A presentation of my curatorial operations to date.

1. RONALD
LEWIS
FACCHINETTI
CURATORIAL
EXPERIENCE
PORTFOLIO 2004-2016

2. Events are experiments. I sometimes create intimate
events to test an hypothesis with just a few participants.
From these experiments emerge larger models, or small
lessons which bloom later on.
Some very small but significant events I conceived at the
beginning of my curating career had to do with applying
yoga techniques to the experience of art. How can we
contemplate art? Can we use art as a meditation tool?
What techniques are available to us to reach
enlightenment through beauty? Can there be a yoga of
art?
CURATING IS EXPERIMENTING
Yoga experiments at the Teatro Sociale di Bergamo above in
2005 in collaboration with the artist collective “Ferrario Freres”. At
the Miart in 2004, a guided meditation on a chair sculpture of
Chiara Camoni, and at the Palazzo Ducale in Genova in 2008, a
focusing experiment on works of an exhibit I curated:
“Mechanical Art from Kaohsiung”

3. BOX SHOCK: THE MAZEUM
The first curatorial format I devised
was for Self Storage facilities:
transform empty boxes in exhibition
spaces connected through a dimly lit
labyrith.
The self storage units allow for
protection and individual isolation.
The corridors prepare the viewer to
the aesthetic experience.
A very easy to organize, low-cost
event. Usually 25-30 installations. The
events last for two weeks.
Box Shock Bergamo: 2004
Box Shock Milano: 2009
Box Shock Forli: 2012
Pictures of Box Shock event in Milano in
2009 with installations by 24 young visual
artists.

4. MILANO, TORINO, JERUSALEM, ROME, CASALE
MONFERRATO, VARESE, BERGAMO, GENOVA, TIRANA,
VENEZIA, NEW YORK, VANCOUVER, EDMONTON.
I inaugurated ContainerArt in 2004 in Bergamo with the first 21
containers. The last ContainerArt event was in Vancouver in
2013. The originating idea for this curatorial format was to create
an intimate experience of art in a public context. The format
evolved into a globally franchisable sponsor-supported public art
event that brought the latest avant-garde trends to the street.
Containers connected far away communities and individuals
through art.
The event has been covered by hundreds of on-line and printed
pubblications. ContainerArt installations have been seen by
millions of people worldwide.
CONTAINERART: THE FIRST NETWORK MUSEUM
ContainerArt interactive installations I curated in
Rome and Jerusalem in 2007

5. SAO PAOLO. BRAZIL 2008
EDMONTON. CANADA. 2011
VANCOUVER. CANADA. 2009-10-11-12
These are the first experiments of a more
articulate vision of temporary/permanent
museums built around archetype figures. In
collaboration with international institutions,
galleries and curators. At its peak in 2011
my temporary museums have been visited
by 1.2 million people
CONTAINERART TEMPORARY MUSEUMS
ContainerArt temporary museums. Above Sao Paolo. Below, Vancouver.
ContainerArt brand provided to Brazilian and Canadian partners in licensing
while working with local curators and artists.

6. BE IN BLOGS
While a viewer must be undisturbed as he faces a
work of art, he also must be allowed to express his
catharsis afterward. Hence Be In Blogs.
First experimented during ContainerArt in 2008,
these are a suite of applications for mobile kiosks
meant to help people express their opinions and
interact with one another. I developed this suite with
a programmer in Italy and tested it at my events.
Be In blogs were a personal victory in creating an
ideal of networked and disseminated museum. Art
can connect people, or at least... art criticism.

7. VROOM: THE MOBILE MUSEUM
An exhibition format for video-art which I devised and
introduced in 2008 in Milano, Turin and Venice. The
originating idea was to bring content inside a protected
environment and deliver it with logistical ease. Cars are
equipped with a windshield “Aesthetoscope” which I had
produced for MINI cars. You go in and watch the video,
protected from the outside bustle. The cars could be
reserved online: video-art at your doorstep,
It is easier to pay attention to video content in a Vroom than
in a museum. We are naturally more attentive when we sit
in front of a steering wheel. In that seat, distraction can cost
you your life.
A few examples of Vroom positionings in Milano and
Alessandria with a work of Vincenzo Marsiglia inside. In
partnership with MINI. 2008

8. MINDCUBES: PROTECT CONTEMPLATION
I devised the MindCube format in 2009 as an
extreme way to protect the viewer as he attempts to
reach the aesthetic experience. MindCubes come in
various modulations: self-supporting or hanging.
I consider MindCubes to be an evolution of the
picture frame. A MindCube event is usually
distributed throughout a city connecting indoor
locations in a network.
Examples of MindCubes positioned at the Triennale Bovisa in Milano,
and in other galleries throughout the city in 2009-2010. The project has
involved 4 curators and forty artists so far.

9. MINDTOTEM: PRIVATE GAZE IN PUBLIC SPACE
A public format for installations I devised and
introduced in 2009 meant to study how to attract a
viewer to an installation and help him focus on it.
Various kinds of mini-containers with mini-installations
inside were placed around Milano.
MindTotems is another museology experiment that
helps bring art to a wider public, while preserving the
possibility of a private, protracted gaze.
Here shown on the
streets of Milano
with works of Alessia
De Montis,
CTRLZAK and
Susanna Pozzoli.
2009

10. Sound vibrations create shapes which can
be perceived inside the body frame. Could
these shapes become art, and could the
body itself become a museum room? Close
your eyes, feel the sound vibrations within,
and gaze at the installations inside.
I worked with audio technicians to design
audio equipment and insert it into furniture. I
worked with sound designers and musicians
to create a visual vocabulary of sound, to be
perceived with the body.
Kilohertz installations have been presented
in important art and design venues in 2009-
2013. I believe this is the future of music.
KILOHERTZ: MUSIC INSIDE
Kilohertz intsallations have been seen at the Kaohsiung biennale in 2009, at
the Triennale Bovisa 2009, and at experimental concerts in several venues in
Milano. Jagermeister was a main sponsor for many of these.

11. Contemporary art has one great adversary: distraction. We
are literally bombarded by distractions in the places that
are supposed to be conducive to contemplation.
Rituals embedded into frames can help us focus. Inspired
by medieval tryptics, in 2012 I designed a framing format
called Interstizio (from the interstice at its center) and
asked a dozen Italian artists to create works within them. I
then exhibited these works in various public settings and
art fairs (in particular, Kunstart in Bolzano and The Others
Fair in Turin).
These are closed boxes. The opening movement of the
frame helps focus attention without retorting to a
didacticism. The aethetic experience of the work of art
concealed within is thus enhanced.
INTERSTIZIO: FRAMING AS PRO-AESTHETIC

12. In 2013 I designed and launched a curatorial format in the
guise of a jewelry line. Each Art Pod accessory (ring, bag,
bracelet etc.) can accomodate hidden, replaceable art
installations. Art Pods are sold at museum shops such as
the ones at the Triennale Museum in Milano, and at the
Biennale in Venice.
I had an App created to connect each Art Pod owner who
can meet and showcase his or her private exhibition. A
new way to network through art.
The product displays (which can also be purchased) are
arguably the smallest museums in the world. Art Pod
allows everybody to become an independent curator.
Art Pod is another example of network art museum: small
but atomized and connected. More info at artpod.it
ART POD: WEARABLE NETWORK MUSEUM

13. In 2014, in partnership with my wife Luisa and Duilio Forte, I
launched IterArs.com an online reservation platform for art
studios in Italy.
IterArs offers a curated experience within the art studio. We
work with the artists to create an exhibit in their space. We sell
“studio crawls” which are meant to provide a “Permanent
Biennal” feel. The idea of hopping from one place to the next
to see exhibits while also meeting the artist is a perfect blend
of experience and culture.
We are now focusing mostly on Milano, Genova, Turin and
Rome. We are working with a select group of artists which
offer a high quality work, a powerful exhibit and an interesting
studio space. IterArs is a new step in my research into new
network museum models.
ITERARS.COM: STUDIO NETWORK MUSEUM

14. BEAUTY INSIDE (Italian)
Collects the experiences and curatorial
experiments of ContainerArt . An attempt
to provide a new kind of language when
talking about art.
A guided meditation narrative voice
provides intimate instructions on the way
to turn the experience of a contemporary
art into a spiritual one.
Published by Proedi Editore. 2008.
BOOKS
NETWORK ART MUSEUMS (English)
Citing examples from dozens of curatorial
experiments I conducted, I present a case for
changing the way we design conteporary art
museums.
No longer confined to a physycal building,
Network Art Museums are as atomized as their
contents, they are also as connected as their
audience.
Published by Castle Books. 2014.