Project

Con te con tutto is a call to gather, an invitation to build a different way of being in the world, starting from encountering and sharing with all living things, leaving space for wonder, sentiment, dialogue, contemplation and the flow of time that transforms everything.

 

Presented as a unique installation by artist Chiara Camoni (Piacenza, 1974), the exhibition – promoted with the support of the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture – involves the entire Pavilion and reimagines it as a landscape in transformation, in which the body of the sculpture and the bodies of the visitors are invited to partake in mutual exchange.

 

Chiara Camoni’s work feeds on relationships built on shared feeling, on an affinity that transcends the limits of artistic creation only to extend into life. Sculpture, understood as collaboration with matter, is the result of collective processes involving the community that has grown up around her studio and in informal groups. Con te con tutto brings to the surface the bonds and affections that make creative work possible, presenting the artist’s practice in a new light and adopting her choral perspective as a methodology.

The themes of ecology, femininity, process, care and collaboration help us to rethink the role of art, starting from the relationship between artist and work and between work and audience, but also, through the visual mediation of the works, to imagine a different possible way of living in the present. Not infrequently, artistic practice favours co-creation over the authorial gesture: doing things together both presupposes and leads to thinking together, a dimension that philosopher Chiara Zamboni identifies in the specific political nature of female friendship and which, translated into the exhibition framework, makes us rethink and subvert the limits of authorship by placing the word ‘with’ at the heart of creativity. The space that opens up between two or more people thus transcends the work itself.

 

Chiara Camoni’s work is part of a constellation of female thinkers and artists, in the words of Silvia Federici, committed to ‘re-enchanting the world’ by proposing research that reinvents gestures and ways of working, celebrating the beauty of everyday life and relationships, opening up to contamination with other disciplines and placing encounter at the centre of her research, starting from her vital relationship with matter. Through the collective dimension of ‘doing together’ and care, which characterises her poetics and also constitutes her working method, the artist invites us to reflect on the relationship between body and space, on how bodies construct spaces, how gestures construct worlds, how worlds tell of relationships, and relationships are a way of reinventing manners of being together, producing and exhibiting.

Con te con tutto brings to the surface the bonds and affections that make creative work possible, presenting the artist’s practice in a new light and adopting her choral perspective as a methodology.

 

The first section houses a silent forest of ceramic figures. Modelled using the colombino technique or composed of a myriad of small terracotta elements that give shape to bodies in potential metamorphosis, they appear to us in the semi-darkness like minor deities, arriving from a distant past to question our present.

 

The second section appears as a world under construction: a potential architecture that seems to emerge from the ground and become a floor, a container, a wall, a seat. At the centre of the space is a square surrounded by long seats, whose vanishing point is the garden: living matter, which in its changing colours and light – hour by hour and season after season – restores the connection that all bodies have with time.

 

The Pavilion is a place of exchange and contact between bodies that make space to welcome others and which, like matter, change each other reciprocally: starting with the works on display, the Dialoghi, curated by Fiammetta Griccioli and Lucia Aspesi, give rise to multiple readings of the works on display through the commissioning of two new interventions by Alice Rohrwacher and Annamaria Ajmone and a constellation of works and documents inserted into the body of the installation itself, while the public program curated by Lungomare develops a narrative framework of encounters, listenings and collective actions through engagement with the space and materials.

Cecilia Canziani

Curator

 

Cecilia Canziani (Rome, 1976) is an art historian and independent curator. Her work focuses on contemporary artistic practice, writing and teaching contemporary visual culture, and collaboration as a curatorial methodology. She is co-founder of the contemporary art research centre IUNO and the children’s artist book publishing project Les Cerises. She teaches Phenomenology of Contemporary Arts at the Academy of Fine Arts in L’Aquila.

Recent exhibition projects include the first anthological exhibition in an Italian institution by Linda Fregni Nagler for GAM in Turin; the Festival of Foreign Academies and Cultural Institutes at the Palazzo delle Esposizioni in Rome; two exhibitions dedicated to Elisa Montessori at the Italian Cultural Institutes in Warsaw and Krakow; Io dico io, Galleria Nazionale di Arte Moderna in Rome, and Anastasia Potemkina at MAXXI L’Aquila.

 

She has written about the work of Bettina Buck, Adelaide Cioni, Marta Roberti, Alessandra Spranzi, Marie Lund, Peggy Franck, Rossella Biscotti, Marinella Senatore, Luca Bertolo, Deimantas Narkevicius, Sara Basta and many others.

 

She has followed Chiara Camoni’s work since 2010. She edited her first monograph (NERO, 2017), and since 2018, they have been working together on the travelling research project La giusta misura.

Chiara Camoni

Artist

 

Chiara Camoni (1974, Piacenza) lives and works in a small village in the Apuan Alps. Her practice includes drawing, plant printing, video and above all sculpture, with a particular focus on ceramics. Her works are often the result of collaborations with informal and spontaneous groups, workshops or more institutional seminars. For several years, ‘Il Centro di Sperimentazione’ has supported the artist in the development of projects characterised by shared authorship, further expanding the formats and languages she uses.

Recent solo exhibitions include: in 2025, Swarms, curated by Antonio Grulli, Luci d’Artista, permanent installation, Palazzo della Regione, Turin, IT; Erguidas, yacentes, curated by Javier Hontoria, Patio Herreriano, Valladolid, ES; COLONNE, SpazioA, Pistoia, IT; in 2024, Inizio fine. Rotondo. Tutte le cose del mondo. curated by Saverio Verini, Palazzo Collicola, Spoleto, IT; Chiamare a raduno. Sorelle. Falene e fiammelle. Ossa di leonesse, pietre e serpentesse, curated by Lucia Aspesi and Fiammetta Griccioli, Hangar Bicocca, Milan, IT; in 2023, Whispers, World Above, World Below, curated by Julia Geerlings, A Tail of a Tub, Rotterdam, NL; in 2022, Hic Sunt Dracones, with Atelier dell’Errore, curated by Elena Volpato, GAM, Turin, IT; in 2021, La Meraviglia, curated by Alice Motard, CEAAC, Strasbourg, FR; Deux Soeurs, curated by Alice Motard, CAPC, Musée d’art contemporain de Bordeaux, Bordeaux, FR.

 

Recent group exhibitions include: in 2025, The Gorgeous Nothings: Flowers at Chatsworth, curated by Allegra Pesenti, Chatsworth House, Bakewell, UK; in 2024, Bangkok Art Biennale, Nurture Gaia, National Museum Bangkok, Bangkok, TH; Manifesta 15, curated by Hedwig Fijen and Filipa Oliveira, Barcelona Metropolitana, ES; Being Mediterranean, curated by Rahmouna Boutayeb, MO.CO. PANACÉE Montpellier Contemporain, Montpellier, FR; Reenchantments, Museu Etnològic i de les Cultures del Món, Barcelona, Barcelona ES; Sheher, Prakriti, Devi, curated by Gauri Gill, Ishara Art Foundation, Dubai, UAE; in 2023, Into Nature: Time Horizons, Nature Biennial, Borger-Odoorn, NL; in 2022, Becoming Flower, curated by Helen Guenin and Francois Rebecca, MAMAC, Nice, FR; Persones Persons, curated by Lucia Pietroiusti and Filipa Ramos, 8th Biennale Gherdëina, Ortisei, IT.

Dialoghi

Dialoghi, conceived and developed by Lucia Aspesi and Fiammetta Griccioli, is a section that activates a timeline that brings Camoni’s works in relation with other figures and narratives. The exhibition path is shaped through an exchange of gazes, delineating a space of encounter between diverse works and voices.

 

The section brings together newly commissioned projects by director and screenwriter Alice Rohrwacher and choreographer and dancer Annamaria Ajmone, alongside a series of works and documents embedded within the installation occupying the second room. Here, domestic architectures take shape, evoking the idea of “houses”: structures originated from wooden cupboards and cabinets, which serve as display devices hosting artworks, artifacts, texts and performative interventions.

Alongside the commissions, the Dialoghi corpus features two small ceramic cups by Fausto Melotti; a watercolour by Alberto Martini; a drawing by Marisa Merz; film footage of a whirling dance inspired by Loïe Fuller; an installation by Kazuko Miyamoto; a photograph by Medardo Rosso; a sculpture by Senga Nengudi; a photograph by Gauri Gill; a woodcut by Felice Casorati; as well as the photographic documentation of Martha Graham performing with stage elements by Isamu Noguchi, and a work by Luciano Fabro in Marinella Pirelli’s garden.

 

The display is extended through the inclusion of artefacts, among them a Greek amphora dating to the late seventh century BCE, the “Pipia de Carèsima”, a ritual loaf from Sardinian tradition; two fish fossils; and an excerpt from a poem by Chandra Livia Candiani.

 

These elements deepen Chiara Camoni’s exploration of gesture and the body, and contribute to a polyphonic articultation of the radicality of her practice. The constellation is further enriched by works previously incoprporated into Camoni’s own practice, in line with an approach developed over recent years. Their inclusion attests to an enduring resonance and affinity with the artists Bettina Buck, Luca Bertolo, Lucia Leuci, Alessandra Spranzi and Franco Corradini – a key figure in her artistic formation.

Commissions

Annamaria Ajmone

Canti fossili, 2026

 

In dialogue with Chiara Camoni’s exhibition Con te con tutto, Annamaria Ajmone’s Canti fossili is dedicated to the relationship between dance and voice, understood as living and relational matter: a sensitive interface between bodies and environment, capable of generating affective and tactile configurations, of becoming connective tissue and transforming space together with movement.

The dancers piece together a dialogue between organic and inorganic matter, between living and fossilised elements, within an accumulation of sedimented memories. The structure of the creation is modular. It involves an initial action for the opening of the Pavilion with five dancers, followed by subsequent activations during the months of the exhibition, during which the ensemble fragments and recomposes. The performance will be repeated on the days of the vernissage as well as on other dates throughout the exhibition.

 

Alongside this intermittent presence, a booklet accompanies the work, gathering the voices of the dancers: fragments that echo one another like a chorus. Born from the need to give voice – at a later moment – to the performance Canti fossili, the booklet will be available within the exhibition for visitors to consult. The form of the printed text, much like the process of fossilization, is conceived here as a living trace: composed of layers that accumulate, overlap, and transform over time. From this perspective, the choreographic practice does not end with the event itself, but extends through its multiple material and immaterial manifestations, like an open field of fragmentary and temporary presences.

 

Annamaria Ajmone, Canti fossili, 2026

Choreography: Annamaria Ajmone
In collaboration with: Veza Fernandez, Emma Saba, Erwan Ha Kyoon Larcher, Toni Steffens
Dramaturgical collaboration: Stella Succi
Costumes: Fabio Quaranta

Vocal practice: Veza Fernandez
Production: Valentina Bertolino
Organisation: Francesca d’Apolito
Administration: Monica Maggio

 

Booklet

Annamaria Ajmone, Veza Fernandez, Erwan Ha Kyoon Larcher, Emma Saba, Toni Steffens

Editor and dramaturg: Stella Succi

Design: Giulia Polenta

 

Canti fossili is part of a three-phase research project that will conclude in 2027 with a performance supported by FOG Triennale Milano Teatro; The Virgilio Sieni National Dance Production Center; Snaporazverein and the Armunia Foundation/Capo Trave Kilowatt Residency Center of Tuscany; with the support from Fondazione Piemonte dal Vivo within the framework of the project Lavanderia a Vapore.

 

Thanks to: Giulia Polenta, Beatrice Biondi, Attila Faravelli, Lindu Gozzo, Annamaria Pieretti, Matteo Barp, Virginia Rubini, Federica Jannuzzi, Natália Trejbalová, Elena Vastano, Stefano Tomassini, Alessandra Simeoni, Base Milano, Assab One, DiD studio, MOTELSALIERI.

Alice Rohrwacher

Che cosa resta, 2026

 

One of the most renowned directors and screenwriters on the current Italian film scene, Rohrwacher’s work brings the tangible memory of the land to cinema – its silences, its communities, its everyday mystery – transforming it into a lexicon of minimal gestures, untamed faces and subtle appearances.

Che cosa resta, produced especially for the occasion by the director, is based on the reworking of unpublished film excerpts from the film La Chimera, 2023. The sequences show sculptural faces from the collections of the Museo Archeologico Nazionale di Tarquinia superimposed onto the faces of people – men, women and children – bringing them closer to our present, including portraits of the protagonists of the original film. What is striking are the expressions, the similarities, the vital gazes that emerge from the metaphorical ‘touch’ between the ancient Etruscan civilisation and the rural identity of a village in central Italy.

 

Alice Rohrwacher, Che cosa resta, 2026

Video, color, sound, 8’
© Alice Rohrwacher and tempesta srl

 

Directed by: Alice Rohrwacher
With: Josh O’Connor, Vincenzo Nemolato, Gian Piero Capretto, Melchiorre Pala and with the statues from the Archaeological Museum of Tarquinia
Cinematographer: Hélène Louvart
Music: Piero Crucitti
Editing: Carlotta Cristiani
Production: tempesta
Film scan: Augustus Color
Post production: InHouse
Digital colorist: Manuela Spartà
Colorist assistant: Luca E. Capuano
Conforming: Tiziana Di Clemente, Azzurra Argentieri
Sound supervisor: Giulio Previ
Sound re-recording mixer: Giulio Maria Sereno
Sound effects editor: William Washburn
InHouse post producers: Valentina Donnini, Emanuela Epifano
Post production supervisor: Primo De Santis