Opening Palinsesti 2025

2025 marks Palinsesti’ s twentieth edition, thus re-affirming, from one curator to another, the attention given by the Council of San Vito al Tagliamento to contemporary art in all its expressions. Once again, the opening of the exhibitions transforms into a two-day festival, with conferences, debates and book presentations following one another between 25 and 26 October, with the wish of bringing citizens and a wide audience—not just insiders and professionals of the industry—close to the world of art. As in past years, moreover, Palinsesti allows young and promising art historians, educated at the University of Udine, to engage in hands-on work, facing the true projectual, critical and practical issues of an exhibition—a true debut stage.

The focus this year is on artworks that are designed On paper, across a trajectory that goes from painting on paper through art printmaking to photography. This is the true spirit of the exhibition set up at the Antico Ospedale dei Battuti, curated by Alberto Vidissoni, by now a familiar name for those who participated in the latest editions of the festival: Pittura a stampa. Incisioni di grande formato dalla Stamperia d’arte Albicocco. Rather than a historical recount of the renowned Albicocco artistic printing house based in Udine, this show presents an itinerary along various practices of experimental printmaking, often pushed beyond the most unconventional frontiers provided by the application and combination of calligraphy onto and with modern painting.

After a year-long gap, the venue of the Antiche Carceri will once again host an exhibition curated by Francesca Battistutta and Mavi Modolo: Figure evanescenti. Opere su carta degli allievi dell’Accademia di Belle Arti di Venezia. The show establishes a new mode of collaboration between the University of Udine, where the two young curators studied art history, and the Academy of Fine Arts, from where the young and even younger artists who are the protagonists of the show come from.

Giada Centazzo and Antonio Garlatti are the curators of the usual in-depth focus on one of the artists belonging to the Punto Fermo collection, set up at the Essiccatoio Bozzoli and dedicated this year to the photographer Alessandro Ruzzier. With his Non sempre il posto vicino al finestrino è quello migliore, the artist has resumed the project Custodia, formerly presented in a previous edition of Palinsesti, which was designed around suggestions prompted by Italo Calvino’s Invisible Cities, by diving into the night of San Vito al Tagliamento and its shadows.

In all its forms, from the smallest to the monumental ones, paper tells a series of intimate stories, which incorporate the traces of the very first creative ideas, almost as if in a  confession “on paper.”