Conversations between Antonio Monda and Marina Sagona on the world of Dreams.
What are dreams, aren’t they maybe the general rehearsal for the afterlife? and the recurring dreams? They are proofs of our collective subconscious, the proof that shows that we are all part of the same matrix, the same star.
Marina Sagona presents her short movie Your Dream is my Dream, a video about our recurring dreams and Antonio Monda will moderate the evening and present two episodes of the film “Dream” by Akira Kurosawa.
Your Dream is my Dream is a film about shared identities and the Jungian concept of collective unconscious.
According to C. G. Jung we are all born with common patterns and ancestral memories, called archetypes, that are the same in different cultures.
The collective unconscious manifests itself mainly through art and dreams, particularly reoccurring dreams, that with minimal variations are indeed the same for all of us.
We are all one and we dream the same dreams.
This film is a chorus of reoccurring dreams that can be traced back to four main categories – impossibility, unpreparedness, self-consciousness and loss.
Following a specific and different logic for each category, subtitles give additional body and color to the voices, both in Italian and in English.
Photographic exhibition by Emanuele Artenio opening on the 20th of December at 6pm.
The show will be open until the 4th of January 2025.
Supernova is happy to host the show “Noantri” by Emanuele Artenio.
Trastevere is a shared story. A story of belonging and uniqueness. But not even here can time be stopped. It rushes forward, leaving behind the last traces of a place lived intensely.
“Noantri” is a journey into the last village within Rome. A neighborhood that was once home to actors and poets, sailors and rogues. Through the streets and faces of “noi altri”—the Trasteverini who have always distinguished themselves from the rest of the city: “voi altri,” you who live in other districts. With these shots, I narrate places, glimpses, faces, and traditions, but above all, people. Gazes, hands, wrinkles—those few who were born and raised in Trastevere and still live there. But they are disappearing. In front of my lens, “noantri” seems unchanged, yet for some faces and places, it has become a race against time. While this project developed, historic shops closed; some Trasteverini passed away, even among those who welcomed me into their homes and businesses, taking me back in time, well beyond my own memories.
In Fausto Tozzi’s film Trastevere (1971), sor Alfredo, a bartender, tells a customer from northern Italy: “Once, this was like a village. Now it’s become a port of call… foreigners and artists come, paying a fortune for houses… and the Trasteverini slowly leave.” Not by chance, the screenplay was titled Requiem for Trastevere. These words, echoing through the alleys and squares for more than 50 years, describe a reality that now seems imminent and perhaps unavoidable. Between 2001 and 2019, the resident population decreased by 15.3%; one in three residents is now a foreigner. To the quick glances of tourists or passersby, Trastevere appears striking, luminous, captivating. Its alleys are free postcards; its trattorias and taverns promise delights to all. But the tourist-heavy, nightlife-filled district is on the verge of swallowing the historic neighborhood, erasing its identity and soul—the very qualities that made it famous.
“Noantri” is not a nostalgic tale of what once was. I want to show what remains today of Trastevere’s essence—the intimate story of the people who lived it and are its witnesses. I sought it in the alleys, among cars and laundry lines, in homes, in old shops, or in cellars, trying to capture its true nature a moment before it vanishes.
December 12, 2024, from 3pm to 6pm Followed by a public aperitif with a sharing of the sweet creations made during the workshop.
Synopsis: In Italian popular culture, cakes and cookies are often crafted in the shape of female body parts, like the traditional Pupa Abruzzese.
Grossi Maglioni’s large installation, showcased at Supernova, draws inspiration from this traditional sweet, reimagining it as a large silhouette of a woman with three breasts, three vaginas, and three legs.
Drawing from and deconstructing our memory of this sweet, we imagine new forms to tell stories of our pleasure and desire.
The Grossi Maglioni workshop will guide participants in creating new sweets during the afternoon at Supernova.
This walk will take you on the trail of characters who have distorted gender and sexual norms that we can find in the Trastevere area of Rome, either because they lived there or because their representations still populate this neighborhood. We will encounter religious, spiritual figures, as well as others that are extremely earthly, who did not enjoy fame in their time and have been systematically erased from history.”
Dani Martiri is an independent curator. In 2021, they founded the outreach project ‘Queering Rome’ to discuss Rome through a feminist queer lens. Since 2023, they have been part of the Working Group ‘Gender and LGBTQ+ Rights’ of ICOM Italy, where they focus on promoting queer museology in the country.
Join us for a bilingual English-Italian reading that brings together new voices in American, British, and Italian literature. This event will feature the current writers-in-residence at the Giancarlo DiTrapano Foundation for Literature and the Arts alongside special guest authors from Rome and Florence.
This unique literary evening is organized in collaboration with Spazio Supernova and Chiara Barzini. In a nod to PUPA — the current exhibition at Spazio Supernova by the artistic duo Grossi Maglioni (curated by Dorotheé Dupuis) — the readings will explore the theme “material and symbolic bodies.
Foundation Resident Readers: Raegan Bird Thomas Thatcher Harriet Armstrong Madeline Cash
Special guest readers: Francesca Marciano Tiziana Lo Porto Elizabeth Geoghegan Will Schutt Athena Kokoronis Sara Reggiani
The talk on 16th of November: A conversation with Grossi Maglioni (exhibiting artists), Clovis Maillet (fellow at the Villa Medici, French Academy in Rome), Lex Brown, and Sheila Pepe (Rome Prize fellows at the American Academy in Rome). Curated and moderated by Dorothée Dupuis.
The event will begin with a brief presentation (in English and Italian) by the artists on their respective research, followed by a discussion that will expand on themes explored in Grossi Maglioni’s show. This conversation seeks to foster a broader reflection on bodies—particularly female, but not exclusively—their complex relationship to materiality and symbolism, their capacity to be born and to die, to experience joy and suffering, to be uniquely individual and simultaneously intertwined with the collective fabric of society.
The title of the talk is drawn from Clovis Maillet’s research, which will be explored further during the event, inviting us to engage with the water/earth metaphor that plays a significant role in the Pupa exhibition. We hope this conversation will uncover essential elements for creating feminist (and broadly political) art today. Audience participation is warmly encouraged.
About the artists: Clovis Maillet is a French historian and artist whose collaborative work often explores gender themes through performance and research-based projects rooted in feminist and trans issues. Sheila Pepe, known for her postminimalist and queer abstraction background, now creates public sculptures that critique patriarchal traditions, drawing on Rome’s rich art history. Lex Brown is a video and performance artist who merges satire, music, and social critique in her “Soap Operetta” genre, inspired by Italian opera and commedia dell’arte. Each artist integrates history, society, and critical reflection into their work. Together, they challenge traditional narratives and explore themes of identity, societal structures, and artistic expression.
Opening 14th of November at 5pm until 18th of December. Opening hours: Monday to Friday, 5pm-20pm
In Italian, pupa means a doll, and it can refer to a real doll or a woman/girl. But Pupa is also the title of a new project by the Italian, Roma-based artistic duo Grossi Maglioni: “Born within the project, which investigates the representation of women and motherhood in contemporary culture, Pupa marks the beginning of a new research that links the sweet to the idea of love and female sexuality through an investigation of Italian popular traditions. In this project, which includes workshops, installations and a video, we want to reflect on the sexual models handed down within the patriarchal family through the generations, on pleasure, folklore and myths of femininity related to ritual food and the earth.”
PUPA present a whole new body of works by Grossi Maglioni, a workshop led by the artists, and a talk series with Clovis Maillet, Lex Brown and Sheila Pepe. The show and talk series borrow the title of Grossi Maglionis videowork present in the show, to engage in a wider reflection about the (female but not only) bodies, their paradoxical relationshop to materiality and symbolism, their power to be born and die, to enjoy and to suffer, to be ineluctably one’s own and at the same time the intertwined flesh of all members of society. PUPA is a show curated by Dorothée Dupuis, ex-pensionnaire 2022-2023 at the French Academy in Rome, Villa Medici. Dupuis is a curator, publisher and art historian based in Mexico City. She is the Director and Founder Temblores Publicaciones.
GROSSI MAGLIONI (Francesca Grossi and Vera Maglioni, Rome, 1982) began their collaboration in 2006. Their work is mostly focused within performance, installation and educational practices. Their work has been exhibited in galleries, museums and academic institutions, including: Palais Carli, Marseille; Fondazione Baruchello, Rome; Museo d’Arte Contemporanea, Lissone; Picture Gallery, Kaunas; <rotor> center for contemporary art, Graz: Kunsthalle Bratislava; Istituto Svizzero, Rome; AlbumArte, Rome; American Academy, Rome; Viafarini, Milan; MACRO, Rome; Verkstad för konst, Norrköping; Konsthall museum, Vasa
Talk series curated by Dorothée Dupuis: November 16, 2024 at 12pm Grossi Maglioni’s workshop: December 14, 2024 Queering Rome Tour, November 23, 2024
After the success of the collage in the square for children, Supernova is pleased to invite you to the collage evening for adults introduced by Alice Casana. This time we experiment with erotic images taken from retro magazines.
Monday 21st at 7:30 pm.
To reserve your place send an email to: info@spazio-supernova.com
Performances never rest, and their variations never stop evolving. Following Dr. Brown’s introduction to contemporary clowning we will be hosting an open doors lab show in which three actors come together to capture the audiences’s attention, bringing the piazza indoors and leaving them with an unforgettable experience. Just as Philippe Gaulier has trained talents such as Philip Burgers and Lucy Hopkins, whom we will soon meet here at Supernova, Philip has taught many other performers like Maya Ricote, Andy Duncan, and Cam Porter what to invent. Here they are, ready to share the stage with each other and, most importantly, with you in a show created exclusively for Supernova as part of the “Performance and its Declinations” project, initiated this week and curated by Diego Borella. This journey has just begun and is eager to grow and push your curiosity more and more.
CAM
Cam Porter is a comedian from Los Angeles and a recent graduate of the École Philippe Gaulier. He has appeared as a mime in HBO’s Silicon Valley and as a human fountain on America’s Got Talent.
MAYA
Maya Ricote, a Latin American actress, singer, and improviser turned clown, was previously a student at the École Philippe Gaulier. She is now preparing a clown show for the Edinburgh Fringe Festival.
ANDY
Andy began his career with his brother as “The Duncan Brothers.” After various workshops with Dr. Brown, they created successful shows such as “Legs,” “Logs,” and “Jeremy Segway,” enjoying great success at various festivals and theatres in the UK.
On the 25th of June at 7:30 pm Supernova invites you to the screening of Blow Up by Michelangelo Antonioni.
Blow-Up is a 1966 psychological mystery film directed by Michelangelo Antonioni, co-written by Antonioni, Tonino Guerra and Edward Bond and produced by Carlo Ponti. The plot was inspired by Argentine-French writer Julio Cortázar’s 1959 short story “Las babas del diablo”, which was later retitled “Blow-Up” to tie in with the film.
Plot:
Antonioni’s screenplay for Blow-Up is a “thriller-suspense” story revolving around the efforts of a young and successful fashion photographer in his struggle to determine whether a series of snapshots he takes at a public park contain evidence of a murder. As Thomas persists in his role as amateur detective, his quest leads him initially to question his technical mastery over the “hidden truth” recorded by his camera, then toward a confrontation with the realities of his life of “material advantages, gained at the expense of ideals”. Finally, he questions the reality of his own existence.
Biography:
Michelangelo Antonioni (29 September 1912 – 30 July 2007) was an Italian director and filmmaker. He is best known for his “trilogy on modernity and its discontents”—L’Avventura (1960), La Notte(1961), and L’Eclisse (1962)—as well as the English-language film Blowup (1966). His films have been described as “enigmatic and intricate mood pieces” that feature elusive plots, striking visual composition, and a preoccupation with modern landscapes. His work substantially influenced subsequent art cinema. Antonioni received numerous awards and nominations throughout his career, being the only director to have won the Palme d’Or, the Golden Lion, the Golden Bear and the Golden Leopard.
for the publisher [dia•foria (Viareggio) & dreamBOOK editore (Pisa), 2023 with a preface by Chiara Portesine
In conversation with the author will be Ugo Fracassa & Simona Menicocci
In the concentration bubble of today’s poetry, the author is the message. In the noise of history, the message is the other. Inglese’s book is an inexhaustible cosmogony of communication, a clumsily Homeric dictionary of conflicting definitions. The message is short, the message is western, the message is pornographic; the message is “not a message of death” but “the message as usual can speak of death.” Irony carves out categories from within, making them empty pumpkins. THE NOISE IS THE MESSAGE to celebrate some anthropocenic Halloween, an apocalypse-party with survivors dressed as words, masks of syllables covering their bodies.
We invite you to the presentation of Nicolás Jaar’s new book: Islands on March 18th.
Beneath the ocean lies another ocean, dormant, and the islands narrated by Nicolas Jaar are the dreams that emerge from its buried depths, told with a musical language that is simultaneously deeply visual.
Images crystallized in the impossible time of fables, revelations, hallucinations, myth; worlds where nothing is ever what it seems, and everything unfolds in an underground plot resonating with meaning, like a dream one struggles to remember: wells murmur in the language of God, ecstasy nestles between the planks of a wooden floor, skin becomes the paper to entrust one’s messages to, and from the amplifiers – the most precious weapon against the atrocities of oppressors – simulated shots and resistance songs resound.
A successful musician and producer turned debut author, Nicolás Jaar creates a shifting mosaic where images flow and return like loops, overlap like samples, reverberate like echoes in a minimal and prismatic plot whose fragments vanish and reemerge transfigured. Thus, the fairy tale gives way to revelation; historical account to poetry; prayer to theatrical piece.
Exploring these islands means diving into an abyss of symbols that seem inexhaustible, elusive fragments of meaning that leave a deep mark in our memory, like the reflections of Recimo’s magic mirrors, whose tranquil distortions infect minds with a mysterious calm resembling a spell or a curse.
Nicolás Jaar (1990) is considered by international critics as one of the most important electronic music producers. Born in New York and raised in Chile, he gained international fame in 2011 with his debut album Space Is Only Noise. He has since released five more albums under his name, including Sirens (2016) and Cenizas (2020). He founded the experimental music label Other People, featuring artists such as Lydia Lunch and Pierre Bastien. He is the composer of the soundtracks for Jacques Audiard’s Dheepan (Palme d’Or winner in 2015) and Déa Kulumbegashvili’s Beginning (2019). In recent years, Nicolás has focused primarily on teaching, conducting sound editing courses and listening workshops for emerging and novice musicians at various institutions and events, including the Museo de la Memoria (Santiago, Chile), AdBK (Munich, Germany), free.wav (Attappadi, India), Festival 4×4 (Chiapas, Mexico), and Dar Jacir and Alrowwad (Bethlehem, Palestine).
On the 14th of February at 6pm we invite you to the inauguration of Daniele di Girolamo’s solo exhibition A measure of a Distance, curated by Niccolò Giacomazzi.
A measure of distance by Daniele Di Girolamo unfolds in two evolving environments divided into the levels of Supernova, exploring relational dynamics according to a dual awareness: relating to the other and listening to the inner flows of one’s own knowledge. These are the chords that Daniele intends to touch.
On the ground floor, the exhibition presents the installation of three pairs of thistles dancing in space, drawing orbits through the unraveling of brass tubes. Electrical wires run inside the artificial stems that, like plant sap, allow the hermaphrodite flower to rotate on itself and seek possible contact. By observing the behavior of a plant placed inside a dark environment with only one source of light, we will notice how it will find its way to the light source. Similar to phototropism, thistle caulis find a meeting place at the end of their spatial explorations, where reaching for light is replaced by the necessary act of meeting. The rotations show us the mutability of relationships, which can sometimes result in not finding each other while at others they express the contingencies of coming together in embrace and inevitable release.
The warm breath and pulse of rapprochement are recalled by the rubbing of sharp thorns and interrupted by the frustration of their ignoring each other. The whole relational process made up of approaches, rejections and wrong circumstances, as Daniel himself describes, manifests as “sweet, violent, funny, romantic, melancholic, erotic and raw.” In the moment of maximum tension, the perception of a bond is as possible as that of a contrast. The path of the stems concretizes the past prior to the encounter, the result of a motion with defined structures. At this moment, the encounter takes its course and speaks of the present: the bodily sensations and emotional resonances of each individual act on his or her own passionate state. One enters into a more introverted and intimate reflection, which reaches the peak of intensity with the lower floor installation.
In the underground space, three sculptures worked with a plastic material that recall the shape of crumpled cylinders are shown. Inside them is sea sand that, subjected to a rotating motion, recreates the sound of the undertow. From the natural element, taken from its context of origin, a sound memory is extracted that continues to remind us of the place from which it came. In this dimension, the relationship with the other fades into a more individual and direct relationship with oneself. Time slows down, listening increases: one leaves the mind free to descend into the depths and take the measure of the distance that unites or separates oneself from others.
We invite you on February 1st at 7 pm to The Mute: a circle of feminist self-awareness. Colettivo Montag engages in dialogue with Le Sentinelle.
“Women will form self-awareness groups and say, ‘Finally, a bit of free therapy’”. Le Sentinelle will tell you what it means to engage in a self-awareness group in 2023, peeking into the spiritual, cultural, and political experiences of feminists in the 1970s. In this event, we will take you inside a self-awareness session, weaving together stories and unraveling, starting from the practice of reading, narratives with each other.
Le Sentinelle is a feminist self-awareness group born in Rome in 2023. They meet twice a month, read feminist theory and practice texts together, and then discuss them for hours, intertwining their personal lives with the voices they discover in books. Meeting after meeting, they try to build a space for reflection, sharing, and, above all, mutual care: if one is in the dark, the other acts as a sentinel for her step; she lights a fire for her.”
We invite you to the film screening of Heliconia by Paula Rodriguez on the 25th of January at 6:30 pm.
Heliconia, Paula Rodríguez Polanco, Colombia/France, 2020, 27’
SYNOPSIS
Heliconia is the portrait of three young people in search of an earthly paradise. It is the story of their journey, their desire for freedom and their emotional ties through the multifaceted landscape of the tropics.
BIO
Paula Rodríguez Polanco (Bogotá, 1994) is a filmmaker, researcher and curator. She studied philosophy, art history and cinema in Paris, where she has lived for the past ten years. She directed the short films Camposanto in 2019 (Festival Tous Courts) and Heliconia in 2020 (FID Marseille, IndieLisboa, Jihlava, Mar del Plata IFF, Documenta Madrid, Beldocs…).
Her films are closely linked to her research work, in which she questions the materiality of celluloid film in contemporary practices and the image’s relationship with history and individual and collective memory. She is currently preparing a PhD thesis on Super 8 and 16mm practices in contemporary cinema, and is writing her first feature film Malpaís, produced by mutokino (Colombia) and L’Heure d’été (France).
AWARDS
Special Mention First Film Prize – FIDMarseille 2020 Special Mention Altered States Competition – Mar del Plata IFF Special Mention Best Short – FICCALI Best International Short Film – Lima Alterna Best Character – Festival Laberinto
FESTIVALS
FIDMarseille, FICValdivia, Jihlava IFF, Festival Cámara Lúcida, Zinebi, Amiens FIFAM, Mar del Plata IFF, Documenta Madrid, IndieLisboa, Shorts Mexico, Beldocs, Festival internacional de cine de Cali FICCALI, Las Palmas IFF, Festival Obskura, Festival internacional de cine de la isla de Chiloé, Panorama du cinéma, Colombien à Paris, Daimon Muestra de Cine, Dresden Filmfest, Leiden Shorts, Festival de Cine Independiente Laberinto, Cinemancia Festival Metropolitano de Cine, Lima Alterna, Dhaka IFF and Panorama of the European Film in Cairo
SPACE HOUSE by Valerio D’angelo opens a gateway onto the square of Santa Maria in Trastevere and transports us into another reality. As suggested by the title, the exhibition is inexorably linked to the concept of space, understood both in its astronomical and architectural sense due to its site-specific nature, and delves into insights from quantum physics. To understand this union simplistically, imagine standing in front of an automatic dispenser of special and unpredictable balls. Pulling some out, each behaves differently from what one might expect: one might bounce in front of us while moving horizontally, another might take on different forms when observed and when not, and so on. This happens in quantum physics with the study of particles, and in Valerio D’Angelo’s practice with the reflections generated in the dichroic mirrors of his installations.
Access to the exhibition is allowed through a portal that places the viewer at the center of a new dimension. As one passes through, space vibrates, alters, and reflects distorted images, proving that we are one possibility among infinite possibilities. The installation becomes an intermediary place for the multiplication of forms and colors, of truth. Crossing the threshold, one enters Supernova’s spaces where a cold light reveals structures, sometimes colossal, sometimes intangible, revieling elements that appear as boarding gates to other galaxies. The dichroic film, D’Angelo’s preferred material, first appears as a fluid entity and then as an organism that takes on different forms depending on the support it inhabits, be it a column, a Venetian piece of furniture, or a projector. The succession of portal works deprives our universe, and thus us humans, of the centrality we enjoy, instead directing attention towards the unknown, beyond the boundaries of perception. Our image undergoes a doubling, it fragments into displaced worlds in which various existences become possible and probable.
In the last chapter of the exhibition, an image appears that seems to be observed under a microscope: it is the synthesis of Boltzmann’s brain theory. Through the study of lenses and lights, the projection of a micro-fragment of reality is revealed, a transposition of the fluctuating brain that generates what we perceive as real. In this case, the theory itself is reversed; it is no longer the creator shaping and projecting, but rather we are observing its projection in a slow and hypnotic movement. Everything is questioned, us and the entire universe. Even if only for a second.
Statement by Valerio D’Angelo:
“My artistic research focuses on the element of reflection, initially understood as a narcissistic gesture that allows isolating and enhancing one’s own image and opening up new forms of self-perception. Deepening this investigation, the second dimension accessed through reflection has gained increasing importance, coming to be perceived as another, displaced and equally present reality. This thought has taken on disturbing nuances, sowing in my consciousness the sensation that the reflected image was not only the result of our optical mechanism but a reality that observes us in return. We are the fragment, the doppelgänger of other realities.
Reflections on parallel dimensions and meeting portals capable of questioning the centrality of our existence, led me to approach quantum physics. I have been inspired by the idea that our reality is very improbable and possible only because all other possible realities are such: we are an improbable possibility of infinite possibilities. Banally, but also not, it is what is dealt with in the animated series Rick and Morty.
Certainly, in the cosmos of all infinite dimensions, we are not at the center. The other realities are certainly not projections of ours, but – more likely – we are a small nuance of much more probable realities. Whilst conteplating my own reflection, I’d like to think that I myself, could be the result of a reflection. I become a fragment of a possible reality, no longer at the center of the universe. Mirrors are conceived as gates of communication between different realities, where, more than scrutinizing a new one, we realize that we are one in turn, perhaps observed for a moment. The lexicon of my installations aligns with the cinematic and science fiction imagery of the 80s-90s and takes inspiration from post-apocalyptic dystopian narrative, where everything is overturned, and the linearity of our existence is broken.
Probabilistic physics makes us aware of absurd truths that we almost treat as a game. I want to take the probabilities of quantum physics, transfer the awareness, and bring back the experience.”
Montag has been working for three years on simultaneous writing, a composition technique based on the real-time sharing of an editable file, upon which the three authors act simultaneously. Simultaneous writing means giving up the jealousy of words, the private ownership of the text, and control over its evolutions. Each writer can change anything the others have done without needing permission. In this performance, Montag will expose his writing process, which will be projected onto the walls of Supernova, and anyone can see it as it unfolds. By the end of the evening, a complete story will be ready, born before your eyes, to explore what it means to write together and let go. The music of Bruno Belardi, Denise Di Maria, and Vittorio Gatti will accompany and, in turn, inspire the writing, with the same spirit of improvisation and free creation. Simultaneous writing is an open dream.
To read the result of the simultaneous performance click the link down below:
Supernova in collaboration with the American Academy has invited the renowned world chef Elena Reygadas to bring her Mexican cuisine to the Santa Maria Square in Trastevere. In an effort to celebrate the local community and bring everyone together at the same table to experience traditional Mexican food.
Elena Reygadas was named the best female chef in the world in 2023. Her cuisine is based on the respect for Mexican ingredients from small producers, and she owns and manages her main restaurant in Mexico City, Rosetta.
All day Saturday 16th of December until the morning of the 17th
Supernova, in collaboration with the initiative of the Community of Sant’Egidio, invites you to “Ri-giocattolo” (Re-toy).
“Ri-giocattolo” is a second-hand toy market organized by the Schools of Peace of the Community of Sant’Egidio. This event takes place in many Italian and European cities in the month of December. It involves the sale of used toys with the goal of raising funds to support aid programs in Africa, such as the DREAM program against AIDS.
The event has a dual purpose: giving a new life to used toys, avoiding waste and pollution, and at the same time, helping children in Africa.
The exhibition will be open from the 1st-15th of December
On Friday, December 1st, 2023, the solo exhibition “Purely Imaginable” by the duo Mozzarella Light, composed of Giulia Ciappi and Marco Frassinelli, curated by Niccolò Giacomazzi, will open at the Supernova space.
The intervention by Mozzarella Light consists of a visual manipulation of the external world using light, a ubiquitous yet immaterial medium. Through light, a direct relationship is established with the space, which is respected in its otherness with an innocent attitude. The light rays invade the entire environment, fragmenting the linear beam of light upon contact with the intermediary presence, in this case, plastic and water.
The exhibition will be open until the 15th of December.
Supernova opens its first night of cineclub with a selection curated and presented by Damien Chazelle that explores the cornerstone of cinema, starting from the Lumière brothers and arriving to Chris Marker’s photo-roman.
FILM LINEUP:
La Sortie de l’usine Lumière à Lyon
Le Débarquement du congrès de photographie à Lyon
La Voltige
La Pêche aux poissons rouges
Les Forgerons
Repas de bébé
Le Saut à la couverture
Place des Cordeliers à Lyon
La Mer
L’arrivée d’un train en gare de La Ciotat
Life of an American Fireman
The Great Train Robbery
Ballet mécanique
All My Life
La Jetée
Damien Sayre Chazelle is an American film director, screen-writer and producer. He is known for directing the films Whiplash (2014), La La Land (2016), First Man (2018) and Babylon (2022).
For Whiplash, he was nominated for the Academy Award for Best Adapted Screenplay. His biggest success came with La La Land, which was nominated for 14 Academy Awards, winning six including Best Director, making him the youngest person to win the award at age 32.
Coloriamo la Piazza is a kids workshop of three days organised by Alice Casana.
During each of these days, a group of 10 children aged 5 to 10 were invited to explore watercolor techniques. With this workshop, we played with pigments and water, discovering the wonderful effects that can be created on paper. We worked on a larger scale with professional materials so that the children could discover all their potential.
Each child chose a fresh flower from those we provided. We give them a vase and invited them to observe it thoroughly, perhaps like they have never done before. Together, we obeserved the shades of color, its shapes, its peculiarities, and even its imperfections so that they could paint not a generic flower but the specific one they had chosen. In this way the children discovered that by observing and painting it, they would have been able to enter into symbiosis with that flower!
We ensured that the drawing conveyed these emotions, hoping to bring out the little artist in each of them. At the end of the workshop all the children who participated in the workshop were invited to place their drawings in a huge bouquet that colored the Piazza of Santa Maria in Trastevere, and we adults toasted to their masterpiece!
Alice Casana was born and raised in Milan, after wandering a bit, she settled in Rome because she considers it the most beautiful city in the world. Trastevere is the neighborhood where, for about ten years, she has chosen to live and work.
She spent her childhood under the large tables of illustrators who, to keep her quiet, handed her brushes and colored pencils. Since then, she has never stopped painting. She enjoys alternating between large mural paintings, fabric painting, and creating worlds made of splashes of color on paper.
Currently, she is writing and illustrating a children’s story set between Trastevere and a mysterious planet.
During the first literary evening at the Supernova space, the Montag collective presented Marvin magazine with its latest issue, in dialogue with Martina Piromani and Flavio Natale. Following this, there were readings of some of the stories.
Marvin is a literary project born from an occasional editorial team that periodically creates an illustrated story magazine. The stories are selected through a call consisting of three elements: a character, a place, and a phrase. For the seventh issue, fate chose a speleologist, a love hotel, and a small death. Once the stories are chosen, authors come together to bring life to a collaborative editing workshop coordinated by the editorial team.
Montag is a literary collective active between Rome and Turin. It was born during the pandemic with the idea of writing a novel with six hands, utilizing simultaneous remote writing that leverages digital platforms and draws inspiration from jazz improvisation. Montag’s stories have appeared in ‘Marvin,’ ‘retabloid,’ ‘Neutopia,’ ‘Quaerere,’ ‘Salmace,’ and ‘poetarum Silva.’ For ‘Marvin,’ they have also published an essay on collective writing, and for ‘L’indiscreto,’ they curated the first Italian translation of the Dark Mountain Project manifesto. They wrote the Libretto for Amber Mold, a musical composition by Luca Guidarini. Montag is represented by ‘Oblique Studio.’
Benki,founder of the Yorenka Tasorentsi Institute, is a leader of the Ashaninka people working for nature conservation and the protection of indigenous peoples’ rights, cultures, and lands.
The Ashaninka, a millennia-old community and ancestors of the Incas, reside in the states of Acre in Brazil and Peru. With a population of approximately 100,000, they are one of South America’s largest indigenous communities that have maintained their autonomy and traditions.
Born in 1974, Benki is the son of an Ashaninka village chief and a Brazilian mother of white descent. He was designated as one of the “pajés” (those who transmit ancestral knowledge) of the Ashaninka and from a young age, he began advocating for the protection of their lands and the Amazon Rainforest.
Benki is a catalyst for change on cultural, environmental, and political levels. As a cultural and environmental activist and a pacifist spiritual leader from the depths of the Amazon, he has been a key figure in unprecedented cultural projects originating from the Amazon Rainforest that extend far beyond the region. His peaceful activism inspires and influences people globally.
The practical results of these projects have been remarkable: the expansion of sustainable environments, reduction in deforestation, decrease in violence, and improvement of social conditions. Benki’s work has earned him global recognition as a tireless advocate for indigenous peoples’ rights and the conservation of their cultures and territories. Among various accolades, in 2004, he received the Brazilian government’s National Human Rights Award, and in 2017, along with his Ashaninka community Apiwtxa, he was honored with the prestigious Equator Prize from the United Nations Development Programme (UNDP) for environmental projects.
Another crucial aspect of Benki’s mission is global awareness. Throughout his years of work, he has become the spokesperson for a generation of Indigenous Peoples concerned about safeguarding the world’s environmental heritage. He travels worldwide, spreading his message, garnering support and allies for nature and human rights defense, forging connections between indigenous peoples and official governments or institutions.
Reconnect Urban Retreats allow you to create time and space in the city to regenerate and uplift, lovingly curating holistic events to bring balance into our urban lives.
Join us for the very first time in collaboration with SUPERNOVA in a Sound Healing experience with Leah Anita Cavazzini and immerse yourself in the resonance of crystal bowls in which the power of sound invites you to come into harmony, profound relaxation, and inner balance. This intimate experience is open to everyone, offering a sacred space for all to unwind, release the stresses of life, and journey within for rejuvenation. Join us on this harmonious exploration, embracing the transformative potential of sound to restore your sense of well-being and inner peace. The sound healing will be complemented by a light brunch in collaboration with SOUL FOOD, to soothe and nourish your body from within.
Leah Anita Cavazzini, a dual citizen raised in the USA, discovered her passion for crystals during her early years in Italy. Her journey into sound healing began with a crystal therapy master’s class in 2019, where her love for crystal bowls ignited. With dedication, she delved into comprehensive sound healing courses and achieved her Reiki certification. A profound breakthrough during meditation led her to explore voice, sound, and vibration through various workshops, sparking personal transformation and inner peace. Leah further honed her skills with training programs in Spain, California, and Italy, with aspirations to join the Gregorian choir in Florence. Now, she shares the transformative tools of voice work and sound healing, guiding others on their path to inner peace and empowerment.
Senza Ideologia, 1975 (Proiezione su latte)Senza Ideologia, 1975
in situ at spazio supernova
Fabio Mauri is one of the most prominent voices of the Italian avant-garde of the post war period. He lived between Bologna and Milan until 1957, when he moved to Rome. In 1942, he started the magazine II Setaccio [The Sieve] with his friend Pier Paolo Pasolini. He taught Aesthetics of experimentation at the Academy of Fine Arts of L’Aquila for 20 years. He was invited to the Venice Biennale in 1954, 1974, 1978, 1993, 2003, 2013 and 2015, and to DOCUMENTA (13) in Kassel in 2012.
Several important themes can be found in Mauri’s work, all shaped into his works of art: the Screen, the Prototypes, the Projections, the Photography as Painting, the substantial Identity of Expressive Structures, the lasting relationship between Thought and World and between Thought as World. Mauri’s work, as complex as an history essay, becomes his autobiography, compact and uniform in its development and multifaceted in the attention to the contemporary world: an analysis where the fate of the individual and history co-exist.
OPERA IN CANTIERE “SENZA” 1975
In the actions of “Senza” a series of intellectual works, organisms, complex drawings, such as films, are exhibited. Projected on the ‘world’ as on a “screen”, neither neutral nor equal, endowed with form and signification and, that is, with its own symbol. The contemporary debate is moral, political and ideological.
In the screenings of “Senza”, through films by “author”, (not surprisingly, often, European), essential cuts of modern culture are identified. Projected, as if introjected, on objects and bodies. Art scrutinizes the historical category of its time. The intellectual product operates as a protagonist: it possesses strength and specific, ‘physical’ weight, in the order of the foundation of the plot, that is, of its symbolic constituent. It does, because it is, history and world.
