Looking at our times through the prism of the moving image.
At Fondazione In Between Art Film, we foster dialogues between video, cinema, and performance, supporting artists and institutions whose visions cross the boundaries between creative disciplines.
NEWS
Karimah Ashadu’s first institutional solo exhibition in the UK opens tomorrow at @camdenartcentre!
“Tendered” is the second project launched under UNISON, a biennial initiative promoted by Fondazione In Between Art Film to commission and produce moving image–based exhibitions in partnership with international public institutions.
Curated by @alessandro.rabottini and @leonardobigazzi, the exhibition includes the premiere of the video installation “MUSCLE” (2025) as well as a series of new sculptures conceived especially for the show that reference objects and environments within the film.
“MUSCLE” is an intimate portrait of body builders in the heart of Lagos’ slums striving to attain a hyper-masculine ideal, continuing the artist’s research into issues of socio-economic independence and patriarchy within the context of West African culture and society. “MUSCLE” is commissioned and produced by Camden Art Centre, Fondazione In Between Art Film, and @rensoc, where the exhibition will be presented in autumn 2026.
In addition, the exhibition features a selection of earlier moving image works also set in Lagos—“King of Boys (Abattoir of Makoko)” (2015) and “Cowboy” (2022)—configured within discrete environments that extend aspects of the films into the viewing space. The show takes visitors on a journey through the range of Ashadu’s practice, from the intimate to the expansive, featuring works that form a cinematic narrative of bodies and land—an undulating scenario of urban subcultures, quotidian labour, and our relationship to nature.
“Tendered” is accompanied by the first reference monograph dedicated to the artist, edited by @abinoppst, with Rabottini and Bigazzi. Published by @moussemagazine, it features contributions from Karimah Ashadu; @myriambensalah; Leonardo Bigazzi; @ginabuenfeld; @martinclark76; @cjnwonka; Alessandro Rabottini; Bettina Steinbrügge; and @areseuwuoruya.
Image credit: Karimah Ashadu, “MUSCLE” (still), 2025. Courtesy of the artist, Camden Art Centre, Fondazione In Between Art Film, @sadiecoleshq and The Renaissance Society at the University of Chicago
Our President and Founder Beatrice Bulgari has entered the 2025 edition of @ilgiornaledellarte’s Power 100. Congratulations, Beatrice!
Beatrice Bulgari is the founder and president of Fondazione In Between Art Film, which is based in Rome and yet embraces a nomadic vision. Dedicated to the language of moving images, the Fondazione supports international artists through commissions, acquisitions, and collaborations with leading institutions. Every two years, on the occasion of the Venice Biennale, it stages major exhibitions at the Complesso dell’Ospedaletto: “Penumbra” (2022), “Nebula” (2024), and a third chapter planned for 2026.
Since its inception in 2012, the Fondazione has supported artists such as William Kentridge, Orhan Pamuk, Shirin Neshat, Jonathas de Andrade, Iván Argote, Ali Cherri, Thao Nguyen Phan, and Karimah Ashadu, whose solo show “Tendered” opens at Camden Art Centre, London, on October 10, 2025.
In 2023, Beatrice Bulgari founded @eolofilmproductions, which is devoted to cinema and auteur filmmaking. Eolo debuted with ‘Hold on Missy! Isabella Ducrot Unlimited’ (Venice, 2024) and ‘Arsa’ by Masbedo (Rome Film Fest, 2024).
Eolo Film Productions has since co-produced ‘Un film fatto per bene’ by Franco Maresco, presented in the official competition at the 82nd Venice International Film Festival (2025), and ‘The Birthday Party,’ starring Willem Dafoe, which premiered at the 78th Locarno Film Festival.
It is now working on two new productions scheduled for 2025/2026: ‘Anime Trasparenti,’ an Italian-German co-production with Wim Wenders as Executive Producer, and ‘100 Questions/50 Lies’ by Philippe Parreno.
Image courtesy: Il Giornale dell’Arte
A selection of films from MASCARILLA 19 – Codes of Domestic Violence, our very first commissioning programme, will be presented by @schermodellarte at @bibliotecanova_isolotto on Oct 16, 2025, as part of the initiative “MOVING ARCHIVE – Films and Books to Read the Present.”
With this series of commissioned works, curated by Leonardo Bigazzi, Alessandro Rabottini, and Paola Ugolini, the Fondazione wanted to further the international debate on the dramatic issue of domestic abuse, which has been exacerbated by the long months of the Covid-19 emergency.
The eight artists’ films that make up MASCARILLA 19 – Codes of Domestic Violence offer different perspectives on a shared theme, captured in its full scope and urgency: each work expresses a unique sensibility, through languages and approaches that range from documentary-style exposé to the symbolic, psychological exploration of relationship dynamics.
The selection includes:
“Domestication” by @silviagiambrone
“Flowers Blooming in Our Throats” (2020) by @evagiolo
“Muse” by @ele_mazzi
“Vedo Rosso” (2020) by @adrian_paci
The event is coordinated by Alessandra Fredianelli (@alfrdnll) who will be joined by artist Silvia Giambrone.
Info via the link in bio
Images credits: Eva Giolo, Flowers blooming in our throats, 2020. Courtesy the artist, Fondazione In Between Art Film and Elephy; Adrian Paci ,Vedo rosso, 2020. Courtesy the artist, Kaufmann Repetto, Peter Kilchmann Gallery and Fondazione In Between Art Film; Elena Mazzi, Muse, 2020. Courtesy the artist, galleria Ex Elettrofonica and Fondazione In Between Art Film; Silvia Giambrone, Domestication, 2020. Courtesy of the artist and Fondazione In Between Art Film
@jonathasdeandrade’s film “Olho da Rua” (2022), which we commissioned and produced for our exhibition PENUMBRA (2022) at the Complesso dell’Ospedaletto in Venice, is now on view at @jeudepaumeparis – Château de Tours until November 9, 2025. Congratulations, Jonathas!
“Olho da Rua” [Out Loud] 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. To accompany them is a hypnotic soundtrack by percussionist Homero Basílio that uses instruments rooted in Northeastern Brazil. The film is not only a reflection on power dynamics rooted in colonialism—and on how these may be tied to whoever holds the camera—, but also a provocation to the viewer. Using art and radical pedagogy tools to reposition the stories of people who are marginalized and made invisible, the work fosters ways to collectively rethink reality and imagine alternatives. (Text by @abinoppst)
PENUMBRA was our first exhibition at the Complesso dell’Ospedaletto and it was held there on the occasion of @labiennale 2022. Curated by @alessandro.rabottini and @leonardobigazzi, the show 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
Thank you @microclima_ for organizing and involving us once again in Floating Cinema – Unknown Waters; it was such a spellbinding gathering around moving images!
For the 2025 edition, we presented @androeradze’s film “Flowering and Fading” (2024), which we co-produced with @schermodellarte; @kunsthalleformusic’s film “Marshall Allen, 99, Astronaut” (2024), which we commissioned and produced on the occasion of our show NEBULA at the Complesso dell’Ospedaletto in Venice; and @formafantasma’s and @janka_piotrowska’s film “Tactile Afferents” (2023), which we co-produced on the occasion of the studio’s solo exhibition OLTRE TERRA.
Now in its sixth year, our collaboration with Floating Cinema – Unknown Waters is part of our ongoing commitment towards nurturing the culture of moving images on one side, and the city of Venice on the other. Part of this engagement are the the acclaimed exhibitions “Penumbra” (2022) and “Nebula” (2024) at the Complesso dell’Ospedaletto.
Presented by Microclima, Floating Cinema – Unknown Waters is a project curated by @edoardo_aruta, Alessandra Messali and Paolo Rosso, in partnership with TBA21–Academy/Ocean Space @tba_21 @oceanspaceorg, Pentagram Stiftung, Palazzo Grassi – Punta della Dogana – Pinault Collection @palazzo_grassi , Fondazione In Between Art Film, Collezione Peggy Guggenheim @guggenheim_venice, Centre d’Art Contemporain Genève @centredartcontemporaingeneve, Espace Louis Vuitton Venezia @fondationLV
Additional support is provided by Accademia di Francia a Roma – Villa Medici @villa_medici, Fondazione Venezia @fondazionedivenezia, Palazzetto Bru Zane – Centre de musique romantique française @palazzettobruzane, The KHR McNeely Family Fund Kevin, Rosemary e Hannah Rose McNeely
Images credit: @riccardobanfi_ and Microclima 2025
Ali Cherri’s film “The Watchman” (2023), which we commissioned and produced on the occasion of his solo show “Dreamless Night at @gamec_bergamo and @fracbretagne, is on view at “Once Within a Time,” the 12th edition of @sitesantafe curated by @ceciliaalemani. Congratulations, Ali!
“The Watchman” is centered around the figure of a soldier whose job is to guard the border of the unrecognized Turkish Republic of Northern Cyprus. This soldier, like many others before him, spends his prolonged and dull shifts perched on a watchtower looking out for ‘the enemy,’ who may or may not arrive down the hills of the recognized Republic of Cyprus under Greek-Cypriot rule. The stagnating landscape traps the protagonist in a physical and metaphorical threshold where the edges between alertness and sleepiness, reality and imagination are constantly trespassed until his fantasies and reveries take over and unleash unexpected events. Through a speculative fictional approach typical of Cherri’s filmic practice, “The Watchman” continues the artist’s critical investigation into conflicts of acknowledgment, the inheritance of historical trauma, and the radical potential of the imagination.
More info via the link in bio
“The Watchman” was co-produced by @thevegafoundation and @KinoElektron. The film received additional support from Galerie Imane Farès, Robert Matta - Fondation RAM, Arab Fund for Arts and Culture, and Frac Bretagne
Images credit: @ali.cherri, “The Watchman,” 2023. Video stills. Courtesy of the artist; Fondazione In Between Art Film; and @imanefaresgalerie
Ivàn Argote’s film “Levitate” (2022), which we co-produced on the occasion of his nomination at the Prix Marcel Duchamp 2022, is on view at @galerierudolfinum in the solo exhibition “Radical Tenderness,” curated by @leonardobigazzi.
Congratulations, Ivàn!
“Levitate” is a three-channel video installation that critically engages with the controversial presence of colonial monuments in European cities. Through public interventions and speculative reconfigurations, the work stages the symbolic displacement of three sculptures: the Flaminio Obelisk in Rome, the Christopher Columbus statue in Plaza Colón in Madrid, and the monument to General Joseph Gallieni at Place Vauban in Paris. Interwoven with autobiographical narration, “Levitate” reflects on the artist’s positionality as a Colombian citizen and long-term resident of France, revealing the complex entanglements of memory, identity, and colonial legacy. By rethinking the spatial and symbolic functions of these monuments, Argote interrogates the ideological mechanisms that sustain their authority within public space, offering an opportunity to question how they shape our collective understanding of history. The video is presented within an environment of ‘soft ruins’ – movable, foam-filled forms that reimagine archetypal monuments as objects of comfort, play, and dialogue. This tactile landscape invites viewers to physically and conceptually engage with the legacy of colonial symbols in a space that is both critical and playful. By softening and activating these historically rigid forms, Argote proposes new modes of interaction with heritage, rooted in participation and collective healing. (Leonardo Bigazzi)
Images credit: 1) Iván Argote, Levitate, 2022. Video still. Courtesy of the artist, Fondazione In Between Art Film, and @galerieperrotin; 2-4) Iván Argote: Radical Tenderness, installation view, Levitate, 2022 ©️ Galerie Rudolfinum, photo Ondřej Polák
Congratulations to Ali Cherri, whose film “The Watchman” (2023) and sculptural work “The Seven Soldiers” (2023), which we commissioned and produced on the occasion of his solo show “Dreamless Night at @gamec_bergamo and @fracbretagne, are on view at @balticgateshead until October 12, 2025.
Curated by @ejmdean, Ali Cherri’s solo exhibition “How I Am Monument” showcases the artist’s interests in process and materiality, looking at history and the ancient world through a material lens.
The exhibition presents “The Watchman,” which reflects on the tensions around the military division line that separates the Greek and Turkish communities in Cyprus. It centres on the figure of a soldier who mans a watchtower looking out for ‘the enemy.’ Weary from his long shift, the soldier inhabits a space between wakefulness and sleep where peculiar things start to happen.
In a related sculptural work “The Seven Soldiers” (2023), a series of oversized heads are caught in a perpetual state of slumber, their haunting expressions resembling the ghostly figures that appear at the end Cherri’s film.
More info via the link in bio
“The Watchman” was co-produced by @thevegafoundation and @KinoElektron. The film received additional support from Galerie Imane Farès, Robert Matta - Fondation RAM, Arab Fund for Arts and Culture, and Frac Bretagne
Images credit: 1) @ali.cherri, “The Watchman,” 2023. Video still. Courtesy of the artist; Fondazione In Between Art Film; and @imanefaresgalerie; 2-3) “How I Am Monument” (installation view), Baltic Centre for Contemporary Art, Gateshead, 2025. Photo: Reece Straw ©️ 2025 Baltic