Join us next Monday, January 26, 2026 at the Courtauld Institute, London, for the public event “Outside the Black Box: Curating Artists’ Moving Image”

@alessandro.rabottini and @leonardobigazzi from Fondazione In Between Art Film will share their experiences organising the “Trilogy of Uncertainties,” three exhibitions held in conjunction with the Venice Biennale since 2022

Each exhibition within this trilogy is named after an atmospheric phenomenon, and sets out to explore states of vision as metaphors for the human condition. The project began in 2022 with PENUMBRA, continued in 2024 with NEBULA, and will conclude in 2026 with CANICULA. All moving image works featured in each iteration of the exhibition series were commissioned and produced by Fondazione In Between Art Film

Occupying the Complesso Dell’Ospedaletto, a former hospital and orphanage in Venice, these exhibitions have transformed the building’s interior, rendering it as a form of live cinematic architecture.

To reflect on the challenges of exhibiting moving image works outside of the black box, Rabottini and Bigazzi’s presentation will be followed by a roundtable discussion with @courtauldres lecturers @johanna_gosse and @aifos_gotti. During the conversation and Q&A we will consider the practical challenges and affordances of heritage sites for film, while paying close attention to the ways in which architecture informs and alters the borders of the screen

The talk is organised by Dr Sofia Gotti, Lecturer in Curating, the Courtauld Institute, and will take place from 17:30 - 19:00 at Vernon Square Campus, Lecture Theatre 2

Free, booking essential via the link in bio ...

@jonathasdeandrade’s film “Olho da Rua” (2022), which we commissioned and produced for our exhibition PENUMBRA (2022) at the Complesso dell’Ospedaletto in Venice, will be presented this Friday,  23 January 2026 at @vamuseum within the symposium “Contemporary Brazil.” Congratulations, Jonathas!

The symposium programme features talks and panels discussions with visiting curators and artists from Brazil, including Thyago Nogueira, Jonathas de Andrade, Homero Basílio, Rosângela Rennó and Daniele Queiroz dos Santos, exploring the breadth of contemporary photographic practice and important curatorial projects in the country

It will be followed by a special screening of three of de Andrade’s short films, “Jangadeiros e Canoieros” (2025), “Jogos Dirigidos” (2019), and “Olho da Rua” (2022) with their soundtracks performed live at the V&A by Basílio and musicians Antonio José do Rego Barreto Filho and Emerson Rodrigues da Silva

“Olho da Rua” casts a temporary community of homeless people living in the streets of downtown Recife. Inspired by the techniques of Augusto Boal’s Theatre of the Oppressed, the film stages a series of performative acts that focus on collective dynamics and exercises of gaze in a public square. Bordering fiction and nonfiction, the aim was to engage the cast of nonprofessional actors in debates about identity, care, family, class consciousness, and social and political visibility through actions and words. Out of the script, the images are delicately receptive to the cast’s personality and emotional worlds, and stand as a powerful testimony of contemporary Brazil, with its rich multiculturalism and structural inequalities. (Text by @abinoppst)

PENUMBRA was our first exhibition at the Complesso dell’Ospedaletto organized on the occasion of @labiennale 2022. Curated by @alessandro.rabottini and @leonardobigazzi, it featured commissioned works by Karimah Ashadu, Jonathas De Andrade, Aziz Hazara, He Xiangyu, Masbedo, James Richards, Emilija Škarnulytė, and Ana Vaz

Images credit: Stills from Jonathas de Andrade, Olho da Rua (Out Loud), 2022. Courtesy of the artist, Fondazione In Between Art Film, @galleriacontinua, and @galerianararoesler ...

«Ashadu’s filmmaking is not only an artistic practice but also a profoundly social act. The artist creates visual spaces where marginalised voices and informal economies are granted visibility and agency. Her camera does more than observe or document – it participates. It listens, lingers and reveals, becoming an engaging, and engaged, witness»

Continue reading “Reclaiming the Image from a History of Extraction,” a newly commissioned essay to Bettina Steinbrügge, director of Mudam Luxembourg, for @karimahashadu’s first monograph “Tendered,” which is available via @moussemagazine e-shop

The publication, edited by @abinoppst with @alessandro.rabottini and @leonardobigazzi, and published on the occasion of Ashadu’s first institutional exhibitions in London at @camdenartcentre, and Chicago at the @rensoc, is a detailed overview of her practice featuring newly commissioned essays, an extended conversation with the artist and a collection of synopses documenting her video installations

The exhibition, curated by Rabottini and Bigazzi, is the second project launched under “Unison,” a biennial initiative promoted by the Fondazione to commission and produce moving image-based exhibitions in partnership with international public institutions

The monograph is a rich resource for readers who hope to gain an understanding of the breadth of Ashadu’s practice—engaging with contemporary manifestations of Nigerian history as embodied by its people and landscapes—and spans more than a decade of work (2012–25), including Ashadu’s newly commissioned film “MUSCLE”

With contributions from Karimah Ashadu, @myriambensalah, Leonardo Bigazzi, @ginabuenfeld, @martinclark76, @cjnwonka, Alessandro Rabottini, Bettina Steinbrügge, and @areaeuwuoruya

Images credits: 1,3) @g.i.a.c.o.m.o.b.i.a.n.c.o, 2) Installation view of King of Boys (Abattoir of Makoko) (2015) in Karimah Ashadu, Tendered at Camden Art Centre, 2025. Courtesy the artist and Fondazione In Between Art Film. (c) @andrea_rossetti_archive ...

Gerard Ortín Castellví’s film “Bliss Point” (2023), which we co-produced with @schermodellarte, will be screened on Tuesday, January 13, 2026, at @lumawestbau / @lowenbraukunst.zurich on the occasion of the book launch of “VISIO Moving Images in Europe Since the 2010s.” Congratulations Gerard!

Ortín Castellví’s “Bliss Point” focuses on the transformation of food into moving images by documenting the new regimes and infrastructures of distribution. From the advanced technologies of circulation in AI-managed warehouses to commercial perception and representation in food photography studios, the journey portrays fragmented coexisting realities. The term ‘Bliss Point’ refers to a specific amount of an ingredient such as salt, sugar or fat in order to optimize the palatability of a product. In the film, this concept is expanded to include other aesthetic and scopic qualities. As the third piece of a trilogy on food production (“Agrilogistics,” 2022), distribution (“Bliss Point,” 2023) and consumption (“Future Foods,” 2021) it completes a long-term investigation of the technologies and ecologies of food regimes.

Co-hosted by @kunsthallezurich and @migrosmuseum, the evening includes also the screening of Maryam Tafakory’s film “Razeh-del” (2024) and Yuyan Wang’s “Look On the Bright Side” (2023).

The programme will be introduced by @fanny.hauser and @yasminafschar, and it will be followed by a talk by @leonardobigazzi reflecting on the last decade of artists’ moving-image production in Europe.

Images: Gerard Ortín Castellví, Bliss Point, 2023, stills. Courtesy of the artist, Lo schermo dell’arte, and Fondazione In Between Art Film ...

Gala Hernández López’s new film “like moths to light” (2026), which we co-produced with @schermodellarte, has been selected in the 2026 @iffr’s Tiger Short Competition. Congratulations, Gala!

In the words of Rebecca De Pas, member of IFFR’s selection committee for short films, “The last standing bastion of our intellectual independence and beating heart of our identity, dreams are now convoyed and researched by enterprises in both hemispheres. Blending scientific research with sensual visual poetry and impressive archival material Gala Hernández challenges our ideas of reality. ‘like moths to light’ reminds us of the beauty and fragility of our inner-world and of the need to protect it from the parasitic, profit-driven world of enterprise.”

For 2026, the Tiger Short Competition jury is composed of Sammy Baloji, @ankagujabidze and @jukkapekkalaakso

Images credits: Gala Hernández López, like moths to light, 2026, stills. Courtesy the artist, Fondazione In Between Art Film, and Lo schermo dell’arte ...

We are pleased to announce CANICULA, a group exhibition opening on May 6, 2026, at the Complesso dell’Ospedaletto in Venice on the occasion of @labiennale Arte 2026

Curated by @alessandro.rabottini and @leonardobigazzi––the Fondazione’s artistic director and curator, respectively––CANICULA is the 3rd and final chapter of the “Trilogy of Uncertainties,” a series of exhibitions initiated by the Fondazione at the Complesso dell’Ospedaletto. Beginning in 2022 with “Penumbra” and continuing in 2024 with “Nebula,” for each show in the trilogy a different atmospheric phenomenon has been deployed in order to explore states of vision as metaphors for the human condition

CANICULA will premiere 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe, and produced by Fondazione In Between Art Film, the initiative conceived by Beatrice Bulgari

‘Canicula,’ the Latin term that translates as ‘dog days,’ is widely used today to refer to the hottest days of summer, a period of the year that, in various ancient Mediterranean cultures, was associated with either great abundance or terrible ruin. Following on from “Penumbra” (2022) and “Nebula” (2024), CANICULA will mark the end of a narrative arc that, over the course of three Venice Biennale cycles, has gradually charted the transition from a lack of light to a surfeit. While “Penumbra” explored the ambiguity of dim light and “Nebula” navigated a path through the disorientation of fog, CANICULA will look at blinding brightness and scorching heat. These are conditions that, once again, deceive the senses and raise questions about the reliability of vision and the interpretations of reality that it yields

@ippopeste and his Milanese studio @2050.plus have once again been invited to interpret the curatorial concept through the exhibition design; while @abinoppst, curator of the Fondazione’s editorial and discursive programs, will curate an accompanying cross-disciplinary symposium

Images by @g.i.a.c.o.m.o.b.i.a.n.c.o / Typography by @lorenzomasonstudio ...

We are pleased to announce CANICULA, a group exhibition opening on May 6, 2026, at the Complesso dell’Ospedaletto in Venice on the occasion of @labiennale Arte 2026

Curated by @alessandro.rabottini and @leonardobigazzi––the Fondazione’s artistic director and curator, respectively––CANICULA is the 3rd and final chapter of the “Trilogy of Uncertainties,” a series of exhibitions initiated by the Fondazione at the Complesso dell’Ospedaletto. Beginning in 2022 with “Penumbra” and continuing in 2024 with “Nebula,” for each show in the trilogy a different atmospheric phenomenon has been deployed in order to explore states of vision as metaphors for the human condition

CANICULA will premiere 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe, and produced by Fondazione In Between Art Film, the initiative conceived by Beatrice Bulgari

‘Canicula,’ the Latin term that translates as ‘dog days,’ is widely used today to refer to the hottest days of summer, a period of the year that, in various ancient Mediterranean cultures, was associated with either great abundance or terrible ruin. Following on from “Penumbra” (2022) and “Nebula” (2024), CANICULA will mark the end of a narrative arc that, over the course of three Venice Biennale cycles, has gradually charted the transition from a lack of light to a surfeit. While “Penumbra” explored the ambiguity of dim light and “Nebula” navigated a path through the disorientation of fog, CANICULA will look at blinding brightness and scorching heat. These are conditions that, once again, deceive the senses and raise questions about the reliability of vision and the interpretations of reality that it yields

@ippopeste and his Milanese studio @2050.plus have once again been invited to interpret the curatorial concept through the exhibition design; while @abinoppst, curator of the Fondazione’s editorial and discursive programs, will curate an accompanying cross-disciplinary symposium

Images by @g.i.a.c.o.m.o.b.i.a.n.c.o / Typography by @lorenzomasonstudio ...

We are pleased to announce CANICULA, a group exhibition opening on May 6, 2026, at the Complesso dell’Ospedaletto in Venice on the occasion of @labiennale Arte 2026

Curated by @alessandro.rabottini and @leonardobigazzi––the Fondazione’s artistic director and curator, respectively––CANICULA is the 3rd and final chapter of the “Trilogy of Uncertainties,” a series of exhibitions initiated by the Fondazione at the Complesso dell’Ospedaletto. Beginning in 2022 with “Penumbra” and continuing in 2024 with “Nebula,” for each show in the trilogy a different atmospheric phenomenon has been deployed in order to explore states of vision as metaphors for the human condition

CANICULA will premiere 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe, and produced by Fondazione In Between Art Film, the initiative conceived by Beatrice Bulgari

‘Canicula,’ the Latin term that translates as ‘dog days,’ is widely used today to refer to the hottest days of summer, a period of the year that, in various ancient Mediterranean cultures, was associated with either great abundance or terrible ruin. Following on from “Penumbra” (2022) and “Nebula” (2024), CANICULA will mark the end of a narrative arc that, over the course of three Venice Biennale cycles, has gradually charted the transition from a lack of light to a surfeit. While “Penumbra” explored the ambiguity of dim light and “Nebula” navigated a path through the disorientation of fog, CANICULA will look at blinding brightness and scorching heat. These are conditions that, once again, deceive the senses and raise questions about the reliability of vision and the interpretations of reality that it yields

@ippopeste and his Milanese studio @2050.plus have once again been invited to interpret the curatorial concept through the exhibition design; while @abinoppst, curator of the Fondazione’s editorial and discursive programs, will curate an accompanying cross-disciplinary symposium

Images by @g.i.a.c.o.m.o.b.i.a.n.c.o / Typography by @lorenzomasonstudio ...