Nostalgia as Resistance, 2026
led by Chiamaka Enyi-Amadi
Temple Bar Gallery+Studios, Dublin, Ireland
Held within the environment of the exhibition Nostalgism (18 May – 28 June 2026), the art writing workshop was developed in collaboration with Nigerian-Irish poet, writer, editor, and performer Chiamaka Enyi-Amadi.
Writing while surrounded by the exhibition's artworks, participants engaged with texts relevant to Nostalgism and experimented with research and reflective methods central to the exhibition. Grounded in conversations around the creative possibilities of the diasporic experience, the fallibility of memory, homesickness as a form of connection, and nostalgia as a framework for socio-political reflection, the workshop invited participants to craft their own writing in response to the prompt: “Where, when, and how do you feel nostalgia?”
Situated Visions, 2025
Fondazione Il Lazzaretto, Milan, Italy
Commissioned by Fondazione Il Lazzaretto, the workshop explored the relationship between power and pleasure through a situated and intersectional approach to time and space. Participants were engaged in collective exercises, developed in collaboration with Riccardo Rudi, that generated emotional and embodied mappings. These revealed how perspectives are shaped by experiences, privileges, and oppressions, and resulting in a collaborative graphic collage/timeline.
UP/Rooting. School of Common Knowledge, 2025
Organised by L’Internationale, Museum Reina Sofía, Madrid and MACBA, Barcelona, Spain
The programme, organised by L’Internationale, the Reina Sofía Museum in Madrid, and the MACBA in Barcelona, Spain, focused on the contested and dynamic notions of rooting and uprooting within contemporary colonial, migrant, situated, and ecological complexities, and employed a co-learning methodology. Key questions addressed during the program included: How can belonging be reframed beyond nationalist paradigms and the violence of displacement? How can we critically engage with colonial legacies and cultural roots, and navigate toxic inheritances alongside emancipatory genealogies and practices? Can renewed practices of belonging and coalition-making support processes of dis/identification? What cultural, artistic, and political geographies do these practices of de/centering, up/rooting, un/belonging, and dis/alignment delineate?
Cold As You Are, 2025
OGR Torino, Italy
The workshop took the form of a seminar developed with Annalisa Pellino and Vincenzo Estremo, followed by a collective discussion with students from the IED Communication Design course. Rebecca Moccia’s work Cold As You Are, which was exhibited in the courtyard of OGR Torino at that time, was used as a case study to make visible the symbolic and material devices that support the normalisation of hegemonic practices, and to critically examine the role of art and cultural institutions in these processes.
Ministries of Loneliness, 2024
IIC Seoul, Seoul Institute of the Arts, Culture Hub, Seoul, South Korea
The two-week workshop took place within the context of a residency at the Seoul Institute of the Arts and involved film and new media students, with the aim of conducting site-specific research on loneliness among Korean youth. Through a combination of discussions and field trips, the students contributed to both the research process and the development of the Ministries of Loneliness exhibition, presented at the Italian Pavilion of the 15th Gwangju Biennale. Participants actively collaborated in the writing and filming of parts of the video work at the center of the exhibition, and created their own video projects emerging from the shared research and collective working process.
Come mai qui?, 2024 - ongoing
Piena Libreria, Lisbon, Portugal / WhiteSpace Projects, Naples, Italy
Come mai qui? is a series of shared public readings and discussions conceived with Giulia Civardi and Orsola Vannocci Bonsi as informal research activities and as a collaborative method for gathering sources. Participants bring excerpts to read and discuss, exploring experiences of self-narration and identity formation across different cultures and contexts through narrative, poetic, and political perspectives, including unpublished works and texts produced by the participants themselves.
Mapping a Land of Emotions, 2023
Pirelli HangarBicocca, Milan, Italy
Commissioned for the Pirelli HangarBicocca Edu Summer 2023 programme and developed with the Arts Tutors, the project focused on spatial investigation and was dedicated to children. Participants explored the museum’s surfaces, sounds, temperature, functions, and history, considering how these elements carry emotional qualities capable of evoking specific sensations and feelings. Through activities emphasising bodily experience and perception, children investigated both the visible and invisible characteristics of the museum space, culminating in the creation of an imaginary and emotional cartography.
Ministry of Loneliness: Premise, 2022
Jupiter Woods, London, UK
The project was developed during a residency in London as part of a series of public research sessions for the Ministry of Loneliness project. The aim was to collaborate with the local community by gathering testimonies and reflections on personal and social experiences of loneliness, particularly in relation to the UK’s economic and political systems. The Jupiter Woods space was transformed into a voting station where participants encountered a questionnaire based on the UCLA Loneliness Scale—a survey developed by the University of California in 1978 to evaluate loneliness levels, which was subsequently adapted by the artist. In parallel, an online page on the Jupiter Woods platform was created to share the ongoing research and enable continued interaction with the evolving project.
Between Loneliness and Isolation, 2022
Nanzan University Institute for Social Ethics, Nanzan University, Nagoya, Japan
The workshop addressed loneliness and isolation through artistic and social research. It was part of a series of public research sessions for the Ministry of Loneliness project. It included a lecture exploring the emotional state of loneliness in neoliberal societies and its material and socio-political manifestations, and a discussion with Prof. Karin Moriyama (Senior Research Fellow at the Nanzan Institute for Social Ethics) on Japan’s Office for Loneliness and Isolation and related suicide prevention measures, particularly during COVID-19. The workshop concluded with a participatory activity, in which attendees completed a questionnaire based on the UCLA Loneliness Scale—a survey developed by the University of California in 1978 to assess levels of loneliness and subsequently adapted by the artist.
Ministry of Loneliness, 2022
Magazzino Italian Art, New York, USA
As part of the Ministry of Loneliness project's public research sessions, visitors to Magazzino Italian Art in August 2022 were invited to reflect on their relationship with loneliness. Participants were primarily engaged through what appeared to be a standard museum satisfaction survey. However, this survey was actually based on the UCLA Loneliness Scale—a questionnaire developed by the University of California in 1978 to assess loneliness levels and subsequently adapted by the artist.
Out of Focus, 2021
IED Factory, Rome, Italy
Developed within the context of IED Factory during the COVID-19 pandemic lockdown period, the workshop investigated displacement and distance as a shared condition, and the screen as a site and a material place for vision and sharing. Participants, who were Bachelor students from different programs, worked collectively on both the research, the concept and production of a short video created entirely remotely.
Blurring Visibility, 2021
Manifattura Tabacchi, Florence, Italy
Organised as part of the Armonia Art Residency Programme in Florence, the workshop explored the invisible and the opaque as empowering elements of perception, both as an artistic approach to image-making and as a means of investigating the transformative potential of imaginations that resist the contemporary regime of visibility. Taking its starting point from the particularities of its location—a partially abandoned tobacco factory—the workshop examined the role of uncharted visual fields as tools for contemporary artistic research, culminating in a transmedial collective installation produced by the participating artists in residence.
