Hito Steyerl. The City of Broken Windows

26/09/2018 - 26/09/2018

Hito Steyerl (Munich, 1966) is a filmmaker and author who exhibited at the German Pavilion during the 2015 Venice Biennale and at Reina Sofia Museum in Madrid in 2016. Steyerl’s work focuses on the role of media, technology and the circulation of images in the era of digital nativism. The artist creates installations in which film production is associated with the construction of architectural environments.
For the exhibition in the Manica Lunga at Castello di Rivoli, Steyerl will present a new sound and video-based multimedia installation. She premieres The City of Broken Windows (2018), stemming from research into the practices of Artificial Intelligence industries, surveillance technologies and the contradictory roles Museums often play today. She explores how AI affects our urban environment and how alternative practices may emerge through pictorial acts in the public space. Screens, windows, liquid and non-liquid crystals all tie together in this first new installation since Hell Yeah We Fuck Die in 2016 looked at Robot performativity and precariousness (created for the Sao Paolo Biennial, that installation was more recently shown also at Skulptur Projekte in Munster in 2017 and is currently on view at Kunstmuseum Basel.)
The City of Broken Windows revolves around neural sound recordings that, like an atonal and discordant symphony, document the process of teaching artificial intelligence how to recognize the sound of breaking windows, a practice that symbolizes social disruption. Steyerl’s project makes a crucial contribution and offers an intriguing perspective on how the digital contemporary imagination shapes our emotions and experience of reality. Chris Toepfer, protagonist of the new work, will board up Castello di Rivoli with trompe l’oeil window paintings.

Her celebration of the potential of critical thought in the digital era has influenced the work of numerous artists and activists worldwide. Amongst her most influential texts, she published In Defense of the Poor Image in e-flux online journal in 2009. Most recently, her writings have been collected in volumes such as The Wretched of the Screen (e-flux journal series, Sternberg Press, 2012) and Duty Free Art. Art In the Age of Planetary Civil War (Verso Press, London and New York, 2017) which includes Duty Free Art (published first in 2015) and A Tank on a Pedestal (2016).

The exhibition will be accompanied by a new Castello di Rivoli publication and by a one-day Symposium and study day on Artificial Intelligence, which will be held on December 12, 2018. Participants to be announced.


Metamorphoses – Let Everything Happen to You

06/03/2018 - 02/09/2018

Curated by Chus Martínez for Castello di Rivoli, the exhibition Metamorphoses – Let Everything Happen to You in the Manica Lunga explores the concept of transformation and flourishing through the works of emerging international artists.

Conceived specifically for Castello di Rivoli, the works of Nicanor Aráoz (Buenos Aires, 1980), Ingela Ihrman (Strängnäs, 1985), Eduardo Navarro (Buenos Aires, 1979), Reto Pulfer (Bern, 1981), Mathilde Rosier (Paris, 1973), Lin May Saaed (Würzburg, 1973) and Ania Soliman (Warsaw, 1970) consider art a transformative experience, encompassing the entire range of feeling and perception.

These seven new works feature alongside I Have Left You The Mountain, a work by Simon Battisti, Leah Whitman-Salkin and Åbäke shown in the Albanian Pavilion of the 2016 Venice Biennial of Architecture, and the video Army of Love by Alexa Karolinski and Ingo Niermann, commissioned for the 9th Berlin Biennial in 2016. Made up of installations, sculptures, performances, paintings and videos, the works on display engage with the idea of metamorphosis as a process shared by the natural world and the creative one. For the artists in this exhibition, metamorphosis can mean not merely change but transition, departure from the self, a movement that coincides with nature, whose presence, interwoven with sound, conjures up another dimension.

Giorgio de Chirico. Major Works from the Collection of Francesco Federico Cerruti

06/03/2018 - 04/11/2018

The exhibition Giorgio de Chirico. Major Works from the Collection of Francesco Federico Cerruti, features for the first time at the Castello di Rivoli, a group of important early works by Giorgio de Chirico from the collection of Francesco Federico Cerruti, offering public works which until now have remained hidden away in the private collection of Villa Cerruti in Rivoli. This residence was built by Cerruti, a Turin entrepreneur and industrialist, in the 1960s to house his private collection. According to de Chirico himself, Turin, the place where Nietzsche’s madness exploded, is among the Italian cities that inspired the first metaphysical paintings and their melancholic atmospheres. Featuring works ranging from 1916 to 1927, the exhibition at Castello di Rivoli presents eight important paintings by the pioneer of metaphysical art. Offering a glimpse of the metamorphic capacity of de Chirico’s genius, this exhibition investigates his intellectual heritage by showing his paintings in connection with some of the major contemporary artworks of Castello di Rivoli’s permanent collection, such as installations by Giulio Paolini, Michelangelo Pistoletto and Maurizio Cattelan.



20/09/2017 - 10/12/2017


Curated by Carolyn Christov-Bakargiev and Marianna Vecellio

September 19, 2017 – January 7, 2018


The Castello di Rivoli presents in the Manica Lunga the first retrospective dedicated to the Egyptian-Canadian artist of Armenian origins, Anna Boghiguian (Cairo, 1946).

The exhibition will then travel to the Sharjah Art Foundation in Sharjah (UAE), from March 16 to June 16, 2018.

Anna Boghiguian, whose studio and home are found in Cairo, lives and works in Europe, Asia, Africa, and the Americas. After studying political science at the American University in Cairo, in 1970 she moved to Canada where she studied art and music at Concordia University in Montreal. Her interests range from literature to philosophy and politics and are reflected in her drawings and paintings often made in encaustic which stand out for their instinctiveness and saturated colors. Her works combine figures and written text, thus turning the painting into a unified body able to effect all the senses and lead the viewer into an empathic dimension with the world. Besides painting, the artist uses numerous languages of expression such as sculpture, photography, writing, and sound. Her collages incorporate objects and cut-outs of printed images. “Her installations and environmental works offer a unique interpretation of the experience of journeys and contemporary human beings, poised between past and present, poetry and politics, impassioned gaze and critical observation,” states Marianna Vecellio, the exhibition’s curator.

Born into an Armenian family with first-hand experience of the diaspora and that tremendous exodus, Anna Boghiguian developed the urgency of cultural cosmopolitanism well before the advent of globalization. Almost as if protecting her studio from the violence and disturbances in the Middle East, in spring 2017 the artist moved the furniture and objects from her atelier in Cairo to the Castello di Rivoli, recreating on the Museum’s third floor the surroundings she holds dear: rooms overflowing with works and drawings, jars of pigment, rugs, Oriental objects, and early works never shown to the public before.

A nomad at heart, Anna Boghiguian has always been a citizen of the world: during her numerous trips, from one city to the next, one continent to another, she immerses herself in the places and sounds of cities as well as in the literature, poetry, and political-social dimension. Though keeping the distance of an outside observer, she grasps the contradictions and unease of today’s man.

The artist stood out on the international scene by taking part in the project curated by Catherine David, Contemporary Arab Representations, presented in 2003 at the Witte de With Center for Contemporary Art, Rotterdam; Fundació Antoni Tàpies, Barcelona; BildMuseet, Umeå, and Centro José Guerrero de la Diputación, Granada, for which she created a series of works that evolve according to an actual narrative. Her works have been exhibited at the Thessaloniki Biennale (2007), 11th International Istanbul Biennial (2009), 10th Sharjah Biennial (2011), dOCUMENTA (13) (2012), Kassel, Bienal de São Paulo, 1st International Biennial of Contemporary Art Cartagena (2014), 14th International Istanbul Biennial (2015), and 12th Sharjah Biennial (2015). Her most recent solo shows include Promenade dans l’inconscient (A Walk in the Unconscious) at Carré d’Art, Nîmes, 2016. At dOCUMENTA (13), Kassel, Anna Boghiguian made a name for herself in the art world for the vigor and effectiveness of her works, which for their uniqueness stand apart from customary and traditional official art. With her presence, three years later, in the 56. Venice Biennale (2015), Anna Boghiguian was one of the artists who exhibited in the Armenian Pavilion and was awarded the Golden Lion for the best national participation.

Carolyn Christov-Bakargiev writes: “Anna Boghiguian’s exhibition reconfirms our Museum’s vocation to analyze the cultural dialogue in today’s world characterized by migrations, wars, and crises, and to anticipate contemporary artistic developments. Starting from her hand-made artist book in the 1980s up to her latest large installations, Anna Boghiguian unravels and opens a time-space folded over upon itself, as she creates an experimental language of abundance and inclusion able to convey empathy and engage the public.”    

For the exhibition, a catalogue in English and Italian has been published by Skira, with a section of previously unseen works dedicated to Nietzsche in Turin and made expressly for this publication; the catalogue also offers essays by the curators and a comprehensive timeline with a critical anthology, biography, and bibliography.


The exhibition will be presented at the Sharjah Art Foundation of Sharjah (UAE) from March 16 to June 16, 2018, curated by Carolyn Christov-Bakargiev and Hoor Al Qasimi.


Alina Chaiderov. A New Memory is Made illy Present Future Prize 2015 Exhibition

04/11/2016 - 05/03/2017



The technical jury, which assembled for Artissima 2015 and is composed of Carolyn Christov-Bakargiev (Director, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli and GAM Galleria Civica d’Arte Moderna e Contemporanea, Turin), Daniel Baumann (Kunsthalle Zürich, Zurich), Dieter Roelstraete (documenta 14, Kassel), and Maurizio Morra Greco (collector, Naples), has awarded the illy Prize to Alina Chaiderov for the following reason: The 2015 edition of the illy Present Future Prize has been awarded to Alina Chaiderov for her complex exploration of Soviet memories, carried out through the unabashed lens of sculpture regarding everyday life.

For the first time, the Prize offers not only the possibility of displaying in a museum but also a monetary award in support of the artist’s research. 



Alina Chaiderov. A New Memory is Made

illy Present Future Prize 2015 Exhibition

curated by Marianna Vecellio

November 4, 2016 – March 5, 2017


The Castello di Rivoli Museo d’Arte Contemporanea presents Alina Chaiderov’s installation, A New Memory is Made, 2016, in the project room of the Manica Lunga, curated by Marianna Vecellio. For her first solo exhibition in a museum, Chaiderov—winner of the illy Present Future Prize 2015—has conceived a work that dialogues with the surroundings: an intimate room dominated by a large semi-circle window overlooking Juvarra’s museum atrium. In this work, the artist takes into consideration the space, the material and its malleability, time intended as a personal and metaphysical dimension, and finally the body as the place where experiences, suffering, and catharsis are recorded. Vecellio writes: “Chaiderov’s works are made with everyday materials such as tubular steel elements, tennis balls, inner tubes, concrete bricks, magazines and newspapers, sheets and bananas. They are conceptual reflections through which the artist brings into relationship her own personal life and the great events of history, in order to create an entirely new memory.”


At a young age, Alina Chaiderov (St. Petersburg, Russia, 1984) moved with her family to Sweden, where she currently resides, in both Gothenburg and Stockholm. From 2005 to 2010 she attended university and was interested in many subjects: from sociology to the history of nationalism and ethnic conflicts, from neuropsychology to art history. In 2015, she earned a diploma in Fine Arts from the Valand Academy of Gothenburg.



COLORI L’emozione dei COLORI nell’arte

14/03/2017 - 23/07/2017


L’emozione dei COLORI nell’arte


Drafted by Carolyn Christov-Bakargiev, Marcella Beccaria, Elena Volpato, Elif Kamisli

Scientific consultation by Vittorio Gallese, Michael Taussig


“For as long as we live, we’re alive. Color is life.”

(Etel Adnan, September 29, 2016)


Castello di Rivoli Museo d’Arte Contemporanea

GAM – Galleria Civica d’Arte Moderna e Contemporanea


March 14 – July 23, 2017

Press preview and opening: Monday, March 13, 2017


The exhibition L’emozione dei COLORI nell’arte will be presented in the Manica Lunga of the Castello di Rivoli Museo d’Arte Contemporanea and at the GAM Galleria Civica d’Arte Moderna e Contemporanea of Turin. The public display includes an extraordinary collection of over 400 works by 125 artists and other practitioners from around the world, dating from the late 17th century to today.


“Over the past century, numerous exhibitions on color have been organized, starting from perception theories that became popular in the 1960s. This type of approach is derived from a universalistic notion of perception and its presumed objective value, quite distant from today’s awareness of the complexity of meanings inherent to color which is closer to Goethe than to Newton,” states Carolyn Christov-Bakargiev.


The exhibition investigates the use of color in art through artistic movements and research that stand apart from canonical histories on color and abstraction, with multiple accounts relating to memory, politics, spirituality, storytelling, psychology and synesthesia. Artworks come from museum collections such as the Reina Sofia in Madrid, MNAM Centre Georges Pompidou in Paris, Paul Klee Zentrum in Bern, Munchmuseet in Oslo, Stedelijk Museum in Amsterdam, Tate Britain in London, and the Dia Foundation in New York, as well as from the collections of both the GAM-Torino and the Castello di Rivoli, and numerous private collections.


The precedents of modern abstract art are investigated through works by the followers of Hindu Tantric art (17th century) and the Theosophists (19th century) who used forms-color as sources for meditating and the immaterial transmission of thought. The starting point of theosophical abstraction is tied to the story of Annie Besant (1847–1933), who, circa 1904, wrote, “…to paint in earth’s dull colors the forms clothed in the living light of other worlds is a hard and thankless task; so much the more gratitude is due to those who have attempted it. They needed colored fire, and had only ground earths.”


By analyzing the different color theories that gradually took shape in the turbulent socio-political context that characterized the 20th century, L’emozione dei COLORI nell’arte reflects on a perspective that considers light, its vibrations and the world of emotions, while challenging the standardization of the use of color in the modern age (synthetic colors) and the digital era (RGB colors offered by various online palettes), a leveling that considerably reduces our ability to distinguish colors in the real world.

The group exhibition covers the history, inventions, experience and use of color in modern and contemporary Western art and non-Western cultures present in today’s world. Through a multitude of accounts and presentations of important works of art, the use of color from various points of view is explored, including philosophical, biological, anthropological and neuroscientific perspectives.

The neuroscientist Vittorio Gallese, who along with Giacomo Rizzolati discovered mirror neurons, reflects on the emotional response not only to experienced actions but also to those only observed in an artwork, with particular attention to the relationship between the perception of colors “by subtractions” embodied in real paintings and the experience of reproduced images on screens where artworks are experienced through light. During the exhibition, a neuroscientific study lab will interact with visitors to the exhibition.

On display works by: Anonymous Tantra drawings, Carla Accardi, Bas Jan Ader, Etel Adnan, Hilma af Klint, Josef Albers, Giovanni Anselmo, Karel Appel, Arman, Ed Atkins, John Baldessari, Giacomo Balla, Robert Barry, Lothar Baumgarten, Claude Bellegarde, Annie Besant (with Charles W. Leadbeater / painted by Lady MacFarlane & Mr Prince & John Varley), Jakayu Biljabu, Irma Blank, Norman Bluhm, Mel Bochner, Alighiero Boetti, Kerstin Brätsch, Alberto Burri, André Cadere, Corrado Cagli, Alexander Calder, Carlo Carrà, Felice Casorati, Enrico Castellani, Aslı Çavuşoğlu, Michel Eugène Chevreul, Mikalojus Konstantinas Čiurlionis, Tony Cragg, Carlos Cruz-Diez, Giuliano Dal Molin, Sonia Delaunay, Nicola De Maria, Fortunato Depero, Nicolas de Staël, Piero Dorazio, Olafur Eliasson, Bracha Ettinger, Lara Favaretto, Oskar Wilhelm Fischinger, Dan Flavin, Lucio Fontana, Katharina Fritsch, Vittorio Gallese, Giuseppe Pinot-Gallizio, Theaster Gates, Rupprecht Geiger, Leo Gestel, Piero Gilardi, Liam Gillick, Johann Wolfgang von Goethe, Gotthard Graubner, Giorgio Griffa, Gruppo MID, Paul Guiragossian, David Hammons, Camille Henrot, Auguste Herbin, Arturo Herrera, Damien Hirst, Channa Horwitz, Johannes Itten, Alexej von Jawlensky, Asger Jorn, Donald Judd, Wassily Kandinsky, Anish Kapoor, Ellsworth Kelly, Paul Klee, Yves Klein, František Kupka, Wolfgang Laib, Jim Lambie, Basim Magdy, Alberto Magnelli, Estuardo Maldonado, Antonio Mancini, Édouard Manet, Henri Matisse, Gustav Metzger, Piet Mondrian, Maria Morganti, Edvard Munch, Gabriele Münter, Bruce Nauman, Sir Isaac Newton, Mario Nigro, Otobong Nkanga, Kenneth Noland, Hélio Oiticica, Giulio Paolini, Tancredi Parmeggiani, Pino Pascali, Eugénie Paultre, Giuseppe Pellizza da Volpedo, Heather Phillipson, Francis Picabia, Michelangelo Pistoletto, Sigmar Polke, Lea Porsager, Alejandro Puente, Walid Raad & The Atlas Group, Edi Rama, Gerhard Richter, Hans Richter, Gerwald Rockenschaub, Mark Rothko, Thomas Ruff, Friedlieb Ferdinand Runge, Luigi Russolo, Anri Sala, Mario Schifano, Shōzō Shimamoto, Ettore Spalletti, Simon Starling, Haim Steinbach, Hito Steyerl, Mika Tajima, Atsuko Tanaka, Cheyney Thompson, Warlimpirrnga Tjapaltjarri, Luis Tomasello, Giulio Turcato, Joseph Mallord William Turner, James Turrell, Viktor Vasarely, Alfredo Volpi, Franz Erhard Walther, Andy Warhol, Liu Wei, Lawrence Weiner, Marianne Werefkin, Ye Xianyan, Fahrelnissa Zeid, Gilberto Zorio.



Piazza Mafalda di Savoia – 10098 Rivoli (Turin)

tel. +39/011.9565222 – 280 fax +39/011.9565230





Via Magenta, 31 – 10128 Turin

tel. +39/011.4429518 – +39/011.4436907




Interferencies, particulars and directions

Series of talks

24/09/2016 - 24/09/2016

Philosopher, scientists,art historians, photographers, curators and artists reflect on the poetry of Giovanni Anselmo.

Filming the invisible, filming art.

Theater 12:00


On occasion of the finissage of Giovanni Anselmo exhibition, the Museum organizes the last appointment of the series of talks dedicated to the artist.

Speakers: Massimiliano and Gianluca De Serio, artists, filmmakers and founders of the Piccolo Cinema.

Terra Madre Salone del Gusto-Castello di Rivoli

Our Relationship with the Earth Through Contemporary Art

23/09/2016 - 23/09/2016

Teatro Carignano 11 am

Our Relationship with the Earth Through Contemporary Art

Amar Kanwar in conversation with Carolyn Christov-Bakargiev

Info and booking .www.slowfood.it

Castello di Rivoli , Theather 5pm

Forms of Art: Amar Kanwar, Carolyn Christov-Bakargiev and Davide Scabin

Film screening of The Scene of Crime, 2011, followed by a food event created by chef Davide Scabin

Info and booking : www. salonedelgusto.it/com

The project is a collaboration with Slow Food-Terra Madre 2016 and is realized with the contribution of the Supporting Friends of Castello di Rivoli.

At the historical downtown Teatro Carignano, on the occasion of Terra Madre festical organized by Slow Food, Delhi-based artist Amar Kanwar, internationally recognised as one of the most socially engaged artists, dialogs with Carolyn Christov-Bakargiev, Director of the Castello di Rivoli and GAM Torino about the role of art in relation to major environmental issues.

The day continues at the theater in Castello di Rivoli with the screening of the film The Scene of Crime, 2011 ( color, 42 mins.). a tribute to the rice farmers in the state of Odisha, India. The film, which is a visual mapping of the territory and shows the landscape before its imminent conversion to industrial area.

A gastronomic event created by Davide Scabin follows.


Ed Atkins

26/09/2016 - 29/01/2017

What is an artworks in the digital age? How does the contemporary sbject live emotion, memory?

Ed Atkins will present twinned exhibition at the Castello di Rivoli and the Fondazione Sandretto Re Rebaudengo in September 2016. The two shows will feature moving image works by Atkins from the last five years, focussing on his computer generated animations.

The Castello will be haunted, and its attic will be its brain.

Paloma Varga Weisz Root of a Dream

27/10/2015 - 10/01/2016

Paloma Varga Weisz Root of a Dream

curated by Marianna Vecellio

October 27, 2015 – January 10, 2016

opening Monday, October 26, 2015


The Castello di Rivoli offers its public the first solo show in an Italian museum of the German artist Paloma Varga Weisz. Born in Neustadt an der Weinstrasse in 1966, Varga Weisz lives and works in Düsseldorf.

The Old World seems to be at the center of visual fascinations proposed by the artist who – through an iconography laden with references to Renaissance painting and sculpture or symbolist culture – creates complex installations of grand poetical intensity, at times unsettling but often contemplative and generally poised between dreams and reality. The many psychoanalytical references and a strong attention to the body – especially female bodies – on the artist’s part have guided the project by curator Marianna Vecellio in staging an event in close contact with the artist, which is in keeping with the best tradition at the Museum. Paloma Varga Weisz’s exhibition is made up of a vast selection of works, from ones from her youth up to more recent pieces, that are able to render the complex and intricate formal investigations of this German artist.