Category: Other Projects

We are happy to announce the collaboration of Case Chiuse by Paola Clerico and Palma by Gabriele De Santis.

On September 15^th, 2022 Palma open its first Milanese shop in co-working at Case Chiuse HQ in via Rosolino Pilo 14. Founded in 2022 by a group of professionals from the art, communication and gastronomy fields, Palma is an innovative commercial format. Not a luxury plant shop, but a place for research, study and transmission of botanical culture, with a deep attention to storytelling and communication. Palma opened its first space in Rome on February 15^th, 2022 and, thanks to the rapid appreciation, inaugurated in just a few months also in Turin and in Milan.

Case Chiuse by Paola Clerico started in February 2014 as a wandering platform of production and consultancy in the field of contemporary arts. For five years we produced exhibitions occupying private places. On February 12^th, 2020 we opened the headquarters in via Rosolino Pilo 14, a workplace and exhibition space to welcome projects in synergy with external ones. The pandemic emergency limited our range of action and for two years the space had to accommodate all the projects that could not be exhibited in the chosen places. In April 2022 Case Chiuse finally returned producing outside the headquarters.

Being able to regain this “nomadic” connotation, primary for Case Chiuse projects, has inevitably implied a rethinking of the use of spaces. The beginning of this collaboration therefore marks a new course for via Rosolino Pilo, which continues to be our operational headquarters, inaugurating a new season of collaborations with other realities of the Milanese, Italian and international art scene.

Stay tuned…

In ancient times, an oracle was considered both a sacred place and a prophetic answer. Pilgrims used to address the oracle with questions about the unknown or the right way to react to certain circumstances, then wait for the divinity to respond by some sort of sign or human medium. 

At Orta San Giulio, Paolo Brambilla aimed to create a parallel place, a set of passages between reality and its imaginative dimension. Not far from the Villa Bossi’s garden, the Oracolo (Oracle) appears on the surface of lake as a mysterious gate adorned with stars. On the nearest dock a set of hand-painted flags flap in the wind. They are ensigns of broken spells, magic figures, traces of oracles without time which reclaim a mystic and fantastic supremacy on the landscape, waiting to welcome someone or something that could come through the floating gate.

These works come from the archaic identity of Orta San Giulio, a place which is always been characterized by a strong narrative and legendary component. It has been said that around the 4th Century Saint Giulio arrived at Orta Lake to evangelize the locals. The Island was haunted by dragons and monsters but, in a stormy night, Saint Giulio sailed the lake on his cape, fighting the beasts and freeing the island. Only one monster managed to escape the massacre, hiding in a grotto nearby which is now part of a 19th century Mansion known as Villa Curioni-Mazzetti. In the same grotto, during the 17th century, a giant vertebra was found whis is believed to be the last remain of that same monster and it’s now exhibited inside the island’s Church. The San Giulio’s island is also the scenery to the short story by Gianni Rodari C’era due volte il Barone Lamberto ovvero I misteri dell’isola di San Giulio (There was twice the Baron Lamberto, that is the mysteries of San Giulio’s island). The story is about The Baron Lamberto whose name the servants were obligated to repeat continuously in order for him not to die. On the hills just behind Orta San Giulio there’s the Sacro Monte of Orta. Here, between the chapels which contains intricate sculptural depiction of Christ’s Passion, is where Friedrich Nietzsche and Lou Von Salome maybe kissed for the first time: a mysterious episode which is now knows as Orta’s Idyll. During the centuries, the island has been scenery of wars, sieges, dominations but, in recent times, it has become host of a cloistered convent, going back to be a place of silence and mysticism.

ExtraDry is an exhibition of video art born from the desire to draw contemporary art out from its usual expositive spaces and onto the walls of Dry Milano.

Following the ExtraDry project curated by Peep-Hole for three editions, from 2013-2016, Case Chiuse arrives at Dry Milano with a new format and presents StraightUp@ExtraDry, an award for young artists.

In step with the ideas of the founders of Dry Milano, StraightUp@ExtraDry wants to give visibility to the creativity emerging from the extremely current research of young artists expressing themselves through video and support their future research. During the first edition, in 2017/2018, the videos of Jacopo Rinaldi (result later winner), Ruben Spini (second in a tie), Paolo Brambilla, Natália Trejbalová and Valentina Furian (second in a tie) were presented. Demonstrating great enthusiasm for all the works of the artists, the jury – composed by Ilaria Bonacossa, director of Artissima, Paolo Zani, founder of the Galleria Zero, and two of Dry’s founding partners, the collectors Bernardo Attolico and Tiziano Vudafieri – assigned the prizes taking into account the globality of the videos shown by each artist, with particular attention to thematic, stylistic and formal research.

The name “Straight Up” is a blend of English slang and bar vocabulary. It implies something honest and fresh that aims for the top, just like the synergy we wish to create between the award, the artists and their future.

Dry Milano is defined by its strong contemporary feel. It offers the very best quality while remaining accessible and informal, making it an ideal location to exhibit video art and create a new kind of synergy between the work and the public. With the launch of StraightUp@ExtraDry, Dry Milano proves once again its commitment to exhibit videos and offers a chance to show contemporary art to a different public.

Case Chiuse, founded by Paola Clerico in 2014, aims to create exhibition projects in non-art spaces. On the occasion of temporary exhibitions, it opens to the public private and non-accessible places, focusing on the artists’ vision. The choice of the name, synonymous with brothel, stands as an ironic provocation to emphasizing the lack of time and intimate understanding, typical of the contemporary art world, offering people the chance to meet art in a special place, far from institutional logic.

The selection committee for the StraightUp@ExtraDry award consists of Simone Bertuzzi and Simone Trabucchi, the Invernomuto duo, and Paola Clerico, creator of Case Chiuse project. The jury consists of Ilaria Bonacossa, director of Artissima, Paolo Zani, founder of Galleria Zero, and two of Dry’s founders and art collectors Bernardo Attolico and Tiziano Vudafieri. Coordination and curatorial assistance by Ginevra D’oria.

The first selected artists are: Giulio Scalisi and Alessandro Di Pietro.

The five selected artists will present at least three videos already produced that will be screened for about two months in the spaces of Dry Milan, both in Via Solferino venue and in Viale Vittorio Veneto. For the second edition, an attendance fee will be given to each participating artist. At the end of the projection cycle, a single prize will be awarded which includes the acquisition of the winning video by the Dry Milan collection.

With Ginevra D’oria, Ilaria Bonacossa, Paola Clerico, Mirko Rizzi, Elisabetta Nuti, Stephanie Lin, Fabien Vallos, Luisa Mazier, Henrik Blomqvist, Sergio Bertola, Fabrizio Vatieri, Damiano Bertoli, Simeone Crispino.

On Thursday November 22nd, 2018, Marsèlleria presents, in collaboration with Case Chiuse by Paola Clerico, Using feelings to get rid of feelings, performance by A Constructed World.

A Constructed World bring the audience and invited performers into a conversation about objection, the need to consider where-we-are-now-together, big hands, each others’ feelings, the possibility of trust, and being in an inoperative space for a few minutes while we taste food together.

And with an undertone of urgency.

Mirko Rizzi and A Constructed World met in a disused elettrauto shop in Turin, Paola Clerico’s moving space Case Chiuse, relocated on the occasion of Artissima, November, 2017. Over the four days of the fair, Paola Clerico provided a patient stream of people who talked with A Constructed World about the possibility of changing the relation between the collector and artist, focusing on exchange, rather than the object and the artists’ relentless becoming.

After a brief interview with Rizzi, A Constructed World offered him their Collector Agreement to consider:


— Ok, I’ll sign it. (he said, opting for the second established level of the contract)

— Is there anything you want to know?

— No, that’s fine.

— Don’t you want to read the contract?

— No, I trust you.

‘I trust you,’ he said.

Mirko was so far ahead he got behind the project that Paola had so lightly and pertinently presented. Signing the agreement, Rizzi agreed to meet regularly with A Constructed World, make an account of these meetings, and together re- think the roles and repertoire of producer and consumer.

ExtraDry is an exhibition of video art born from the desire to draw contemporary art out from its usual spaces and onto the walls of Dry Milano.

Following the ExtraDry project curated by Peep-Hole for three editions from 2013-2016, Case Chiuse arrives at Dry with a new format and presents StraightUp@ExtraDry, an award for young artists.

In step with the ideas of the founders of Dry, StraightUp@ExtraDry wants to give visibility to the creativity emerging from the extremely current research of young artists expressing themselves through video. As well as giving visibility, the award is designed to support their future research by the assignment of three different awards and the acquisition of the winning work.

The name “Straight Up” is a blend of English slang and bar vocabulary. It implies something honest and fresh that aims for the top, just like the synergy we wish to create between the award, the artists and their future.

Dry is defined by its strong contemporary feel. It offers the very best quality while remaining accessible and informal, making it an ideal location to exhibit video art and create a new kind of synergy between the work and the public. With the launch of StraightUp@ExtraDry and its commitment to art project since 2013, Dry proves once again that the space is ideal to exhibit videos and offers a chance to show contemporary art to a wider public.

During the first edition were presented the videos of Jacopo Rinaldi, Ruben Spini, Paolo Brambilla, Natália Trejbalová and Valentina Furian. Demonstrating great enthusiasm for all the works of the artists, the jury – composed by Ilaria Bonacossa, director of Artissima, Paolo Zani, founder of the Galleria Zero, and two of Dry’s founding partners, the collectors Bernardo Attolico and Tiziano Vudafieri – assigned the prizes taking into account the globality of the videos shown by each artist, with particular attention to thematic, stylistic and formal research. Jacopo Rinaldi result later winner, Ruben Spini and Valentina Furian second in a tie.

The selection committee for the StraightUp@ExtraDry award consists of Simone Bertuzzi and Simone Trabucchi, the Invernomuto duo, and Paola Clerico, creator of Case Chiuse project. Coordination and curatorial assistance by Ginevra D’oria.

From an extraordinary private collection, enriched, in the course of the last 30 years (1987-2017), by more than 300 contemporary art pieces, 48 are here presented to the public for the exhibition entitled And What, for Example, Am I Now Seeing? (Autodisporsi).

“Autodisporsi”, which literally means “self-dispose”, is the subtitle of this exhibition and a famous work by Alighiero Boetti. As the subtitle suggests, the selection has been made by the artworks themselves, as these pieces have proven their capacity to “autodisporsi”, self-dispose and find a rational placement in the structure of the exhibition thus making it possible.

Due to their strong impact, these art pieces are able to attract the viewer’s attention and connect with her/him creating a personal relationship. This approach offers the possibility to discover a different way to enjoy contemporary art leaving aside the daily rush of life. The visitor should allow himself to travel through this visual experience without any pre-conceived ideas and compare his own impression only at the end.

The exhibition follows a very classic criteria, it is divided into 5 main sections: Drawings, Paintings, Photography, Sculpture and Other Media.

The title And What, for Example, Am I Now Seeing? originates from the art piece, on display, by the conceptual artist Joseph Kosuth, and is based on the definitions from the Tractatus Logico-Philosophicus by Ludwig Wittgenstein. Here it becomes an invitation for the viewer to observe the artworks and to freely investigate their meanings in the effort to create a dialogue between the works and the public.

The exhibition is structured in three main areas: silent visit, visit with sound and educational workshop. Drawing, Painting and Photography sections are all included in the silent visit – silence in this case is a sort of homage to Marina Abramovic and her artistic practice. We asked the viewer to turn off all devices, not to take pictures or video and to wear an anti-noise protection in order not to be disturbed.

Sculpture and Other Media sections are included in the visit with sound. At the end of the exhibition, in the educational workshop, all works previously seen were explained in detail according to the collector’s point of view.

In this Digital Era, where information is perused by one third of the world population at the speed of Internet, a short-circuit might probably occur between these artworks, produced by artist of the “pre-internet” generation, and the models known to the Z generation. The intention of the curators was to verify how a contemporary artwork remains actual, that is to say capable of maintaining its seductive power, and therefore conquer the digital generations of the new millennium.

The exhibition has been essentially structured with a didactical intent. At the entrance of the exhibition a copybook was handed over to the viewer in order for him to take notes of his/her experience. These notes were discussed and collected in the final section in order to testify the visitor’s point of view and the dialogue, if any, between the public and the art pieces.

At the end of the exhibition, after reading the collected copybooks, originated the idea to public a catalogue with CURA. and share with a wider public some of the most significant ideas, notes, drawings and emotions written by visitors and students of all ages, from kindergarten to high school.

Curatorial assistant Ginevra D’oria
Educational Project Chiara Marchelli
Exhibition Designer Francesca Maltese
Graphic Project Luca Forcolini

In collaboration with di Gropello Collection.

Event in favor of Save the Children
With the support of Italiana Valutazione Rischi, Isopan, PoderNuovo and Sarment.