Cinque Mostre

Cinque Mostre 2013

Wednesday, January 30–Wednesday, February 27, 2013

AAR Gallery
Via Angelo Masina, 5
Rome, Italy
Graphic logo for Cinque Mostre 2013

The American Academy in Rome presents five shows by current Rome Prize Fellows:

1. The Idea of Realism/L’idea del realismo, curated by Rome Prize Fellow in Visual Arts Carl D’Alvia and Italian curator Christian Caliandro (featuring work by D’Alvia, Pesce Khete, Jackie Saccoccio (2005 Fellow), Ward Shelley (2006 Fellow), Giuseppe Stampone, Gian Maria Tosatti, and Rome Prize Fellow in Visual Arts Nari Ward).

2. Dinner Conversation, a collaboration between Rome Prize Fellows Erik Adigard (design) and Ross Altheimer (landscape architecture) with Dutch Affiliated Fellow Leonid Tsvetkov (visual art), including Tsvetkov’s Everyday Downfall.

3. Nine Parts of Two, a collaboration between Rome Prize Fellow William O’Brien (architecture) and the composer Wang Lu.

4. ScalaCupola, a collaborative installation by Rome Prize Fellows Erik Adigard (design) and Jesse Jones (musical composition).

5. Camera Obscura, the installation of a working replica of the proto-photographic device, curated by Rome Prize Fellow Beth Saunders (modern Italian studies). The installations will take place in the AAR Gallery and throughout the main building.

After January 30, 2013, the exhibition will be open by appointment only until February 27.

The American Academy in Rome would like to thank the wine producer Azienda Agricola Magda Pedrini of Gavi for its generous contribution.

Cinque Mostre 2014: Time and Again

Thursday, January 30–Sunday, March 2, 2014

AAR Gallery
Via Angelo Masina, 5
Rome, Italy
Cinque Mostre 2014

The American Academy in Rome is pleased to present the 2014 edition of Cinque Mostre, five distinct exhibitions in various locations in the McKim, Mead & White building grouped under the overall title Time and Again. The exhibitions, conceived and organized by current Rome Prize fellows and Italian critic Christian Caliandro, feature a wide variety of works in different media by American and Italian artists interrogating the ways in which contemporary art reimagines the past, celebrates new beginnings, evokes a lived experience of history, and calls into question entrenched systems of knowledge and conventional chronologies. With initiatives such as this one, the American Academy in Rome demonstrates its continuing support of innovative artists, writers, and scholars living and working together in a dynamic international community characterized by interdisciplinary dialogue.

CONCRETE GHOST, curated by Christian Caliandro

Nanni Balestrini, Anna Gimon Betbeze, Hamlett Dobbins, Tony Fiorentino, Dan Hurlin, Catie Newell, Reynold Reynolds, Giuseppe Stampone, Marco Strappato, Thomas Kelley, Catherine Wagner

The artists gathered together in Concrete Ghost/Fantasma Concreto condense, in various ways, the diffuse sensation of suspension permeating the present moment. The idea is adapted from a text by Giorgio Vasta, Italian Affiliated Fellow in Literature at the American Academy in Rome. It is at once a very specific condition and, at the same time, an elusive and evanescent one. It is that of a ghost possessed of a body, senses, sensuality, and a brain that comprehends. The embodied ghost is the precise opposite of a vanishing body: it is rather immateriality assuming concrete physical form. The concrete ghost entails movement, tension, an oriented mechanism, an atmosphere of perfectly controlled and dominated obscurity.


Diana Machulina

From ruins to relics in churches and embalmed bodies in catacombs, memento mori are everywhere in Rome, a city whose earthly delights are indelibly associated with La Dolce Vita. Rome is suffused with both hedonism and melancholia; the pleasures of life are ineluctably entwined with the sadness of the inevitability of death. A contemporary meditation upon the Rome’s dual identity, Dance macabre revisits Andy Warhol’s “Dance diagrams,” adding skeletal partners who haunt the dancers’ steps outlined on the floor.


Evidence and Commentaries on a False Material Culture

Peter Bognanni, Thomas Kelley, Catie Newell

Found Realities is a study collection of unreal domestic objects and behaviors that expose, project, and speculate on a fantastical material culture and the evidence of a fictionalized, unreliable researcher. The work is composed of a series of bizarre objects, drawn depictions of their expected use and nonsensical setting, and elaborate narrative field notes that expose these assumed truths. Everything, at first glance, appears ‘off’ and abnormal to our current tendencies, suspended between familiar associations and a documentation set that feels both thorough and unreal. Staged within an occupied archeological workshop, the uncanny objects, elaborate drawings and passionate field notes take cues from objects, documents, and notational systems from prior archaeological research sites placing Found Realities in a delicate balance between the unbelievable and assumed truths.

HISTORY RECAST, curated by Lindsay Harris

Photography and Roman Sculpture in Contemporary Art

Antonio Biasiucci, Marco Delogu, Milton Gendel, Leonora Hamill, Mimmo Jodice, David Maisel, Catie Newell, Sara VanDerBeek, Catherine Wagner

History Recast offers a close examination of the relationship between photography and Roman sculpture in contemporary art. Revisiting the claim made by French critic André Malraux in 1947 that the history of art—in particular sculpture—had become “the history of that which can be photographed,” this exhibition explores how artists today no longer use the camera simply to document sculpture. Instead, they embrace photography to create new visions of iconic objects that call into question how we view our heritage, our systems of knowledge, and ourselves. The exhibition focuses on photographs of objects located in and around Rome, the city’s museums, or collections abroad, casting new light on the Eternal City as a laboratory in which to excavate the past, as well as our lived experience of history.


A multidisciplinary immersive installation

Catherine Wagner, Thomas Kelley, Eric Nathan, Loretta Gargan

Inspired by newly inaugurated Pope Francis’s affinity for light as a metaphor for change, LUMEN abstracts and re-contextualizes an act of spiritual contemplation. In keeping with a secular regard for the Pope’s palpable sense of hope, LUMEN, an interdisciplinary and multi-sensory experience synthesizing various art forms, reshapes contemporary spirituality by reconsidering the pew, a site for conventional prayer. Audiovisual elements and thyme plantings create an immersive, scented environment removing the pew from its archetypal context. The physical relic, or conventional object of devotion, is replaced with a video projection of light and a musical composition responding to the movement of the video. While the pew remains iconic in scale and orientation, it no longer demands the observer to acknowledge any singular beliefs, but rather encourages a new and open contemplative experience.

Hours: The Exhibition is open on Fridays, Saturdays and Sundays from 4pm to 7pm until 2 March 2014

Image: Catherine Wagner, Rome Works - Angel Encased (Bernini), detail of color print 1.27 x 93 cm. Museo storico artistico - Tesoro di san Pietro. Basilica di San Pietro in Vaticano (permission granted by Capitolo Vaticano; photograph provided by Stephen Wirtz Gallery and Gallery Luisotti)

Cinque Mostre 2015

Thursday, January 29–Sunday, March 1, 2015

AAR Gallery
Via Angelo Masina, 5
Rome, Italy
Cinque Mostre 2015

Cinque Mostre 2015 is an annual exhibition of work by current Rome Prize Fellows. This year it includes Fellow-curated collaborative projects and a guest-curated project by Ilaria Marotta and Andrea Baccin of Cura. in which Fellows in several disciplines and invited artists take part in a multifaceted exhibition, Milk Revolution, installed in various sites throughout the McKim, Mead & White Building.

Milk Revolution

Curated by Ilaria Marotta and Andrea Baccin of CURA.

Artists: Artie Vierkant, Vanessa Safavi, Bunny Rogers, Alessandro Piangiamore, Abinadi Meza, Cynthia Madansky, Adam Kuby, Corin Hewitt, Keith Hennessy, Elias Hansen, Francesca Grilli, Carin Goldberg, Martino Gamper, Anna Franceschini, Luca Francesconi, Andrea De Stefani, Gabriele De Santis, and Tomaso De Luca.

When Allen Ginsberg, writer and poet of the Beat Generation, photographed his friend Harry Smith—a painter, archivist, anthropologist, and film director—in 1985 at the Breslin Hotel in Manhattan attempting to turn milk into milk, he portrayed in a concise image an entire generation called to face major changes and struggles, through the subversive gesture of an impossible alchemy. At times, the impact of an artistic action can assume its own revolutionary force, even if only transitory, fleeting, light. According to Bachelard, poets and alchemists are those who translate into images the spell that the image itself casts on the psyche—a spell that becomes stronger with the poets and alchemists’ deepening knowledge of the basic elements that determine moods, and the ability to manipulate, process, transmute them. Under this reverie of alchemical connections, Milk Revolution brings together the work of fellows from the American Academy in Rome and that of a selection of nonresident international artists, outlining an unsystematic, antinarrative, fluid path, an open device, which contravenes the common sense of a concise thought and amalgamates and moods associated with changes of state, metamorphosis, the temporal span of the work, in an anarchical opposition of elements pitted against approval and control. In the dimension of the exhibition space, the mutant and regressive process acts as a counterpoint to an aestheticized, timeless and suspended ambivalence, probing whims of, autonomy and escape, but also empathy and unpleasantness, fascination and for the elements. The exhibition therefore aims at defining a microsystem in which the mutation of matter, the flow of a dripping, the unpredictable path of wax, elements in a perpetual state of flux, the liberating gesture of a repetitive brushstroke, the impalpable transparency of tulle, the unexpected patterns of faux marble, the frenzied sound coming from a remote place, a wild raptor acting instinctively become a representation of an imagination called to explore the hidden folds of the human being and the “fragile nonsense of always being oneself, constantly becoming something else.”

Prex Gemina

Lakshmi Ramgopal a.k.a. Lykanthea and Paula Matthusen

Christian catacombs associated with female martyrs and donors are unique on account of their rarity. The same is true of the hagiographies of these women, which depict their commitment to complexly defined virtue, while fetishizing their rape and torture as a prerequisite for a sainthood particular to women. Prex Gemina explores the spectral affinities of these spaces by examining the silences that surround them. To do so, it critically engages with techniques drawn from Electronic Voice Phenomenon (EVP), which amplifies ambient recordings with the goal of hearing the supernatural. Recordings of stretched silences, bracketed by questions into the air, are transduced through the walls of the sound installation space. By doing so, Prex Gemina creates an interface, using the walls of a bounded space, upon which visitors listen to the captured loss.

Material Narratives

Anna Serotta with Adam Kuby, Krys Lee, and Liz Moore

This project seeks to explore the interpretation of fragmentary material culture by condensing the cycle of creation, destruction and recreation. Four participants will enact a live performance in which an original text, composed from contributions by several fellows, will be carved into a block of Carrara marble. In a live performance, this block will be fragmented, and then the text will be reimagined via prose passages composed extemporaneously before an audience by two writers.

A Roma

Daniel Phillips and Kim Karlsrud, COMMONstudio

The visual beauty and physical presence of Rome’s iconic monuments have been captured, crafted, and reverberated ad infinitum across the globe in formats ranging from the dramatic compositions of Piranesi prints and Fellini films, to the pages of tourist brochures and the digital image crafting that happens daily from the telescoping reach of selfie sticks. Yet insisting on reading these sites merely as relics of the past to be consumed as image precludes vital conversations about how they continue to live, breathe, and develop in the present day. A Roma seeks a reexamination of Rome’s iconic monuments through an alternative sensory celebration of elements that are too often overlooked. Living material from the various vegetal ecologies of three sites has been collected, cataloged, and processed by means of steam distillation to extract and interpret each place as a unique essence that can be experienced in the form of a smell. By defamiliarizing the familiar, and familiarizing the unfamiliar aspects of Rome’s, new interpretations of both monumental space and urban ecology are made possible. We hope that the installation serves to create moments of discovery in which locals and visitors alike are invited to reexamine their stable expectations, memories, and assumptions about the Eternal City.

Dislodging the Silence: Public Art Intervening in Mussolini’s Foro Italico

Max Page

The Foro Italico remains one of Mussolini’s most compelling and disturbing propaganda sites. Visited by thousands every week on their way to sporting events, the Foro Italico’s extensive mosaic program celebrating Italy’s conquering of Ethiopia, and its monumental male figures around tennis courts and running track, all capture the ideology of Mussolini’s vision of a new Roman empire. But for all its importance, there has been virtually no effort to invite visitors to confront the reality of the fascist ideology displayed on the site. For all its imperial bombast, the Foro Italico is mute about its past.

This exhibition dislodges the silence by proposing ideas for public art interventions for the Foro Italico. Participating artists are: Francesco Arena; Lorenzo Romito and the Stalker collective; Dario Scaravelli and the Startt group; Renata Stih and Frieder Schnock; Stefano Canto, and Cynthia Madansky.


Firat Erdim and Olivia Valentine

Satellites brings together the documentation of performances from two distant terrains. Processions, marches, pilgrimages, and parades are collective ways of continuously reaffirming or redefining the significance of civic space. The actions documented in Satellites are attempts to address that ground as individuals. In Segovia, a topography of the city is mapped out through circumnavigations metered by a central bell tower. In Cappadocia, a single figure delineates the open landscape through walking the edges of the table mountains.

Opening hours: Friday, Saturday, and Sunday from 4:00 to 7:00pm until March 1, 2015.

The exhibition is supported by untitled association. Thanks to Birra Menabrea and Cantina Zaccagnini.

Cinque Mostre 2016 – Across the Board: Parts of a Whole

Tuesday, February 9–Sunday, April 3, 2016

AAR Gallery
Via Angelo Masina, 5
Rome, Italy
Cinque Mostre 2016

Cinque Mostre 2016 - Across the Board: Parts of a Whole

Mark Boulos, Jinn Bronwen Lee, Christopher Cerrone, Karl Daubmann (in collaboration with the Rome Sustainable Food Project) , Javier Galindo, Helena Hladilova, Emily Jacir, John Lansdowne (with James Huemoeller), Senam Okudzeto, Woody Pirtle, Public Fiction (including works by Math Bass, Leidy Churchman, Cécile B. Evans, Stanya Kahn, Nikita Gale, Andrea Longacre-White, Anna Sew Hoy), Bryony Roberts, Alexander Robinson (with Anthony Baus), David Schutter, Maaike Schoorel, Namsal Siedlecki, Mali Annika Skotheim (with the participation of Lysley Tenorio, Javier Galindo, Karl Daubman, Jenny Krieger, Michelle Di Marzo, John Lansdowne)


The Picture Club

Micol Assael, Chiara Barzini, Orazio Battaglia, Elena Bellantoni, Pim Blokker, Massimiliano Bomba, Carola Bonfili, Lupo Borgonovo, Joanne Burke, Francesco Ciavaglioli, Ester Coen e Nunzio, Sonia Cucculelli, Tomaso De Luca, Gabriele De Santis con Lorenzo Pace e Andrea Polichetti, Fabio Donalisio, Riccardo Falcinelli, Giuseppe Gallo, Helena Hladilova, Emily Jacir, Antonella Lattanzi, Emiliano Maggi, Luigi Ontani, Francesco Pacifico, Woody Pirtle, Gianni Politi, Fabio Quaranta, Lisa Rampilli, Alex Robinson, Andrea Romano, Maaike Schoorel, Tommaso Sponzilli, Emma Verdet

Across the Board: Parts of a Whole is an itinerant and performative exhibition articulated in several areas of the McKim, Mead & White Building at the American Academy in Rome and beyond, crossing multiple disciplines and fields: a game with no fixed rules that intends to address the idea of the fragment as the starting point of a story rather than its conclusion.

Incorporating works by artists, scholarly research, architectural studies, musical compositions, literary texts – the exhibition provides a setting for an evolving narrative moving physically and allegorically through various sites. These different locations disclose a cosmos of tales investigating marginality, authenticity, language, fragmentation, translation and transformation. Elaborating on historical facts, objects, landscapes, political representation, fictions and the construction of signs and symbols, the individual parts contribute to the development of a complex and multiform system questioning the potential of abstraction and its impact on reality.

One of the stations of the exhibition, the Academy Bar hosts The Picture Club, a project conceived by Ilaria Gianni, Gianni Ponti and Saverio Vernini, featuring work by artists and authors from different fields called to reflect on the nature of ​​portraiture as a form of subjective representation. Integrated into the pre-existing portrait gallery that gives the bar its unique flavor, the installation reconfigures one of the Academy’s most important venues for the exchange of ideas.

The exhibition is curated by Ilaria Gianni with assitant curator Saverio Verini.

It is open Friday, Saturday and Sunday from 4pm to 7pm until 3 April 2016.

Cinque Mostre 2016 is made possible by the Adele Chatfield-Taylor and John Guare Fund for the Arts.

Collateral events:

3 March 2016


Nina C. Young in collaboration with Miro Magloire of the New Chamber Ballet Elizabeth, Brown Hudec, Daniela Giannuzzi and Simone Ghera. The piece for two dancers and a violin, specifically developed in relationship to the Tempietto di S. Pietro in Montorio, addresses the union of sound and movement in relationship to architecture. The project seeks to create a “vocabulary” database of simple gestalt sound-movement couplings that will then be codified into a syntax that can be used in increasing complex compositional and improvisational environments.

6pm performance at the Tempietto del Bramante in collaboration with Real Academia de Espana en Roma

17 March 2016


Emily Jacir, John Lansdowne, Christopher MacEvitt. A collaborative publication proceeding from artist Emily Jacir’s Via Crucis, the newly-completed permanent installation commissioned by artache at the church of San Raffaele in Milan. Uniting the artist with two scholars of the Medieval Mediterranean, John Lansdowne and Christopher MacEvitt, the book illustrates the movement of objects, images, people and places between Palestine and Italy. Published by Nero.

6pm book presentation at the AAR

Cinque Mostre 2016: TRANSLATIO

Thursday, March 17, 2016–6:00 PM
McKim, Mead & White Building
Via Angelo Masina, 5
Rome, Italy
Cinque Mostre 2016 - TRANSLATIO

In conjunction with the exhibition Cinque Mostre 2016 - Across the Board: Parts of a Whole, which remains on view through April 3, the American Academy in Rome presents the second of two appointments exploring the themes engaged by the exhibition. On March 17 the exhibition will be open exceptionally from 5pm to 8pm.

TRANSLATIO is a collaborative publication proceeding from artist Emily Jacir’s Via Crucis, the newly-completed permanent installation commissioned by artache at the church of San Raffaele in Milan. Uniting the artist with two scholars of the Medieval Mediterranean, John Lansdowne and Christopher MacEvitt, the book illustrates the movement of objects, images, people, and place between Palestine and Italy. TRANSLATIO is published by NERO.

Emily Jacir is the Andrew W. Mellon Foundation Rome Prize Fellow in Visual Arts; John Lansdowne is the Marian and Andrew Heiskell/Samuel H. Kress Foundation Pre-Doctoral Rome Prize Fellow in Medieval Studies; and Christopher MacEvitt is the ACLS/Frederick Burkhardt Residential Fellow.

Cinque Mostre 2016 is made possible by the Adele Chatfield-Taylor and John Guare Fund for the Arts and by the Fellows Project Fund of the American Academy in Rome.

Cinque Mostre 2018: The Tesseract

Wednesday, February 14–Sunday, March 25, 2018

AAR Gallery
Via Angelo Masina, 5
Rome, Italy
Cinque Mostre 2018 - The Tesseract

Cinque Mostre 2018: The Tesseract
An annual exhibition of artwork and curatorial projects by the Rome Prize Fellows and invited artists
Guest curator: Ilaria Gianni
Opening: February 14, 6:00pm

Josè Angelino, Sanford Biggers (in collaboration with Michelle L. Berenfeld), Jennifer Birkeland + Jonathan Scelsa, Ulises Carrion, Brandon Clifford + Federico Gardella + CEMEX Global R&D + Simone Conforti + Sean Gullette, Leslie Cozzi, Abigail DeVille, Alessandro Di Pietro, Rochelle Feinstein + Allen Frame + Ishion Hutchinson, Aroussiak Gabrielian + Alison Hirsch with Grant Calderwood (in collaboration with Rome Sustainable Food Project and Irene Tortora), Beverly McIver + Gaetano Castelli, Matteo Nasini, Marco Palmieri, Tricia Treacy*, Arnisa Zeqo**

* with the particpation of: Chiara Barzini, Sanford Biggers, Alessandro Cicoria, Brandon Clifford, Elizabeth Rae Cowan, Alessandro Di Pietro, Ashley Fure, Allen Frame, Aroussiak Gabrielian, Valeria Giampietro, Sean Gullette, Alison Hirsch, T. Geronimo Johnson, Antonella Lattanzi, Johanna Lobdell, Kevin Moch, NERO, Matteo Nucci, Arnisa Zeqo

** in collaboration with Tiziana Del Grosso, Suzanne Farrin, Ashley Fure, T. Geronimo Johnson, Johanna Lobdell, Kevin Moch, Tricia Treacy, Joseph Williams, and the spirit of Ulises Carrion

Composed of collaborative projects, guest-curated by Ilaria Gianni under the collective title The Tesseract, Cinque Mostre 2018 features work by current Rome Prize Fellows, Italian Fellows at the American Academy in Rome and invited artists installed in various sites throughout the McKim, Mead & White Building.

The Tesseract draws upon the innovative ideas gestating within the multidisciplinary and collaborative space of the Academy, developing a series of dialogues between Fellows and Italian artists in residence across a range of practices encompassing visual arts, music, literature, audio-visual production, design, architecture, and technological innovation.

In geometry the tesseract is the four-dimensional analog of a cube. The term was coined by British mathematician and writer of science fiction Charles Howard Hinton in 1888 in his book A New Era of Thought, which dealt with the fourth dimension and its implications on human thinking. A century later, the tesseract became the invisible protagonist of A Wrinkle in Time, a children’s novel by American author Madeleine L’Engle, published in 1963. In the book, the tesseract, able to fold the fabric of space and time, gives the protagonists the possibility of travelling in unknown dimensions. “Oh, we don't travel at the speed of anything. We tesser. Or you might say, we wrinkle”, says Mrs. Whatsit to Meg Murray and her brother Charles Wallace.

The Tesseract is here used as a metaphor to present works investigating how time and its traces offer sources of creative research and visionary inspiration. The works included in the exhibition, from a range of different disciplines, consider particular aspects coming from the past, present, and future, displacing them from a linear, temporal system. They travel in the wrinkles of time and space.

Making use of some qualities inherent to the fourth dimension and its potential extensions, questioning notions of causality, identity, perception, and cognition, the works provide alternative and open-ended readings of what appears iconographically and symbolically fixed, re-imagining time through its formal manipulation. Altering what has been, predicting what could be, or creating a butterfly effect, through the manipulation of symbolic evidences, the participants to Cinque Mostre: The Tesseract, act as time travellers, revealing fragments from an abstract, sometimes timeless dimension.

Making the implausible possible and activating what Samuel Taylor Coleridge, defined a “willing suspension of disbelief” – an essential ingredient of storytelling – the various interventions transport the audience into a frame that not only questions a diachronic intellectual approach to time, but consciousness itself, and the yearning to escape the present moment. Travelling at different velocities, viewers are accompanied in a voyage beyond borders where the tangible is recognizable yet visibly dislodged and relocated.

Bon Voyage!

Opening: February 14, 6:00–9:00pm
Opening hours: Saturday and Sunday from 4:00 to 7:00pm until March 25, 2018
Free entrance

Collateral Events

March 8, 3 – 6 pm: Leslie Cozzi, Trans Bodies: Race, Gender, Myth, and Performance - A study day
March 15, 7 pm: Arnisa Zeqo, Gossip scandal and good manners revisited - A performative gathering

The exhibition is made possible by the Adele Chatfield-Taylor and John Guare Fund for the Arts and the Fellows’ Project Fund of the American Academy in Rome.

Cinque Mostre 2017: Vision(s) :

Tuesday, February 14–Tuesday, April 4, 2017

AAR Gallery
Via Angelo Masina, 5
Rome, Italy
Cinque Mostre 2017 - Vision(s) :

Cinque Mostre 2017 is an annual exhibition of work by current Rome Prize Fellows and invited artists curated by Ilaria Gianni with assistance from Saverio Verini.

Every Friday at 5:00pm, one or two artists participating in the exhibition Cinque Mostre 2017 - Vision(s) : will give brief presentations on their work.

February 24

Yasmin Vobis / Robert Hutchison (English)

March 3

Phu Hoang / Rachely Rotem (English)
Saverio Verini (full tour, Italian)

March 10

Emiliano Maggi (Italian)
Stanislao Di Giugno (Italian)
Tomaso De Luca (Italian)
E. V. Day (6:00pm Wanda Video / 6:30pm In-Vitro, English)

March 17

Michael Queenland (English)
Kyle deCamp (English)

March 24

Jonathan Berger / Annalisa Metta (English)
Nicola Pecoraro (Italian)

March 31

Enrico Riley (English)
David Reinfurt (English)

Opening Hours

Friday, Saturday, and Sunday, 4:00–7:00pm
February 14–April 4, 2017

Taking its cue from the multifaceted term “vision” and emphasizing its physical-perceptive, political, supernatural, and mystical aspects, VISION(S) : explores the strategies that artists and scholars employ to re-configure our view of the world. This exhibition brings together different approaches and “ways of seeing,” drawing inspiration from the present, facts from the past, and projections of the future. Employing various strategies, including translation, history, performance, poetry, fiction, and mysticism, the works challenge notions of culture, origin, and belonging.

VISION(S) : offers an encounter between personal investigations of the creative process and the often compromised external gaze of the viewer. The show unfolds along a non-linear thread constantly challenging viewers’ desire to understand through seeing, in which works of art confound styles and genres. Each contribution acts as a unique apparition, in which the spectator is not just a bystander, but an operative participant in a new dimension, acting as observer and producer of visions. The resulting experiences are reminders of what John Berger describes in Ways of Seeing (1972) as “the relation between what we see and what we know is never settled,” unleashing a new process of searching for meaning, one that is imbued with imagination and awareness. Realism and its ordinary, pragmatic view of the world are overtaken by fantasy and prophecy, intuition and illusion. Authors and spectators are complicit in the fabrication of worlds through a different interpretation and construction of what appears to be real.

Participants are: Gundam Air, Gregory Bailey, Cornelia Baltes, Elisabetta Benassi, Jonathan Berger, Kristi Cheramie, Caroline Cheung, Roberto Coda Zabetta, E. V. Day, Tomaso De Luca (in collaboration with Vincenzo Giannetti), Gabriele De Santis, Kyle deCamp, Stanislao Di Giugno, Sean Edwards, Hussein Fancy (collaboration with Accettella-Teatro Mongiovino), Aaron Forrest, Anna Franceschini, Piero Golia, Leon Grek, Grossi Maglioni, Isabell Heimerdinger, Robert Hutchison, Lauren Keeley, Jack Livings, Emiliano Maggi, Christoph Meinrenken, Annalisa Metta, Nicole Miller, MODU - Phu Hoang e Rachely Rotem, Jonathan Monk, Matthew Null, Luigi Ontani, Pino Pasquali, Nicola Pecoraro, Gianni Politi, Michael Queenland, David Reinfurt, Enrico Riley, Danielle Simon (in collaboration with Zazie Gnecchi Ruscone e G.A.N Made in Italy), Francis Upritchard, Alessandro Vizzini, Yasmin Vobis, Bedwyr Williams, and Joseph Williams.

Performances on February 14:

7:00pm, Cryptoporticus: Il Cuore di Wanda (1931–2017), a first-ever live performance of the Futurist radiophonic opera, presented for the first time since its premiere in 1931.

8:00pm, Courtyard: Indoor City (2017), a project conceived by two architects, two writers, a historian, a music composer, and a climate scientist.


April 4, 2017, 6:00–8:00pm
A reading of Howard Zinn, A People’s History of the United States, a project by Nicole Miller and Michael Queenland.

A performance of The Sicilian Vespers and the Tunisian Matins, a project by Hussein Fancy, in collaboration with Jonathan Berger, Caroline Cheung, Leon Grek, Enrico Riley, Joseph Williams, and the Accettella-Teatro Mongiovino.

Opening Hours

Friday, Saturday, and Sunday, 4:00–7:00pm
February 14–April 4, 2017
Guided visits every Friday. Please check website for times.

The exhibition is made possible by the Adele Chatfield-Taylor and John Guare Fund for the Arts.

The performances of Il Cuore di Wanda and The Sicilian Vespers and the Tunisian Matins are made possible by the Fellows Project Fund of the American Academy in Rome.

Beer at the opening event offered by: untitled and Menabrea.

Cinque Mostre 2020: Convergence

Thursday, February 20–Sunday, March 29, 2020

AAR Gallery
Via Angelo Masina, 5
Rome, Italy

Curated by: Elizabeth Rodini and Ilaria Gianni
Opening: February 20, 2020, 6:00–9:00pm
Gallery hours: Saturday and Sunday, 4:00–7:00pm
Free entrance

Artists: Azza Abo Rebieh, Samiya Bashir, Garrett Bradley, David Brooks, Matthew Brennan + Eugenia Morpurgo, Dina Danish + Jean-Baptiste Maitre, Rä di Martino, Corinna Gosmaro, John Jesurun, Giovanna Silva, and Pamela Z.

Convergence is the theme of the 2020 edition of Cinque Mostre, the annual collective exhibition at the American Academy in Rome featuring work by current Rome Prize Fellows, Italian and Affiliated Fellows, and invited artists. In honor of the Academy’s 125th anniversary and its year-long celebration of cultural and intellectual encounters in Rome, Convergence is a cross-disciplinary exploration of the visual and performing arts installed throughout the Academy building.

“To converge” is to come together, to mingle and intertwine, to coalesce into something new—as two eyes see two images that the brain fuses into a multidimensional whole. The concept of convergence transcends disciplines. It can be applied to the arts and sciences, to technology and the environment, to language, politics, and opinion. When ideas converge, fresh possibilities arise; when viewpoints converge, they reframe our perspectives. In moments of conflict and times of tension, convergence can be a framework for resolution.

Sociologists, psychologists, and cultural critics use this term when discussing a fusion of outlooks and modes of expression. Convergence is equally apparent in the natural world, describing how streams flow into one another and air currents merge into the winds overhead—but also, as revealed in the site-specific work of Matthew Brennan and Eugenia Morpurgo, how familiar landscapes are encountering and responding to environmental change. As our physical present meets our climatic future, the promise of convergence is overshadowed by the danger of collision. Indeed, convergence can be menacing, buffeting us against the unfamiliar, forcing us to adjust to new norms and threatening sameness as we seek to preserve our individuality.

The artists of Cinque Mostre 2020 explore these paradoxes, including the experiences we share and those that divide us. Working in words, sound, projection, photography, and a range of tactile media, they offer their own forms of transformative convergence. Languages strange and familiar mingle in the theatrical and sonic installations of John Jesurun and Pamela Z; Dina Danish and Jean-Baptiste Maitre mash up classical emblems with everyday objects, much as Corinna Gosmaro explores the imprint of old on new within our collective memories. The stories of Rome, its monuments, residents, and visitors, become entangled in the works of Samiya Bashir, Garrett Bradley, and Giovanna Silva.

These spiraling interactions reflect the American Academy’s 125th anniversary theme of “Encounters,” which underscores the cultural intersections—intellectual, creative, and social—that have defined the institution since its founding. Appropriately, with the expanded aims and ambitions of the Academy, the artists of Cinque Mostre 2020 represent an international group of diverse origins, experiences, ages, and backgrounds, from the Roman performance artist Rä di Martino to the Syrian printmaker Azza Abo Rebieh to the Brooklyn-based visual artist David Brooks. Convergence honors their distinctions as well as the ideas that bring them together.


The exhibition is made possible by the Adele Chatfield-Taylor and John Guare Fund for the Arts. Special thanks to the KNIR and to the Mondriaan Fonds for their support of the project by Dina Danish and Jean-Baptiste Maitre.

Opening Night Performances

John Jesurun, Philoktetes, with Antonio Fazzini, Silvia Gallerano, and Giulio Maroncelli, 6:30 and 7:45pm. Seating is limited and first-come first-served.

Pamela Z, Sonora Spolia, with Pamela Z, Alana Mailes, and Joel Pattison, 7:00pm.

Rä di Martino, (Star) Dust, written by Chiara Valerio, with Iaia Forte and Alessandro Pezzali, music by Mauro Remiddi (Porcelain Raft), 8:15pm.

Special Opening of “Cinque Mostre 2019: Δx Displacement”

Thursday, March 7, 2019 5:00 PM–8:00 PM
Ila Bêka and Louise Lemoine - Homo Urbanus

Ila Bêka and Louise Lemoine, detail of film still from Homo Urbanus, 2017

Screening of films by Ila Bêka and Louise Lemoine
Workshop with Erin Besler and Ian Besler

On this occasion, Homo Urbanus, a series of seven films created by Ila Bêka and Louise Lemoine, will be projected. The films take the spectator thoughi the cities of Seoul, Bogotà, Naples, Saint Petersburg, Rabat, Tokyo, and Kyoto, constructing a human landscape along the way.

Erin Besler and Ian Besler will conduct a workshop entitled Some Assembly Required. This project explores the distinction between “work” and “activity” in the context of the Cinque Mostre exhibition by creating a set of interactive fold-and-construct model kits of architectural details in Rome, removed from their context and reconstructed as simple model kits. Visitors are encouraged to contribute to the project and help themselves to their own kit—consisting of printed sheets of paper stock—which anyone from adults to small children, experts to amateurs, can fold and assemble. This project aspires to implicate the processes of construction and assembly, typically kept at a distance or rendered invisible in the context of the gallery, as a central and inextricable component of the installation, while at the same time producing and engaging new audiences in architectural design and production.

Cinque Mostre 2019: Δx Displacement

Wednesday, February 20–Sunday, March 31, 2019

McKim, Mead & White Building
Via Angelo Masina, 5
Rome, Italy
Cinque Mostre 2019

Cinque Mostre 2019: Δx Displacement
An annual exhibition of artwork and curatorial projects by the Rome Prize and Italian Fellows and invited artists.
Guest curator: Ilaria Gianni
Opening: February 20

Ila Bêka and Louise Lemoine, Erin Besler, Carola Bonfili, Joannie Bottkol + Allison Emmerson + Zaneta Hong + Karyn Olivier, Michael Ray Charles, Invernomuto, Sze Tsung Nicolás Leong + Judy Chung*, Renato Leotta, Michelle Lou + Marcel Sanchez Prieto + Adriana Cuéllar, Jessie Marino + Michael Leighton Beaman, Helen O’Leary + Joannie Bottkol, Gabriele Silli, Basil Twist + Kirstin Valdez Quade + Kenneth Ard, Francesco Zorzi.

Composed of collaborative projects, under the collective title Δx Displacement, Cinque Mostre 2019 features work by current Rome Prize Fellows, Italian Fellows, and invited artists installed in various sites throughout the McKim, Mead & White Building at the American Academy in Rome, and including a series of performances. The performances presented on the occasion of the opening will be repeated during a collateral event on March 7.

Please note that space is very limited for the performances (at 6:30pm, 7:30pm and 8:30pm) by Basil Twist, Kirstin Valdez Quade and Kenneth Ard. Reservations can be made at the entrance to the exhibition on the opening night. Reservations will be taken on a first-come, first-served basis. The performance lasts ten minutes.

Bringing together works by visual artists, architects, designers, writers, archeologists, art historians and conservators, in a range of media and scales that respond to the various meanings of the term displacement, Δx focuses on conditions questioning the poetics of the ordinary, unsettling a sense of belonging, and disrupting conventional relationships.

The title of the exhibition, which sums up themes explored in different ways by all of the participating artists, takes its cue from the project conceived by Fellows Michelle Lou (composer) and Marcel Sanchez Prieto (architect), who ask “how do our spaces/environments reinforce a sense of place in the world, and how does displacement affect our sense of ourselves?”

A reference point is a recognizable element that grounds our sense of place both materially and immaterially. In order to describe any type of motion, we must indicate an initial position, one that is either shared with other individuals. A frame of reference can thus be geographical, architectural, historical, experience-based or even emotional, and a shift from this initial position, whether physically objective or subjective and personal, is defined as displacement not only by political, philosophical and psychological theories, but by mathematics. The equation Δx = xf ​− x0​ (where Δx refers to the displacement, xf​ to the value of the final position, and x0​ to the value of the initial position) is unequivocal: displacement is the difference in the position of two marks and is independent of the path taken when traveling between them. Following this logic, the American Academy in Rome is itself a dislocated space, and the Rome Prize Fellows are part of a displaced community, albeit one integrated into the surrounding city.

Δx broadly investigates the design and representation of stability, reflecting on the states of permanent upheaval whether social, political or emotional. The works in the exhibition, informed by numerous dialogues between overlapping fields of research, offer a dynamic exchange of opinions. Each intends to disrupt conventional images of natural or built environments of recollection, historical narratives, or emotional or physical perceptions, blurring the limits between reality and fiction, between a now and then, between a here and there.

Through the interplay of disparate media, shifting traditional models of image-making and story-telling, Δx mirrors the human relationship to life, history, vision, space, and nature, creating an experience where the impact of each element reverberates throughout the exhibition. Viewed together, the works provoke a lively discussion around ideas of dislocating and decentering, drawing on the audience’s participation to further enhance the reading of the terms, underlining how the act of displacement is, willing or otherwise, constantly affecting all physical, social and spiritual movements surrounding us.

Opening: February 20, 6:00–9:00pm
Gallery hours: Saturday and Sunday from 4:00 to 7:00pm
On show until March 31, 2019
Free entrance

The exhibition is made possible by the Adele Chatfield-Taylor and John Guare Fund for the Arts. Special thanks to Cernit and ROSCO production sponsors of the project Macula by Francesco Zorzi.

* Mary Beard, Carmen Belmonte, Michelle Berenfeld, Liana Brent, Thomas Carpenter, Jim Carter, Lan Samantha Chang, Judy Chung, Alessandra Ciucci, Talia Di Manno, Allison L. C. Emmerson, Louisa Ermelino, Maria Ida Gaeta, Vincent Katz, Karen Kevorkian, Eric J. Kondratieff, Lynne C. Lancaster, Mark Letteney, Anna Majeski, Francesca Marciano, Peter Benson Miller, Victoria Moses, John Ochsendorf, Austin Powell, Kirstin Valdez Quade, John F. Romano, Bennett Sims, Sean Tandy, Virginia Virilli, Lauren K. Watel, William N. West.

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