Forms of memory: rewriting, repetition and reconstructions (from Mike Kelley performative work)
Curated by Francesca Verga
With Kate Foley, Invernomuto, Marco Mazzoni, John Miller, Elena Pirazzoli, Cristina Kristal Rizzo, Luca Vitone

6 and 7 October 2021

Forms of memory: rewriting, repetition and reconstructions (from Mike Kelley performative work) is a discursive platform curated by Francesca Verga, that takes inspiration from the performative works by the American artist Mike Kelley, in order to reconstruct some of the linguistic, sound and visual implications connected to the mnemonic processes of our time. The project is supported by the Italian Council (9th Edition, 2020), program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture.

The first appointment of this project takes place on Wednesday 6 October at 4.30 pm, broadcast online on our Youtube and Facebook channels in English language. The online discussion will focus on the mnemonic value and reenactment of dance and choreographic practices, bringing into dialogue the choreographers Cristina Kristal Rizzo, Marco Mazzoni, Kate Foley and their expanded field of practice, developed in the same years with Day Is Done (2006) by Mike Kelley with choreography by Kate Foley, and OTTO (2008) by Kinkaleri.

The second meeting will take place on 6 October 2021 at 6.30 pm in the Auditorium in Italian language. The public discussion will focus on the perception, renegotiation and rewriting of shared memorial forms and rituals, inspired by some of Luca Vitone’s and Invernomuto’s works, in discussion with the researcher Elena Pirazzoli.


The last appointment of this review takes place on 7 October 2021 at 6.30 pm, online, in English language. The panel by artist and writer John Miller will discuss Mike Kelley’s early performative work (developed in between 1970s and 1980s) in terms of both objectification and objectivation (treating thoughts and beliefs as things).  The discussion will unroll, via a consideration of Minimal sculpture, Bertolt Brecht’s and Antonin Artaud’s conceptions of theater.