Angela Serino is an independent curator and writer based in Amsterdam.
Her research-based projects often consist of exhibitions of newly commissioned works, as well as public programs of lectures, film screenings, conversations, and reading groups. She is interested in creating a public space to reflect on and confront current issues, albeit temporary and contested.
In 2009 she was curator of Redlight Art Amsterdam, a project initiated by the Municipality of Amsterdam and SMBA, Stedelijk Museum Amsterdam. During this year-long residency, artists Mounira Al Solh, Francesca Grilli, Ahmet Ögüt, Meiro Koizumi, and Egle Budvytyte (a.o.) developed new works in relation to the changing landscape of the inner city. In 2010 she became a member of the programming committee of Kunsthuis SYB, an artists-in-residency that facilitates and encourages experimentation, research and collaboration for artists – and which is set in the relatively remote region of Friesland, in the northwest of the Netherlands. At SYB she curated the projects “ON Residency”, “Our House in the Middle of the Street”, “Pay Attention, please” (icw Valerio del Baglivo - as an exchange project between Kunsthuis SYB and FARE Milan), and worked with artists such as Rory Pilgrim, Anna Franceschini, Francesca Grilli, Shana Moulton and Noa Giniger.
Over the last two years, Serino has worked closely with artist Mounira Al Solh on the noa language school, a pilot project for the development of a language school led by artists. She has also been in collaboration with artist Maja Bekan for Bodies at Work, a two-year project aimed at examining and defining what kind(s) of “work” it is that art and cultural workers do.
Having attended several residencies herself, and as a member of SYB’s programming committee, her current focus and interest lays on the role of residency programs as support structures for art where ideas of production, self-education, and collectivity can be explored.
Angela Serino graduated (with laude) in Mass Communication at the University of Siena with a thesis on Interactivity in Art (“Interactive installations: possible relations among the observer, the work and the artist”). She attended the Curatorial Programme at de Appel art centre, Amsterdam in 2006.
About her curatorial methodology:
"The projects I have realised collaboratively or on my own over time, were often developed around a question stemming from the specific physical or social context where I was working – the urgency of a moment, so to speak. Starting from this question, I invited artists as well as art critics, and experts from other disciplines, to react to the issues in an attempt to generate dialogues and new understandings of a situation. For the artists, this has often led to a commission for new works. On all those occasions, however, I did not expect to find confirmations or definitive answers to my questions in the artists’ works. Rather, I was interested in the unexpected and various perspectives that these works could suggest, what they could trigger in the various publics, and being in dialogue with other professionals’ points of views. I believe that the coexistence —or even the clash— among different perspectives is what may raise awareness among people on a specific situation or issue.”
About her vision of art:
“I’ve always seen the art world not only as a place to collect and display artworks, but also as a privileged arena to inquire into broader cultural issues or shed light on aspects of our reality that go unnoticed and ask to be rethought. I think this is possible because art is a discipline connected to other fields of knowledge (from science, to sociology or architecture) yet capable of exceeding any theoretical definitions or notions; and moreover, because artworks are able to affect people on a perceptual, experiential level, sometimes even beyond the artists’ initial intentions. The possibility -via an art project- of bringing together different publics and artworks, artists and experts, allows art to be an ideal space where new meanings, ideas and perspectives can be generated. With my work, I try to assure the premises for the existence of this space and for such openness.”