A.I. The Artist’s Table


From Thursday 24 to Saturday 26, BASEMENT ROMA is happy to welcome The Artist’s Table, a project curated by A.I. Artisanal Intelligence.

For the occasion we’re also happy to show the work Resistance of the acclaimed Turkish artist Ali Kazma for the first time in Rome.

Please come to visit us!

with Andrea Anastasio
January 24
from  3.00pm to 7:00pm

with Paolo di Landro
January 25
from  3.00pm to 7:00pm

with Livia Crispolti
January 26
from  10.00am to 12:30pm

with Sorelle Antonini
January 26
from  3.00pm to 7:00pm


Thanks to Francesca Minini Gallery
Image © Ali Kazma


From December 3 until December 21 Basement Roma is opening its archive of art and editorial goodies for you to gift your loved ones (and yourself!)

Unseen artists’ editions, the entire collection of CURA.’s issues, precious art books, König Souvenir and Consume Cool sleek clothing lines and a collection of unusual objects will be on sale in our space Monday to Friday from 14pm until 19pm

Wednesday, December 12 (from 6pm until 22pm)

Come to celebrate with us for an evening of Christmas shopping and drinks

+ Secret exhibition



Athena Papadopoulos shortlisted for Max Mara Art Prize for Women

Congratulations to our beloved Athena Papadopoulos, who has been nominated for the Max Mara Art Prize for Women!

The Whitechapel Gallery, Collezione Maramotti and Max Mara announced the six shortlisted artists for the seventh edition of the Max Mara Art Prize for Women: Helen CammockCéline CondorelliEloise HawserAthena PapadopoulosLis Rhodes and Mandy El-Sayegh.

Featuring artists that work across a range of mediums, the shortlisted artists were selected by a judging panel chaired by Iwona Blazwick OBE, Director of the Whitechapel Gallery, and joined by gallerist Vanessa Carlos, Carlos/Ishikawa, London; artist and previous recipient of the prize Laure Prouvost; collector Marcelle Joseph and art critic Rachel Spence.

The Max Mara Art Prize for Women was established by the Whitechapel Gallery in collaboration with the Max Mara Fashion Group in 2005. Its aim is to promote and support female artists based in the UK, enabling artists to develop their potential. The winning artist, announced in early 2018, is awarded a bespoke six-month artist residency in locations around Italy after presenting the judges with a proposal for a new body of work. During the residency, which is organised by Collezione Maramotti in collaboration with Max Mara and the Whitechapel Gallery, the artist has the opportunity to realise an ambitious new project which is presented in major solo exhibitions at the Whitechapel Gallery in London and Collezione Maramotti in Reggio Emilia, Italy.

Athena Papadopoulos (b. 1988) 
Using cosmetic, medicinal, and edible ingredients, Athena Papadopoulos stains layers of cotton bedsheets with red wine, lipstick, hair dyes, Pepto Bismol, and self­tanner. Drawings and photographs of women are layered into dense collages: Papadopoulos chemically transfers, cuts, and stitches her own photographs into and alongside imagery gleaned from literature, art history, and popular culture. Papadopoulos’ action of isolating and recombining images therefore becomes a way of thinking about the construction of subjectivity in general and femininity in particular.


At its best the gallery is an imaginarium, a place in which ideas can be fostered, modelled and tested. In this current juncture it feels art can cross its parameter line with more ease than before; accidentally or with intent finding itself in radically different contexts, being used in radically new ways.
It’s this capacity to cross lines, to bleed that is most interesting to me at the moment, it’s a point in which a work risks collapse, losing a certain vital plane of ambiguity in exchange for becoming real in someone else’s hands.
But perhaps another plane might be opening up at this point, a different register of ambiguity that seeds itself firmly in affect, however small that might be. Untethered from the object work becomes active, its contours, complexity and core registered in the trickle of thoughts and actions activated in the viewer, their groups and the structures they inhabit.
An idea is seeded, then taken up, then stripped back and repurposed for its new environment; but yet something still remains. This new form, a truly collaborative one flows back into the gallery with ease, a form that sits somewhere between the authentic and found and resonates with its interactions.
The gallery at this point has changed function, operating as a memetic platform, a place of exchange in which art is defined as proposition, that once realized can be deployed, held, felt, taken on or rejected.

SEED by Ed Fornieles
Through October 28

David Douard at RODEO, London


BLOOD O’ US is the first exhibition in the gallery by David Douard.
After a series of visits to London, in an effort of familiarizing himself with the gallery space and its surroundings, the rapid changes the area is going through became apparent. The surrounding never-ending construction became the center point as (in a space lled with windows looking out) it directs the psychological as well as physical processes that take place indoors. The windows become the luminous backdrop for the show, and David takes the space as material to mold softly and give it a new look. The view, a constant transformative performance that happens for the observer, is of workers destroying and rebuilding, machines that come and go and constant changes that if one forgets about the new urban dominating forms can seem to appear all of a sudden.

After spending a week in the space, a series of performances took place, and like a plastic surgeon the artist changed the usual look that is the identity of the gallery, an allegory for a constructed personality, an existing character. As an act of resistance to the ‘authority’ of the gallery, he cut and altered the paths and twisted the usual ways one expects a contemporary art space to be. What rstly looks like an emptied space is in fact a room that carries a series of about seven different variations, proposals for different identities (that have now vanished).

The show is composed of two main pieces, BLOOD O’ US, an installation where the model and actress Hari Nef, the only image in the show, appears on a low- screen attached on the window, a free standing construction wall and two sound works coming from different sources. South London singer Klein mixed with collected musical material from a recent exhibition and David’s daughter’s voice, resonate and echo in the space. The transgendered body becomes here a focal reference as the penultimate transformative position (man to woman, or vice versa), a pop idol in full blossom, the posture a reference to historical portraits from the history of art. Acte de Salon is a work that was created in the space and defines a new direction in David’s practice. Reflecting the architectural interventions, the composition is of found and made elements and by association transforms the gallery into a mask in itself, a proposition to see things differently even where things are invisible but end up revealing themselves; an act of a possible silent revolution.

BLOOD O’ US by David Douard
RODEO, London
Through October 8



CURA. is looking for a dynamic, enthusiastic and prepared figure to be included in the team as Editorial Assistant and Assistant Curator.

If you’re interested we invite you to send out your application, by Friday September 15th, to job@curamagazine.com

• Contemporary art knowledge and concern
• Interest in international art publishing
• Italian mother tongue
• Fluency in written and spoken English (and French if possible)
• Knowledge of the international art system’s protagonists (artists,
curators, galleries, fairs)

• Enthusiasm, passion and curiosity
• Accuracy and reliability
• Relationship skills
• Organisational skills, especially for exhibitions, with previous experience
• Teamwork attitude
• Ready to branch out different commitments
• Problem solving skills
• Flexibility and willingness to travel
• Editing and writing basic skills, both in Italian and English
• Not first experience
• Knowledge of Microsoft Office / Indesign / Photoshop
• Familiarity with Sketch-Up
• Bachelor’s degree in Art History, Cultural Heritage, Visual Cultures and similar

• Field office in Via Nicola Ricciotti, 4 Roma
• One month trial period
• Mon-Sat afternoon part-time, with employment contract
• Fee to assess, according to the background
• Possibility of Full time

STARTING: Mid-October
CV submission
Cover letter (maximum 1500 characters)
Deadline: September 15 th

CURA. cerca una figura dinamica, entusiasta e preparata da inserire nel proprio team in qualità di Editorial Assistant e Assistant Curator.

Se sei interessato/a invia la tua application, entro venerdì 15 settembre, all’indirizzo email job@curamagazine.com

– Conoscenza e interesse per l’arte contemporanea
– Interesse per l’editoria d’arte internazionale
– Madrelingua italiana
– Ottimo inglese parlato e scritto (e possibilmente buona conoscenza della lingua francese)
– Conoscenza dei protagonisti del sistema dell’arte internazionale (artisti, curatori, gallerie, fiere)

– Entusiasmo, passione, curiosità
– Precisione, affidabilità
– Capacità relazionali
– Capacità organizzativa di mostre con precedente esperienza
– Predisposizione a lavorare in team
– Disponibilità a diversificare il proprio impegno
– Attitudine al problem solving
– Flessibilità e disponibilità a viaggiare
– Competenze basilari di editing e scrittura in italiano e inglese
– No prima esperienza
– Conoscenza del pacchetto Office / Indesign / Photoshop
– Conoscenza base di Sketch-Up
– Laurea triennale in Storia dell’Arte, Management dei beni culturali e simili

– Sede operativa in Via Nicola Ricciotti 4, Roma
– Periodo di prova: 1 mese
– Posizione part-time. Tutti i pomeriggi dal lunedì al sabato con regolare contratto di assunzione
– Retribuzione da valutare in base all’esperienza
– Possibilità di full-time

Presentazione del CV e cover letter (massimo 1500 battute)
entro venerdì 15 settembre