarazzo (Avellino, 1962) is a painter, director and video artist. His work falls within the latest trend (“Medialism”), understood as the integration of various media (photography, painting, video, etc.). Since 2000, the year of his first short film, The Fable (18th Bellaria Film Festival), his videos have been screened at numerous Italian and international film festivals (Venice Film Festival, Festival Cinéma Méditerranéen Montpellier, Clermont-Ferrand, Turin Film Festival, Festival des Cinémas Différents de Paris, Invideo, Locarno, etc.), some of which, such as the Pesaro International Festival of New Cinema, the Festival Internacional de Cine de Mar del Plata and Signes de Nuit in Paris, have held retrospectives of his work. The core of his research is based on the ambiguity between still images and movement, often introducing micromovements into photographic images through morphing and warping techniques, but the common thread between painting, video and video installations is his marked inclination to explore introspective and anthropological aspects.

Arcangelo Mazzoleni (Catania, 29 June 1953) is a filmmaker-photographer, essayist, poet and playwright. A graduate in modern and contemporary literature from Sapienza University and a graduate in directing and screenwriting from the CSC, he works in the spirit of total art, creating a multidisciplinary body of work in which the various genres interpenetrate. In 1994, the Istituto Nazionale per la Grafica-Calcografia, under the patronage of the Ministry of Cultural and Environmental Heritage, dedicated a retrospective exhibition to him: Arcangelo Mazzoleni: Il mondo al fuoco dello sguardo. Film, Photography, Video, Drawings and Mixed Media on Paper. He teaches film language at the Tor Vergata University of Rome and at ACT Multimedia, part of Cinecittà Holding, and creative writing on RAI’s Screenwriting Training Courses. In 2012, he opened the Higher Education School for Film and Television Screenwriters at the Casa del Cinema, of which he is, together with Mariella Buscemi, director and lecturer. At the same time, he works as a director of cultural programmes (Rai Tre, Rai Storia, Rai Educational, etc.). He is also a prolific film writer, with studies on language (The movement of the camera. Technical aesthetics and the language of the variable frame, 2004) and on the relationship between the visual arts, literature and film movements: Avanguardia sovietica, 2010. His films have entered the art collections of the Historical Archives of Contemporary Arts (ASAC) of the Venice Biennale and the Calcografia Nazionale in Rome.

Michele Sambin (Padua, 1951). A filmmaker, musician, painter, sculptor, theatre practitioner and pioneer of video experimentation, he has always pursued research that focuses on the relationship between image and sound, exploring its forms with the help of various expressive and technical media: cinema. Between 1968 and 1977, he made a number of experimental films with which he took part in international events (Filmstudio, Knokke-Heist, La Rochelle and Beaubourg), including Blud’acqua (1972) and Film a strisce (1976). From 1974 onwards, videotape became his main medium for creating performances, often musical, as well as installations and tape works. He innovated the video loop device and reflected on the ephemeral nature of the electronic image. His works include: Autoritratto per quattro camere (1977), Looking for Listening (1977), Il tempo consuma (1979), Anche le mani invecchiano (1979). In 1980, together with Pierangela Allegro and Laurent Dupont, he founded TAM teatromusica, for which he was responsible for direction, sets and music. For many years, Sambin also worked with inmates at Padua Prison. In 2021, the Castromediano Museum in Lecce dedicated a major solo exhibition to him, in which Sambin presented some of his older and more recent works, alongside reworked and updated versions of some of his historical pieces, such as Il tempo consuma (Time Consumes). He has lived in the Salento countryside for many years.

In 2011, Salvatore Insana and Elisa Turco Liveri founded the Dehors/Audela collective, producing – in a constant effort to transcend “conventional” genres, venues and instruments – theatrical works, audiovisual research projects, urban installations and experimental workshops. Pursuing his research in the visual arts, performing arts and other forms of revision and erosion of the imaginary, he has collaborated with numerous musicians and sound artists (including Simone Pappalardo, Fabio Cifariello Ciardi, Giulia Vismara and Jacob Kirkegaard). His works have been presented at numerous festivals and multidisciplinary exhibition events in Italy and abroad (FabbricaEuropa, KilowattFestival, TeatriDiVetro, MediaArtFestival, LugoContemporanea, Traverse-Video, Vafa Macao, Ivhm Madrid, Image contre Nature, NIFF – Naoussa, Seeing Sound, Videoholica, 9hundred project, Current Santa Fe, FIVA Buenos Aires, WestVirginiaShortFilmFestival, Festival des Cinémas Différents de Paris, AsoloArtFilmFestival, LuccaFilmFestival, Avvistamenti, Magmart, Fonlad, PesaroFilmFestival, Festival de la Imagen). Salvatore Insana is one of the artists invited to take part in the project 100X100=900 (100 video artists to tell a century), and is included in the catalogues of Visual Container, the Italian video art platform, P’Silo, the video library of the Image contre Nature festival (Marseille), the Collectif Jeune Cinema (Paris), the Arte Alter Collection, the online collection of KaosArt, Avilés, Spain, and Tao-Films, the on-demand platform curated by Nadin Mai.

3 – 17 – 31 March
14 – 28 April
5 May

The aim of the workshop is to illustrate those aspects of the camera operator’s work that build a bridge between the narrative and its translation into images: one of them is the search for the most effective position of the camera. A “point of view” that takes into account the expressive needs and the sequencing of the shots best suited to describing the action. The most important variations of film, television, theatre and documentary shooting will be illustrated, focusing on the choral aspect, which is necessary, in most cases, for the creation of cinematographic video works. The course aims to involve all students, whatever their field of artistic interest, so that they understand the contribution that moving images can make to their way of storytelling. Those who will not personally be shooting in the future will also be involved, as a greater knowledge of the technical medium will allow them to communicate more effectively with the camera operator.

Workshop by Linda Jasmin Mayer, curated by Sara Basta

A collaboration between the Art for Therapy course at the Academy of Fine Arts in Rome and the Art Workshop at Macro

During the workshop, the concept of the “collective body” will be explored through a creative process inspired by siphonophores, marine organisms that challenge traditional definitions of the individual and the collective. Siphonophores belong to the plankton, a diverse group of organisms that move mainly thanks to ocean currents. In the workshop, we will explore cooperation, interdependence and collaborative organisation as both biological and artistic phenomena.
A sculptural extension, inspired by the modular structure of siphonophores, will be built and worn simultaneously by the group of participants, transforming them into a single body. The sculpture will be made from lightweight, translucent materials such as silk and sheer fabrics, combined with a flexible structure that allows for fluid and adaptable movements. The choice of materials evokes the mobile, lightweight nature of plankton and siphonophores, emphasising the idea of a form that changes and adapts to its surroundings.

Times and locations:
2 March Academy Workshop Room (barns): 10 am – 4 pm
3 and 4 March Macro Museum: 10:00 am – 4:00 pm
5 March Macro Museum: 2:00 pm – 6:00 pm

For info and registration:
s.basta@abaroma.it