Kendell Geers, "Migrating Forms, Migrating Gods" installation view of the exhibition "Janela, Migrating Forms, Migrating Gods", Kochi Muziris Biennale (Kochi, India 2014-2015)


Valentina Gioia Levy is an independent curator a writer and historian of Asian art based in Rome. In 2014, she coordinated a special program of the National Museum of Oriental Art that aimed to present to an Italian public some of the most relevant artistic practices which were recently born in Asia. Currently, she is the chief curator of the Art Section of the Festival of Villa Ada in Rome. Pushed by a constant effort of understand what is going on worldwide – not exclusively in the art history but, more widely, in contemporary history – her curatorial vision is influenced by her interest for social and geopolitical topics, and focus in particular on the possible ways in which local and global issues relate to each other, in the post-internet era.

Her recent curatorial projects include: “New Social Animals” a group show which explored the relationship between human – animals – society and territory (Villa Ada Festival, Rome, 2015); “Janela. Migrating Forms and Migrating Gods, group show promoted by the Museum of Goa for the Kochi Muziris Biennale (Kochi, India, 2014-2015); “The Pink Gaze”, National Museum of Oriental Art (Rome) and Civic Gallery of a Modern Art (Spoleto, It, 2014).




Adalberto Abbate
Paolo Cirio
Ludovica Gioscia
Carlo Zanni

Curated by Valentina Gioia Levy

In the context of Something Else – OFF Biennale Cairo

The name of the project refers to the ‘70s, a decade known in Italy as “Anni di Piombo” (“Years of Lead”). This was a time of social demands, marked by conflict and terrorism carried out by both right- and left-wing paramilitary groups. The title of the show also refers to the idea of ‘liquid modernity”, which was theorized by sociologist Zygmunt Bauman. The expression liquid modernity indicates the ‘late modernity’ of the current era, which is marked by the globalization of the capitalist economy and the information revolution.
Liquid Lead will feature installations by Italian artists who were born in the ‘70s, and whose works interpret concepts of revolt. Adalberto Abbate’s work, from his series Revolts, reconfigures the meaning of images depicting protests in Italy during the Years of Lead, subverting violent elements with symbols of hope and peace.
Paolo Cirio – artist-hacktivist who operates in the fields of copyright, privacy, finance and cyber-security – is going to present for the first time in the African continent, the projec the illusion of the third sun that – according to his statement – illuminates the idea of worldwide democracy within the tradition of utopian artistic visions.
Ludovica Gioscia, whose work explores our visceral relationship with consumption, will present a site-specific custom screenprinted wallpaper installation from the series Vomitoria; a series that echoes the ancient Roman practice of vomiting during binge feasting. This series has lately evolved into a fake fashion label (the Vomitorium Label) in which other brands that use notions of purity as their core marketing strategy are forced and regurgitated into a fictional collaboration. On the day of the opening of Something Else Carlo Zanni’s The Fifth Day will be shown in an updated version, made possible thanks to the support of the Arts Santa Mònica Centre de la Creativitat, Barcellona. Zanni’s work is a sequence of ten pictures showing a taxi ride, edited as a slide show, with music by Kazimir Boyle. Shot in Alexandria, the photos are constantly changing networked stills linked to critical data describing the political and cultural status of Egypt. The data is retrieved from the internet and consists of information such as the proportion of seats held by women in the national parliament, the Corruption Perceptions (CPI) and the Literacy rates in adult female and male (ages 15 and above). This collected data has a direct transformative impact on the aesthetics of the photos.




Adalberto Abbate was born in 1975 in Palermo where he currently lives and works. His artistic practice is permeated by a dry sense of humor and mockery, which he uses as forms of resistance or protest. In his works, he faces the daily social and political issues of his country with a special regard to the south of Italy and the Mediterranean area. Since 1998 his works have been featured in a number of museums and cultural institutions such as: Musée historique et des porcelaines (Nyon, France); Museo Mart (Rovereto, It); Museo Riso d’Arte ontemporanea (Palermo, It); Museum für Kommunikation (Bern, Switzerland); Fondazione Arnaldo Pomodoro (Milano, It); Ausstellungsraum Klingental (Basel, Swiss); GAM, Gallery of Modern Art (Palermo, It); VAF-Stiftung, (Frankfurt, Germany); Kunstlerverein Malkasten (Dusseldorf, Germany); Centre Pompidou (Paris, France).


Paolo Cirio was born in Torino in 1979. He currently lives and works in New York. His artistic practice is based on the manipulation of data and information as a way to stress the paradoxes of capitalistic and networked societies. He considers his works as attractive devices to engage broad audiences in reflections on the power of information and media. His works have been exhibited worldwide, including: DOX Contemporary Art Centre (Prague, CHZ); Utah Museum of Contemporary Art, 2015; Victoria and Albert Museum, (London, 2014); Museum of Contemporary Art, (Sydney, 2013); ZKM, Karlsruhe, 2013; CCC Strozzina, (Florence, 2013); Museum of Contemporary Art, (Denver, 2013); MAK, (Vienna, 2013); Museum of Modern Art, (Rio de Janeiro, 2012); National Fine Arts Museum, (Taichung, 2012); Wywyższeni National Museum, (Warsaw, 2012); National Museum of Contemporary Art, (Athens, 2009); Courtauld Institute, (London, 2009); Palazzo delle Arti di Napoli, (Naples, 2008); MoCA, (Taipei, 2007); Sydney Biennial, 2007.



Debris_as_dress3Born in Rome in 1977, Ludovica Gioscia lives and works in London.
As a compulsive hoarder of apparently unrelated things, Gioscia organizes and re-elaborates her collections into archives, which subsequently get deployed into installations and sculptures. The nature of this accumulated material stems from an interest in retail and social anthropology and science fiction. The fusion of these leads to a series of works that analyse our relationship with consumption. Fictional genres, such as the Debrocks, offer themselves as a new flora born from a geology of lifestyle.
Gioscia’s work has been featured in a number of museums and art galleries such as: MNAC, National Museum of Contemporary Art of Bucarest; MACRO, Museo d’Arte Contemporanea, Rome; Salon 94, New York; Fundacio Mirò, Barcelona; The Flag Art Foundation, New York; The Andy Warhol Museum, Pittsburgh; Srinakharinwirot University, Bangkok; South London Gallery, London; The Maraya Art Park, Sharjah; The American Academy, Rome; Jerwood Space, London and Edinburgh College of Art, Edinburgh.


carlo-zanni9172-carlo-zanniCarlo Zanni was born in La Spezia (Italy) in 1975. Since the early 2000’s his practice involves the use of Internet data to create time-based works that combine a pronounced social consciousness with the mediated experience of advanced technologies. His work has been shown in galleries and museums worldwide including: The Hammer Museum, Los Angeles; New Museum, New York; Tent, Rotterdam; MAXXI, Rome; P.S.1, New York; Borusan Center, Istanbul; ACAF Space, Alexandria; PERFORMA 09, NY; ICA, London; Wood Street Galleries, Pittsburgh; Science Museum, London.