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Ex-Voto

Ex-voto è una associazione attiva a Milano fondata da progettisti culturali, artisti e project manager.

A cultural/art collective working on hybrid projects focused on the intersection of sharing culture, contemporary art, new forms of socialization, questioning the public space. L’attività dell’associazione è concentrata agli sulla cura di eventi artistici e culturali in una ottica interdisciplinare, sperimentale ed accessibile. Nell’arco degli anni la riflessione si è via a via concentrata su moda

lità partecipative e collaborative che utilizzano il networking e la sharing-culture come strumenti di ottimizzazione e valorizzazione dell’attività e risorse del territorio. Attualmente le nostre priorità sono l’ideazione e la realizzazione di progetti incentrati su pratica e tema di socializzazione attiva. Creiamo progetti con l'ottica di avvicinare nuovo pubblico all'arte, alla cultura e allo scambio di informazioni sul territorio. Dal 2012 al 2016 abbiamo lavorato alla realizzazione e all'accompagnamento del progetto NON RISERVATO www.nonriservato.net. Tra il 2016 e 2019 Ex-voto ha fatto parte del Collettivo Borderlight con cui ha realizzato il monumento luminoso, temporaneo e diffuso ai margini della città di MIlano.

05/03/2026

𝐕𝐢𝐬𝐮𝐚𝐥 𝐂𝐨𝐧𝐯𝐞𝐫𝐬𝐚𝐭𝐢𝐨𝐧| 𝟔 𝐦𝐚𝐫𝐳𝐨 𝐨𝐫𝐞 𝟏𝟗 | 𝐒𝐮𝐩𝐞𝐫𝐎𝐭𝐢𝐮𝐦

𝐕𝐢𝐬𝐮𝐚𝐥 𝐂𝐨𝐧𝐯𝐞𝐫𝐬𝐚𝐭𝐢𝐨𝐧 prende abbrivio dagli esiti del processo di condivisione generato dalla sesta edizione della residenza di ricerca e produzione audiovisiva 𝗩𝗩𝗩-𝗥.
Il 6 marzo inauguriamo a SuperOtium la mostra delle opere di 𝐁𝐫𝐢𝐝𝐠𝐞 𝐏𝐡𝐢𝐥𝐥𝐢𝐩𝐬, 𝐉𝐚𝐲 𝐎𝐫𝐫𝐞𝐧, 𝐓𝐫𝐢𝐬𝐭𝐚𝐧 𝐑𝐨𝐛𝐢𝐧𝐬𝐨𝐧 - online su 𝐕𝐢𝐬𝐮𝐚𝐥𝐜𝐨𝐧𝐭𝐚𝐢𝐧𝐞𝐫𝐓𝐯 fino all’8 aprile 2026 > ʟɪɴᴋ ɪɴ ʙɪᴏ - con un evento che si configura come una costellazione di opere e sguardi che attraversano linguaggi, archivi e geografie differenti, mette in dialogo la scena italiana contemporanea con ricerche internazionali e piattaforme di sperimentazione digitale.

Il programma include:
𝙲𝚊𝚛𝚝𝚘𝚐𝚛𝚊𝚏𝚒𝚎 𝙻𝚒𝚖𝚒𝚗𝚊𝚕𝚒 | 𝙿𝚊𝚗𝚘𝚛𝚊𝚖𝚒𝚌𝚊 a cura di 𝐀𝐥𝐞𝐬𝐬𝐚𝐧𝐝𝐫𝐚 𝐀𝐫𝐧ò per 𝐕𝐢𝐬𝐮𝐚𝐥𝐜𝐨𝐧𝐭𝐚𝐢𝐧𝐞𝐫 con: Citron/Lunardi – Lorenzo Papanti – Nicola Bertoglio – Marco Gentilini & Veronica Orrù – Plurale e Atefeh Khas – Massimiliano Marianni – Gianni Barelli – Francesca Longo – Cosimo Iannunzio.

𝚃𝚑𝚎 𝙷𝚒𝚍𝚍𝚎𝚗 𝚂𝚑𝚊𝚙𝚎𝚜. 𝙱𝚕𝚞𝚎 𝙳𝚒𝚊𝚖𝚘𝚗𝚍 (2021) di 𝐑𝐚𝐜𝐡𝐞𝐥𝐞 𝐌𝐚𝐢𝐬𝐭𝐫𝐞𝐥𝐥𝐨, opera parte della collezione nctm e l’arte a cura di 𝐆𝐚𝐛𝐢 𝐒𝐜𝐚𝐫𝐝i

𝙾𝚞𝚝𝚕𝚒𝚗𝚎𝚜 𝚘𝚗 𝚎𝚟𝚎𝚛𝚢 𝚜𝚞𝚛𝚏𝚊𝚌𝚎 / 𝚜𝚗𝚎𝚊𝚔𝚎𝚛, 𝚜𝚊𝚗𝚍𝚊𝚕, 𝚜𝚑𝚎𝚕𝚕-𝚜𝚞𝚒𝚝, 𝚏𝚕𝚎𝚎𝚌𝚎 (2010) di 𝐇𝐞𝐥𝐞𝐧 𝐌𝐚𝐫𝐭𝐞𝐧, della 𝐂𝐨𝐥𝐥𝐞𝐳𝐢𝐨𝐧𝐞 𝐀𝐠𝐨𝐯𝐢𝐧𝐨 con la curatela di 𝐅𝐫𝐚𝐧𝐜𝐞𝐬𝐜𝐚 𝐁𝐥𝐚𝐧𝐝𝐢𝐧𝐨

𝐕𝐕𝐕-𝐑 è 𝐮𝐧 𝐩𝐫𝐨𝐠𝐞𝐭𝐭𝐨 𝐝𝐢 𝐕𝐢𝐬𝐮𝐚𝐥𝐜𝐨𝐧𝐭𝐚𝐢𝐧𝐞𝐫 𝐏𝐥𝐚𝐭𝐟𝐨𝐫𝐦 𝐞 𝐄𝐱-𝐕𝐨𝐭𝐨 𝐚 𝐜𝐮𝐫𝐚 𝐝𝐢 𝐀𝐥𝐞𝐬𝐬𝐚𝐧𝐝𝐫𝐚 𝐀𝐫𝐧ò 𝐞 𝐒𝐢𝐦𝐨𝐧𝐚 𝐃𝐚 𝐏𝐨𝐳𝐳𝐨 𝐢𝐧 𝐜𝐨𝐥𝐥𝐚𝐛𝐨𝐫𝐚𝐳𝐢𝐨𝐧𝐞 𝐜𝐨𝐧 𝐥’𝐀𝐫𝐭𝐬 𝐔𝐧𝐢𝐯𝐞𝐫𝐬𝐢𝐭𝐲 𝐁𝐨𝐮𝐫𝐧𝐞𝐦𝐨𝐮𝐭𝐡 e Richard Waring.

da.pozzo
.j.orren blandino.50

15/02/2026

Hacking Monuments. Tips to make sense of them

Artists: .artist.curator .da.pozzo
Thank you so much to the artist for sharing their researches and to all visitors !
A thanks in particular to for her lovely presence and support, and to our super for making this event happening and taking such a great care of everything ❤️
Thanks also to and to all the amazing artist that come to share with us about monuments and hacks.✨

13/02/2026

ʜᴀᴄᴋɪɴɢ ᴍᴏɴᴜᴍᴇɴᴛꜱ. ᴛɪᴘꜱ ᴛᴏ ᴍᴀᴋᴇ ꜱᴇɴꜱᴇ ᴏꜰ ᴛʜᴇᴍ
𝘀𝗰𝗿𝗲𝗲𝗻𝗶𝗻𝗴 𝗮𝘁 𝗣𝗮𝘃𝗶𝗹𝗹𝗼𝗻 𝗮𝗺 𝗠𝗶𝗹𝗰𝗵𝗵𝗼𝗳𝗳, 𝗕𝗲𝗿𝗹𝗶𝗻 - 𝗙𝗲𝗯𝗿𝘂𝗮𝗿𝘆 𝟭𝟰𝘁𝗵 𝗳𝗿𝗼𝗺 𝟱 𝘁𝗼 𝟵 𝗽𝗺
Curated by in collaboration with and the support of

>>>>> 𝗮𝗿𝘁𝗶𝘀𝘁𝘀: ꜱᴏᴘʜɪᴇ ᴇʀɴꜱᴛ, ꜱᴀʀᴀʜ ᴠᴀɴᴀɢᴛ, ᴅᴀɴɪᴇʟᴀ ᴏʀᴛɪᴢ, ᴍᴀʀᴄɪᴏ ᴄᴀʀᴠᴀʟʜᴏ, ꜱɪᴍᴏɴᴀ ᴅᴀ ᴘᴏᴢᴢᴏ

𝗜𝗺𝗮𝗴𝗲𝘀: 𝘀𝘁𝗶𝗹𝗹𝘀 𝗳𝗿𝗼𝗺 “𝗡𝗼𝘁𝗲𝘀 𝗮𝗯𝗼𝘂𝘁 𝗮 𝗽𝗼𝗹𝘆𝗮𝗺𝗼𝗿𝗼𝘂𝘀 𝗮𝗳𝗳𝗮𝗶𝗿 𝘄𝗶𝘁𝗵 𝘁𝗵𝗲 𝗕𝗼𝗱𝗶𝗲𝘀 𝗼𝗳 𝗡𝗮𝗽𝗹𝗲𝘀” 𝗯𝘆 𝗦𝗶𝗺𝗼𝗻𝗮 𝗗𝗮 𝗣𝗼𝘇𝘇𝗼, 𝟮𝟬𝟮𝟮

𝗦𝗶𝗺𝗼𝗻𝗮 𝗗𝗮 𝗣𝗼𝘇𝘇𝗼, born in Caracas with the privilege of dual citizenship, works on how movement begins. This question, initially explored from an abstract and physical point of view, with particular attention to the technical dynamics of body and camera movement, is now applied to a critical and relational approach to the public sphere. Through the lens of continuous, anarchic, anti-speciesist and intersectional learning, her current practice aims to question the hierarchical and habitual structures that guide some of the human behaviours. Her processual and performative practice takes the form of actions, videos, photos, objects, installations, curatorial projects and books.
Hacking Monuments is an art-practice-based research project developed by Da Pozzo within a digital archive.

da.pozzo

13/02/2026

ʜᴀᴄᴋɪɴɢ ᴍᴏɴᴜᴍᴇɴᴛꜱ. ᴛɪᴘꜱ ᴛᴏ ᴍᴀᴋᴇ ꜱᴇɴꜱᴇ ᴏꜰ ᴛʜᴇᴍ
𝘀𝗰𝗿𝗲𝗲𝗻𝗶𝗻𝗴 𝗮𝘁 𝗣𝗮𝘃𝗶𝗹𝗹𝗼𝗻 𝗮𝗺 𝗠𝗶𝗹𝗰𝗵𝗵𝗼𝗳𝗳, 𝗕𝗲𝗿𝗹𝗶𝗻 - 𝗙𝗲𝗯𝗿𝘂𝗮𝗿𝘆 𝟭𝟰𝘁𝗵 𝗳𝗿𝗼𝗺 𝟱 𝘁𝗼 𝟵 𝗽𝗺
Curated by in collaboration with and the support of

>>>>> 𝗮𝗿𝘁𝗶𝘀𝘁𝘀: ꜱᴏᴘʜɪᴇ ᴇʀɴꜱᴛ, ꜱᴀʀᴀʜ ᴠᴀɴᴀɢᴛ, ᴅᴀɴɪᴇʟᴀ ᴏʀᴛɪᴢ, ᴍᴀʀᴄɪᴏ ᴄᴀʀᴠᴀʟʜᴏ, ꜱɪᴍᴏɴᴀ da pozzo

𝗜𝗺𝗮𝗴𝗲𝘀: 𝘀𝘁𝗶𝗹𝗹𝘀 𝗳𝗿𝗼𝗺 “𝗟𝗶𝘁𝘁𝗹𝗲 𝗙𝗶𝗴𝘂𝗿𝗲𝘀” 𝗯𝘆 𝗦𝗮𝗿𝗮𝗵 𝗩𝗮𝗻𝗮𝗴𝘁, 𝟮𝟬𝟬𝟯

𝗦𝗮𝗿𝗮𝗵 𝗩𝗮𝗻𝗮𝗴𝘁 (1976) makes documentaries, video installations and photos, in which she combines her interest for history with her interest for (the origins of) cinema. Her work is shown at film festivals (FidMarseille, Viennale, Doclisboa, Idfa Amsterdam, Rencontres Internationales Paris/Madrid/Berlin, Hors Pistes Centre Pompidou), and in museums (Frankfurter Kunstverein, Fact Liverpool, NGBK Berlin, Shedhalle Zürich).
Sarah Vanagt takes the Monts des Arts as a site for giving film lessons in history. She develops a fictitious dialogue of three statues using the voices of three children with migration background. The thus revived statues mingle their memories of the history of Belgian conquests and colonies with the standing the statues have today. Vanagt dedicates her efforts to a collective narration of history, be in Central Africa stricken by colonial times or be it right in front of her house.

da.pozzo

12/02/2026

ʜᴀᴄᴋɪɴɢ ᴍᴏɴᴜᴍᴇɴᴛꜱ. ᴛɪᴘꜱ ᴛᴏ ᴍᴀᴋᴇ ꜱᴇɴꜱᴇ ᴏꜰ ᴛʜᴇᴍ
𝘀𝗰𝗿𝗲𝗲𝗻𝗶𝗻𝗴 𝗮𝘁 𝗣𝗮𝘃𝗶𝗹𝗹𝗼𝗻 𝗮𝗺 𝗠𝗶𝗹𝗰𝗵𝗵𝗼𝗳𝗳, 𝗕𝗲𝗿𝗹𝗶𝗻 - 𝗙𝗲𝗯𝗿𝘂𝗮𝗿𝘆 𝟭𝟰𝘁𝗵 𝗳𝗿𝗼𝗺 𝟱 𝘁𝗼 𝟵 𝗽𝗺
Curated by in collaboration with and the support of

>>>>> 𝗮𝗿𝘁𝗶𝘀𝘁𝘀: ꜱᴏᴘʜɪᴇ ᴇʀɴꜱᴛ, ꜱᴀʀᴀʜ ᴠᴀɴᴀɢᴛ, ᴅᴀɴɪᴇʟᴀ ᴏʀᴛɪᴢ, ᴍᴀʀᴄɪᴏ ᴄᴀʀᴠᴀʟʜᴏ, ꜱɪᴍᴏɴᴀ ᴅᴀ ᴘᴏᴢᴢᴏ

𝗜𝗺𝗮𝗴𝗲𝘀: 𝗦𝘁𝗶𝗹𝗹𝘀 𝗳𝗿𝗼𝗺 “𝗢𝗳𝗿𝗲𝗻𝗱𝗮” 𝗯𝘆 𝗗𝗮𝗻𝗶𝗲𝗹𝗮 𝗢𝗿𝘁𝗶𝘇 𝟮𝟬𝟭𝟮

Through her work 𝗗𝗮𝗻𝗶𝗲𝗹𝗮 𝗢𝗿𝘁𝗶𝘇 (1986) aims to generate visual narratives in which the concepts of nationality, racialization, social class and genre are explored in order to critically understand structures of colonial, patriarchal and capitalist power. Her recent projects and research revolve around the European migratory control system, its links to colonialism and the legal structure created by institutions in order to inflict violence towards racialized communities.
Also have produced projects about the Peruvian upper class and its exploitative relationship with domestic workers. Recently her artistic practice has turned back into visual and manual work, developing art pieces in ceramic, collage and in formats such as children books in order to take distance from eurocentric conceptual art aesthetics.
Besides her artistic practice she is a single mother of a four years old child, gives talks, workshops, and participates in various discussions and struggles against the European migratory control system and institutional racism.

da.pozzo

11/02/2026

ʜᴀᴄᴋɪɴɢ ᴍᴏɴᴜᴍᴇɴᴛꜱ. ᴛɪᴘꜱ ᴛᴏ ᴍᴀᴋᴇ ꜱᴇɴꜱᴇ ᴏꜰ ᴛʜᴇᴍ
𝘀𝗰𝗿𝗲𝗲𝗻𝗶𝗻𝗴 𝗮𝘁 𝗣𝗮𝘃𝗶𝗹𝗹𝗼𝗻 𝗮𝗺 𝗠𝗶𝗹𝗰𝗵𝗵𝗼𝗳𝗳, 𝗕𝗲𝗿𝗹𝗶𝗻 - 𝗙𝗲𝗯𝗿𝘂𝗮𝗿𝘆 𝟭𝟰𝘁𝗵 𝗳𝗿𝗼𝗺 𝟱 𝘁𝗼 𝟵 𝗽𝗺
Curated by in collaboration with and the support of

>>>>> 𝗮𝗿𝘁𝗶𝘀𝘁𝘀: ꜱᴏᴘʜɪᴇ ᴇʀɴꜱᴛ, ꜱᴀʀᴀʜ ᴠᴀɴᴀɢᴛ, ᴅᴀɴɪᴇʟᴀ ᴏʀᴛɪᴢ, ᴍᴀʀᴄɪᴏ ᴄᴀʀᴠᴀʟʜᴏ, ꜱɪᴍᴏɴᴀ ᴅᴀ ᴘᴏᴢᴢᴏ

𝗜𝗺𝗮𝗴𝗲𝘀: 𝗦𝘁𝗶𝗹𝗹𝘀 𝗳𝗿𝗼𝗺 « 𝗠𝗲𝗺𝗼𝗿𝗶𝗲𝘀 𝗳𝗼𝗿 𝟭𝟰 𝗯𝘂𝘀𝘁𝘀 », 𝗠𝗮𝗿𝗰𝗶𝗼 𝗖𝗮𝗿𝘃𝗮𝗹𝗵𝗼, 𝟮𝟭’𝟮𝟴” 𝗰𝗼𝗹𝗼𝗿, 𝘀𝘁𝗲𝗿𝗼, 𝗚𝗲𝗿𝗺𝗮𝗻𝘆 𝟮𝟬𝟮𝟯

Descended from Angolans and Portuguese, 𝗠𝗮𝗿𝗰𝗶𝗼 𝗖𝗮𝗿𝘃𝗮𝗹𝗵𝗼 shares ancestors from two distinct geographies, with different epistemological systems and articulations, from where he departs to complicate the notions of autobiographical and collective memory. His artistic work examines public life and archives, autobiographical and collective memory, focusing on the acts of recording and remembering and their biological, cultural, and social influences. Whether through drawing, film, installation, or performance, Marcio Carvalho’s art attempts to create modes of public participation, where the historical and memorial realities of the city are challenged and co-created by groups of citizens and their memories. His artistic projects attempt to separate memory and the act of recording from the traditional idea of the archive – a fixed repository of information – to give memorial activity the status of a social, discursive, and cultural practice, thus ensuring that memory and remembering continuous to be a creative, ephemeral, continuous, and unfinished process.
artist.curator
da.pozzo

10/02/2026

ʜᴀᴄᴋɪɴɢ ᴍᴏɴᴜᴍᴇɴᴛꜱ. ᴛɪᴘꜱ ᴛᴏ ᴍᴀᴋᴇ ꜱᴇɴꜱᴇ ᴏꜰ ᴛʜᴇᴍ
𝘀𝗰𝗿𝗲𝗲𝗻𝗶𝗻𝗴 𝗮𝘁 𝗣𝗮𝘃𝗶𝗹𝗹𝗼𝗻 𝗮𝗺 𝗠𝗶𝗹𝗰𝗵𝗵𝗼𝗳𝗳, 𝗕𝗲𝗿𝗹𝗶𝗻 - 𝗙𝗲𝗯𝗿𝘂𝗮𝗿𝘆 𝟭𝟰𝘁𝗵 𝗳𝗿𝗼𝗺 𝟱 𝘁𝗼 𝟵 𝗽𝗺
Curated by in collaboration with

>>>>> 𝗮𝗿𝘁𝗶𝘀𝘁𝘀: ꜱᴏᴘʜɪᴇ ᴇʀɴꜱᴛ, ꜱᴀʀᴀʜ ᴠᴀɴᴀɢᴛ, ᴅᴀɴɪᴇʟᴀ ᴏʀᴛɪᴢ, ᴍᴀʀᴄɪᴏ ᴄᴀʀᴠᴀʟʜᴏ, ꜱɪᴍᴏɴᴀ ᴅᴀ ᴘᴏᴢᴢᴏ

𝗶𝗺𝗮𝗴𝗲: 𝘀𝘁𝗶𝗹𝗹 𝗳𝗿𝗼𝗺 𝘁𝗵𝗲 𝘃𝗶𝗱𝗲𝗼 « 𝗦𝗶𝗹𝗲𝗻𝘁 𝗘𝗺𝗽𝗲𝗿𝗲𝘀𝘀 » 𝗯𝘆 𝗦𝗼𝗽𝗵𝗶𝗲 𝗘𝗿𝗻𝘀𝘁

In her work 𝗦𝗼𝗽𝗵𝗶𝗲 𝗘𝗿𝗻𝘀𝘁 explores how histories—personal, collective, and mythic—manifest in the spaces we inhabit and the stories we inherit. She is deeply attuned to the power of illusion and fuses craft with new media techniques to question what lies beneath the surfaces of cultural symbols. This approach stems from her fascination with projection, in which architecture, light, and perspective can confound the boundaries between reality and representation. Teaching, collaboration, and dialogue are equally integral to Ernst’s practice, offering critical opportunities to expand and challenge how art, history, and the politics of space intersect.
Ernst earned a PhD in the Humanities from Leiden University. Her work has been exhibited internationally, including at the 6th Moscow Biennale, 14th Asia Triennial Manchester, 9th Sharjah Biennial, Lines of Control: Partition as a Productive Space (Johnson Museum at Cornell University and Nasher Museum at Duke University), and Move on Asia at ZKM Karlsruhe. Solo exhibitions include Memory is an Ideal Place at Kunstverein Heidelberg and HOME at Yorkshire Sculpture Park.

Adresse

Berlin

Webseite

http://www.ex-voto.org/

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