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A collaborative editorial project by fellow curators and alumni of the School for Curatorial Studies Venice. Founded by @curatorial.school IT/EN

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10 months ago

Just as waves carry objects to and from the shore, the exhibition Tide of Returns, on display in the former Church of San Lorenzo in Venice – home to Ocean Space – until 11 October 2026, places an ancestral connection with nature at the heart of its discourse, acting as a voice for calls for the return and repatriation of cultural heritage. The exhibition comprises two site-specific installations that prompt a series of reflections on the links between objects and the territories in which they were produced, as well as on the limitations and contradictions of the Western perspective.

Read the full review by Rebecca Canavesi at the link in bio.

Photos: Exhibition view of “Tide of Returns”, Ocean Space, Venice. Commissioned and produced by TBA21–Academy. Photo: Jacopo Salvi

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#cplusc #oceanspace #oceanspaceorg #tba21 #tideofreturns by @cplusc.xyz

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8 days ago

Ibrahim Mahama (Tamale, 1987) explores the traces that time leaves on objects, the link between a material and its history, and the possibility of reclaiming the past to imagine a different future. Monumental installations, terracotta pots, and educational spaces such as Red Clay, SCCA, and Nkrumah Volini – created within abandoned or repurposed buildings – thus become devices for connecting the past with a present that, perhaps precisely by virtue of this reinterpretation of memory, may be a little more just.

We interviewed him to talk about his relationship with matter and its deterioration, with tradition, memory, institutions, and the spaces in which these stories can continue to be passed on.

Read the interview by Rebecca Canavesi at the link in bio.

Photos: Ibrahim Mahama. Photos by Art Outreach Singapore. Courtesy of the Artist, APALAZZOGALLERY and White Cube

Ibrahim Mahama, Parliament of Ghosts, Kochi-Muziris Biennale, Kochi, India, 2025. Installation view. Courtesy of the Kochi Biennale Foundation

Red Clay. Photo by Ernest Sackitey. Courtesy Red Clay

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#cplusc #ibrahimmahama #redclay by @cplusc.xyz

480

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18 days ago

Manifesta 16 transforms twelve churches in the Ruhr region into venues for its sixteenth edition. The project addresses the crisis facing religious buildings in Germany, but what does it mean to stage an exhibition in such a distinctive space? And what dynamics arise within a varied group of curators? We have tried to answer these questions.

Read the review by Elia Castello and Sara Collivasone at the link in bio.

Photos: ©️ Manifesta 16 Ruhr / Ivan Erofeev

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#cplusc #manifesta16 #manifestaruhr by @cplusc.xyz

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14 days ago

“I think it is important to understand and see female bodies from a feminist perspective of the body, rather than from a human-centred perspective. How can you talk about feminism if you cannot look at animal consumption or animal politics, for example? There is a profound violation of bodies; the meat industry is based on violence. That opens a whole other conversation about how we understand queerness, feminism, leftist ideology, and respect for the body”.

We interviewed video-artist Janis Rafa (Greece, 1984) and we talked about her perspective as an artist and as a human being. From this conversation emerged reflections on the contradictions of a society founded on abuse and violence.

Read the whole interview by Rebecca Canavesi at the link in bio.

Photos: Janis Rafa. Photo by PINELOPI GERASIMOU, ONASSIS STEGI

Janis Rafa, Baby I’m Yours, Forever, 2026 in “Canicula,” Fondazione In Between Art Film at Complesso dell’Ospedaletto, Venice, 2026.Courtesy of the artist and Fondazione In Between ArtFilm. Photo ©️ Marco Cappelletti and Giuseppe Miotto / Marco Cappelletti Studio

Janis Rafa, Feed Me Cheat Me Eat Me, Eye Filmmuseum Amsterdam, 2023, ©️ Studio Hans Wilschut

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#cplusc #janisrafa #videoart #fondazioneinbetweenartfilm #curatorialschool by @cplusc.xyz

131

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a month ago

Until 22 November 2026, Lorna Simpson’s solo exhibition “Third Person” at Punta della Dogana in Venice immerses visitors into a layered and elusive visual universe, where identity proves to be fluid, irreducible to a single definition.

The Venice exhibition, curated by Emma Lavigne in collaboration with Simpson, is the largest solo exhibition dedicated to the artist in Europe, featuring over fifty works, including paintings, collages, installations and videos.

Read the full review by Alessandro Cerchier at the link in bio.

Photos: Installation views, Lorna Simpson. Third Person, 2026, Punta della Dogana, Venezia. Ph. James Wang ©️ Palazzo Grassi, Pinault Collection

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#cplusc #palazzograssi #puntadelladogana #lornasimpson #emmalavigne by @cplusc.xyz

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a month ago

Curator of the Luxembourg Pavilion at the 2026 Venice Art Biennale, Stilbé Schroeder (Luxembourg, 1985) shared with us some reflections on how to approach institutional freedom and how to engage with site-specific works capable of transforming a space. She also explained what it means to bring to light raw and uncomfortable truths – the central theme of La Merde, the exhibition displayed in the pavilion, which features the work of Aline Bouvy.

Read the interview by Yasmine El Hafidi at the link in bio.

Portrait ©️ Ernest Thiesmeier

Photos: Adrien Vescovi, Jours de lenteur, installation view, Casino Luxembourg ©️ Marc Domage

Christoph Meier, Ute Müller, The Hearth Room, Casino Luxembourg, to come in September 2026 ©️ The Artists

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#cplusc #stilbeschroeder #alinebouvy #casinoluxembourg #curatorialschool taken in Venezia by @cplusc.xyz

218

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a month ago

“Une hirondelle ne fait pas le printemps” is the title of the exhibition by Annette Messager (Berk-sur-Mer, 1943), Golden Lion at the Venice Biennale in 2005, curated by Colin Lemoine at the Musée de la Chasse et de la Nature in Paris until 20 September 2026. Since its foundation in 1967, the museum investigates human-animal relationships through art, ranging from ancient works to contemporary practices, including temporary projects with artists Sophie Calle, Sterling Ruby, Lionel Sabatté, Eva Jospin. These projects evade the “Kunstkammer” museum approach, offering a dive into the history of collecting practices, hunting culture and overall ideas of human dominance over nature.

Read the whole text by Luiza Gareeva at the link in bio!

Photos: ©️M. Domage ©️ Annette Messager / ADAGP, Paris, 2026

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#cplusc #annettemessager #parisexhibitions #artwriting #curatorialstudies taken in Musée de la Chasse et de la Nature by @cplusc.xyz

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a month ago

Within the landscape of European cultural institutions, Madrid’s La Casa Encendida stands as an experiment of remarkably forward-looking efficacy. Founded in 2002 under the aegis of Fundación Montemadrid, its structure anticipated by twenty years the cross-disciplinary approach that many organizations now strive to catch up with.

In this conversation, director Pablo Berastégui guides us behind the scenes of the institution’s curatorial machinery.

Read the whole interview by Leonardo Piazza at the link in bio.

Portrait: Pablo Berástegui Lozano. Photo Nelson Miranda

Photos: Inéditos 2026 / Raquel Algaba Exhibition / Picture by Maru Serrano

Generación 2026 / Picture by Maru Serrano
Electrónica en Abril 2026 / AWOS by JASSS and Ben Kreukniet / Picture by Lukasz Michalak

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#cplusc #madrid #lacasaencendida #montemadrid #curatorialschool taken in La Casa Encendida by @cplusc.xyz

52

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a month ago

In May this year, the Nicoletta Fiorucci Foundation inaugurated its second exhibition in its Venetian venue. Open to the experimentation of interdisciplinary artistic practices and committed to supporting projects rooted in local and community contexts, the foundation presents the works of Lydia Ourahmane (Saïda, 1992) in a solo show curated by Polly Staple.

Read the review by Alessia Leoni at the link in bio!

@nicolettafioruccifoundation
@emogirl4
@polly.staple
@_aleoni

Photos by @_marcocappelletti

#cplusc #curatorialschool #nicolettafioruccifoundation #lydiaourahmane #pollystaple by @cplusc.xyz

35

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2 months ago

“We are on a journey in the company of the arts; it is hard to get bored, easy to be amazed, and we retain a sense of wonder without any established norms to imitate or rhetorical traditions to fall back on. The Querini Stampalia is a Foundation in a state of rêverie: alert, active, curious, and capable of imagining without losing touch with reality”.

Appointed Director of the Querini Stampalia Foundation in Venice in September 2024, Cristiana Collu shared with us her thoughts on The Dreamer, an exhibition that presents a new concept and innovative approach to displaying the collection, unveiled on 5 May, as well as on the new residency programme and the impact of extraordinary museum initiatives in a city as out of the ordinary as Venice.

Read the full interview by Rebecca Canavesi at the link in bio!

All photography by @adrianomura

@fondazionequerinistampalia
@berec.ca

#cplusc #fondazioniquerinistampalia #cristianacollu by @cplusc.xyz

175

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4 months ago

28

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a month ago