Projects

OPEN CALL FOR ARTISTS: AFTER THE COLLAPSE – THE THREE OBJECTS

After the Collapse, almost nothing remains. Cities have disappeared, languages no longer align, systems no longer function. Everything that had been built—culturally, socially, symbolically—has lost its meaning.

CALL FOR ARTISTS | AFTER THE COLLAPSE/ THE THREE OBJECTS

Cascina Bauci Arte — A Space for Art and Landscape

Artist Residency Open Call 2026

KEY INFORMATION

• Applications open: 20 May 2026

• Deadline: 22 June 2026 (11:59 PM CET)

• Announcement of winners: 5 July 2026 (a total of 3 winners will be selected, one for each object)

• Residency starts: September 2026

• Minimum stay: 1 week (dates to be mutually agreed)

• Location: Cascina Bauci, La Morra (CN) — Langhe (UNESCO World Heritage Site), Italy

I. INTRODUCTORY SECTION: CONTEXT AND CONCEPTUAL FRAMEWORK

1. General Context

After the Collapse, almost nothing remains. Cities have disappeared, languages no longer coincide, and systems do not work. Everything that had been built — culturally, socially, symbolically — has lost its meaning. The goal is not to rebuild the previous world, but to work with what is left.

2. The Three Objects

Research proposals must focus exclusively on one of the following three remaining elements:

• The Statue: A resilient physical object with a worn but intact surface. Its shape is stable and ambiguous. It is the remnant of a possible faith, now emptied.

• The Sound: It appears only when something enters into a relationship. It is an unstable event, unarchivable, and has no origin.

• The Substance: Diffuse and uncontrollable. It acts on the environment and on perception. It does not consume itself but modifies; once a promise of happiness.

3. Purpose of the Call

The call invites artists, designers, performers, and researchers to develop a project based on only one of the three objects. The project must meet the following operational constraints:

• Treat the object as a condition, not as a symbol.

• Avoid references to the past.

• Do not construct a narrative.

• Activate a real situation within the space.

4. What We Are Looking For

• Activatable devices.

• Open and modifiable systems.

• Process-based, unstable, and transformative works.

• Work that functions without the need for explanation.

5. The Role of the Public

The public is understood as a variable within the system: their very presence modifies what happens in the space.

6. Expected Outputs

Installations, sculptures, plastic arts, visual practices, immersive environments, sound devices, performances, environmental or immaterial interventions.

8. Conceptual Conclusion

After the collapse, it is not a matter of imagining a better future, but of testing whether, starting from minimal conditions, something can still happen.

II. REGULATORY SECTION

1. Admission and Equal Access

The call ensures equal access and is open to all applicants regardless of nationality, age, gender, discipline, or educational background.

2. Selection Process and Winners

The selection process is curated by the Cascina Bauci team in dialogue with the advisory community and consists of two phases (Curatorial pre-selection and Final selection).

A total of 3 winning projects will be selected (one for each object). The official results will be announced on 5 July 2026.

3. Evaluation Criteria

• Consistency with one of the three chosen objects.

• Operational clarity of the concept.

• Processuality and transformation of the work.

• Feasibility within the context of Cascina Bauci.

4. Support Offered and Opportunities

Selected projects will receive:

• Hospitality: Accommodation and access to workspaces, the wine cellar, and the natural surroundings of the Cascina.

• Production: Dedicated workspace, essential materials, basic technical assistance, and logistical support.

• Curatorial Support: Ongoing critical and project guidance throughout development (from concept to spatial realisation).

• Network: Inclusion in the Metodo Contemporaneo program, a national network connecting contemporary art production with agricultural and rural landscapes.

• Public Presentation: A public showcase of the project (open studio, activation, or final event).

• Permanence: Potential acquisition or permanent site-specific installation of the work within the spaces or surrounding landscape of the Cascina.

5. Required Application Materials

To apply, candidates must submit the following documentation:

• Clear indication of the chosen object.

• Detailed project description (maximum 1,000 words).

• Updated artistic portfolio.

• Curriculum Vitae or professional biography.

• Visual or audio materials (optional).

6. Rights and Intellectual Property

Intellectual property remains entirely with the artists. Cascina Bauci reserves the right to document the projects for archiving, communication, and promotional purposes.

III. THE ORGANIZATION: CASCINA BAUCI

Cascina Bauci is a place for residency and artistic experimentation, nestled in the Langhe region, where contemporary practices, landscape, viticulture, and sensory processes intertwine into a single working ecosystem.

The project is realised in partnership with the Metodo Contemporaneo circuit, a national network connecting rural areas, farms, cellars, and production spaces with artists and cultural institutions.

HOW TO APPLY AND CONTACTS

To apply, please fill out the dedicated application form.

• Website: cascinabauci.com

• Art Projects E-mail: arte@cascinabauci.com

• Info E-mail: info@cascinabauci.com

• Phone / WhatsApp: +39 338 233 5772 (Curatorial Projects — Enrica Benedetto)

• Instagram: @cascinabauci

Registered and Operational Office:

Cascina Bauci, Regione Serra Denari 10, 12064 La Morra (CN) — Italy

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For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

Art21

Collaborazione con Art21 – Screening Society, New York

Dell'ottobre 2026 prende avvio la collaborazione con Art21, l’organizzazione no-profit con sede a New York riconosciuta a livello internazionale per i suoi documentari e programmi dedicati all’arte contemporanea. Fondata nel 1997, Art21 esplora e racconta le pratiche degli artisti del nostro tempo attraverso film, risorse educative e programmi pubblici, rendendo l’arte accessibile a un pubblico ampio e diversificato. Attraverso l’iniziativa Screening Society, Art21 invita comunità, istituzioni e spazi indipendenti di tutto il mondo a riunirsi per guardare e discutere film che raccontano la creatività contemporanea. L’obiettivo è promuovere il dialogo, stimolare il pensiero critico e incoraggiare il libero accesso alla cultura visiva.L’evento segna l’inizio di una nuova serie di proiezioni dedicate all’arte contemporanea, pensate come spazi di incontro e confronto tra artisti, curatori, ricercatori e pubblico. Ogni appuntamento offrirà l’occasione di esplorare visioni differenti, costruendo un dialogo aperto che intreccia arte e vita quotidiana. Una prima tappa che inaugura un percorso condiviso —vivo, inclusivo e in continua evoluzione— nel segno dell’arte come esperienza collettiva e partecipata.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

MA/DONNE 2026

MA/DONNE Movimentazione Artistica quarta edizione

Dopo il successo delle precedenti edizioni, che hanno esplorato temi cruciali come la violenza di genere, la guerra e la pace, torna nel 2026 MA/DONNE, movimentazione artistica giunta alla sua quarta edizione.
Il progetto, ideato e curato da Carlotta Cernigliaro insieme a un gruppo di curatori e artisti indipendenti nazionali e internazionali, nasce in occasione dell’8 marzo – Giornata internazionale dei diritti della donna– e si sviluppa durante tutto l’anno con mostre, performance, incontri e collaborazioni diffuse in diversi luoghi d’Italia.
Le scorse edizioni hanno visto una crescita costante, culminata nel 2025 con il coinvolgimento di 13 curatrici, 40 artisti e l’esposizione di oltre 200 opere in 5 sedi.
MA/DONNE si distingue per la presenza di artisti di rilievo nazionale e internazionale, che contribuiscono con ricerche originali e progetti site-specific.
La movimentazione viene inaugurata a marzo, in occasione della Giornata internazionale dei diritti della donna: un momento simbolico che diventa occasione di riflessione su temi universali legati all’identità e al concetto complesso di genere.
Il progetto mantiene una struttura fluida e organica, seguendo i tempi e le possibilità di ciascun partecipante, e si conclude in autunno con un momento collettivo di sintesi e restituzione.
Sono benvenute le partecipazioni maschili, così come incursioni letterarie, performative e musicali, che ampliano il dialogo e intrecciano i linguaggi.
Tema 2026: “LA MANIPOLAZIONE”
La nuova edizione affronta il tema della manipolazione, intesa come forza invisibile che attraversa le relazioni personali, sociali, politiche ed economiche.
Un’indagine aperta e plurale che, attraverso il linguaggio dell’arte, mira a rendere visibile ciò che condiziona le nostre scelte e narrazioni collettive, invitando artisti e curatori ad un confronto attivo e critico.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

.artimu. International Experimental Film Festival

Concept by Ozlem Oguzhan. 

Organizers Istanbul Medeniyet University, Türkiye The University of Zaragoza, Spain Oolalala Art Gallery, Torino, Italy The Aristotle University of Thessaloniki, Greece.

The festival will consist solely of film screenings in four countries, Türkiye, Spain, Italy, and Greece. The reason for naming this free-to-attend festival “experimental cinema” is to come together around the alternatives that this genre inherently offers. In these times, where we are trapped within dominant ways of seeing, thinking, and producing—even watching everything at 2x speed—predefined boundaries make it nearly impossible to imagine alternatives or develop different modes of perception. Under the guardianship of established genres and technologies devoted to high resolution, anything “different” is absorbed into the mainstream. Yet experimental cinema, with its flexibility and resistance, can question the possibilities of producing a different perspective both from within and despite this dominance. With a form that challenges familiar definitions, it opens a door that continually explores new ways of expressing our emotions and thoughts—our very selves—by rethinking classical narrative structuresIn this context, it can be said that both .artimu. and experimental cinema constitute a kind of *khōra*—a space destined for metamorphosis—where they seek to gather with kindred spirits. .artimu. invites those who resist the fantasy of high resolution and filters, who break free from the conventional structure of beginning–middle–end stories, who narrate themselves differently, and who recognize that the authenticity of the word lies beyond boundaries.
Apply: https://filmfreeway.com/artimufilmfestival

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

AiR - Art in Residence

Project designed by Paola Cordischi

The project involves a week-long residency at Casale d'Arte for one or more artists to share ideas, techniques, artistic culture and philosophy of life. The guest artist works in residence alone or with others. At the end of the period, an exhibition of the guest artist's work is set up in the exhibition rooms of the Casale created during the residency and or beforehand, or a performance is staged. The project is conceived as an exchange of equals where the guest artist will be welcomed into the Casale in exchange for his or her work of exhibition or artistic performance. The stated spirit of this initiative is to create a community of artists who share non-competitive values and solidarity, and at the same time are committed to spreading a culture of personal, social and peaceful progress.

Il progetto prevede una settimana di residenza presso il Casale d’Arte per uno o più artisti per condividere idee, tecniche, cultura artistica e filosofia di vita. L’artista ospite lavora in residenza da solo o con altri. Alla fine del periodo viene allestita una mostra dei lavori dell’ospite nelle sale espositive del Casale creati in residenza e/o in precedenza o si darà vita a una performance.Il progetto è pensato come uno scambio alla pari dove l’artista ospite verrà accolto nel Casale in cambio del suo lavoro di esposizione o performance artistica.Lo spirito di questa iniziativa, oltre a quello dichiarato, è quello di creare una comunità di artisti che condividano valori non competitivi e di solidarietà, e nel contempo siano impegnati a diffondere cultura di progresso personale, sociale e di pace.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

Collective Hvallo

Research, planning and drafting of the concept by Giuliana Pugliese
Collaborative support Matthias Schlesinger KuKuK Berlin e.V. and Vulkanfieberfabrik Werder.

Damnatio memoriae is intended as the death of memory.

Hvallo realizes the project Damnatio Memoriae tour with a series of travelling exhibitions, starting from Berlin. The Damnatio memoriae is a sentence that was decreed in ancient Rome in very serious cases, as a result of which every memory (portraits, inscriptions) of the people affected by such a decree was erased.

The places chosen for the exhibitions have a specific meaning and are part of the project as places that already have a history and their own damnatio memoriae, as in the case of the Köpenick prison, a place where serious events with a strong political and social impact took place in 1933, during the so-called Bloody Week. In this case, too, it is a matter of violent repression against a population that in some way opposes a state of dictatorship.

To the collective, in the period from 2021 to 2022, have joined many other artists, currently, there are about twenty from sculpture to painting, from photography to installation, and from performance to video mapping. The collective includes in itself all forms of visual arts and not only proposes to remain independent and free in the contemporary art scene.

From the various meetings and exchanges that have occurred over time between members of the group, cross the distances related to the specificity of the history of the individual artist-activist as an intellectual, capable of defending culture as an authentic expression of the whole community thanks to the indispensable independence of art and itscontribution to the construction of memory on which to found a society finally more just.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

Inception, rethinking the space.

Research, planning and drafting of the concept by Ozlem Oguzhan of Istanbul Medeniyet University, curator Enrica Benedetto.

This exhibition is based on the concept of “place” (loci). Place, which is a concept frequently studied by many thinkers and artists, is often confused with the concept of "space". Spaces, on the other hand, are areas where people intertwine and identify with the culture they live in and the memory of that culture. In this exhibition, the anthropological quality of the concept of place is evaluated together with its meaning that supports people and culture.

Marc Augé, one of the best-known names in the concept of "place", discussed the concept in the context of supermodernity and established its direct connection to history and culture. However, Augé said in a statement that these ties to advanced technology, population growth and modern way of life in their metropolises have been severed and have become "out of place". Augé proposes the concept of "non-place" to replace the concept of place. They are places where there is no belonging, no memory, and identity is possible only by counting. For example; airports, stations, hotels etc. It is impossible to be recognized or leave a personal mark in these artificial and technology-intensive spaces. There is a 'relative' situation contrary to the identity and memory of the place. This concept, proposed by Augé, is based on a very ancient tradition: the "spirit of the place" (genius loci). Norberg Schultz, who conceptualized the spirit of place, which is the ancient Roman tradition, and made it the subject of modern architecture, artificially questioned the place-space relationship using Heidegger's philosophy of existence.

In this exhibition, we try to understand the "now" by going beyond the concepts of place and non-place. We wonder what is left of the human world between the awareness of the Anthropocene criticisms that exclude the human from the centre and the technology of transhumanism, which sees the human as an "inadequate and in need of updating" technology. The negation used in logic is used for the second time after Augé in the thought journey of this exhibition. The concept of 'non-place' is essentially a rejection of the anthropological and identical concept of place. In this exhibition we are looking for images that correspond to this double negative phenomenon, trying to overcome what has no place. One of the main problems with this exhibition is that the concept of non-place is limited to expressing the situation we find ourselves in today.

In this context it must be said that the two processes of negation annul and reset culture and memory, allowing rethinking and observation. This is why it was appropriate to name the exhibition "Inception". This expansion emphasizes that the concept of "place" is only possible in fairy tales or songs, from people who roam the vast networks of the Internet to forests that have turned into natural parks in their own lives. The denial of "out of place" is a kind of experiment in the imagination. This image can actually be an island, a village, a plain, or a familiar landscape. But it's all scary. They are depicted with a tectonic illusion beyond their usual shape. Paper, water pastel and acrylic were used as materials to reinforce these breaks and flows. When you build quarries or gigantic structures by drilling into mountains, the horizon is never visible on this distorted terrain. Therefore, this exhibition aims to see beyond the absence, starting from the "beginning".

This exhibition, the theatre of a long work, needs the public's imagination.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

GO! Project: The Journey of a Work of Art

Research, planning and drafting of the concept by Enrica Benedetto.

A necessary premise of the RECENT PAST.
GO! How did the idea for this concept come about?
Due to the spread of the pandemic, OOLALALA, like everyone else, is facing the evidence of an absurd planetary situation. It was necessary to find other ways besides the online gallery to revive concepts that had been forgotten or eclipsed in the face of fairs and other huge art programs. In the first planning phase, the obvious took on the face of the online gallery with its many advantages. All that remained was to satisfy the human need to see the works live, and our answer to this was the design of GO!

The pandemic is finally over, but we do not want to abandon the project, the artists and the partners who supported us. GO! continues and Oolalala currently manages two exhibition venues in Turin and organizes The GO! project, which involves the travel and exhibition of ONE single work of art in different countries, spanning both institutional and unconventional, heterogeneous locations.

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.

La Galleria d'appartamento: un percorso verso nuovi spazi d'arte

Interviste e testimonianze sull’esporre

Sonja Kristic - Neri Muccini 

Parlare di spazi espositivi non è mai facile; spesso è necessario scontrarsi con idee e proposte che concettualmente si trovano a poli opposti di una sensibilità strettamente personale. Anche a livello storiografico il tema dell’allestimento è una materia di studio spinosa e per certi aspetti largamente interpretabile, a seconda della considerazione delle tematiche in questione.

La fluidità di queste premesse unita alla personale necessità di contribuire alla documentazione italiana riguardo agli argomenti sopra elencati, costituisce un saldo punto di appoggio per la ricerca che questa tesi merita. Infatti, parte della motivazione che ha alimentato la stesura di questo studio, proviene dalla volontà di mettere della luce in alcune zone d’ombra che persistono nel sistema dell’arte contemporanea.

Un sistema del tutto particolare, governato da leggi scritte e - soprattutto - non scritte, che scandiscono i ritmi dedicati alla cultura ed in particolar modo alle arti visive. Con specifico riferimento al momento storico coevo, durante il quale i progressi e le conquiste tecnologiche hanno reso completamente accessibile ogni sfumatura di informazione,anche il sistema artistico ha subito notevoli cambiamenti.

L’aspetto più lampante della spinta al cambiamento è certamente da inquadrare nella globalizzazione e, come precedentemente detto, nella disponibilità informativa. L’abbattimento di barriere fisiche e geografiche ha concesso ai professionistidel settore artistico, in primis agli artisti, di poter far conoscere il proprio lavoro attraverso i social media ed Internet, allargando il potenziale bacinodi clienti ed appassionati in un modo davvero sensazionale.

Di pari passo, anche le realtà culturali, sia pubbliche come musei che private come le gallerie d’arte, hanno adattato parte del proprio lavoro alle possibilità che offrono inuovi media a disposizione: studio visit virtuali, comunicati stampa a portatadi click e velocità nell’eseguire scouting artistico......

For partnerships and collaborations, you can ask for the full project at:
contacts form on this website and we will get back to you as soon as possible.