WOMEN 2026 — GAME OVER, TRICKSTER!
End of the spell
March 8, 2026 is not a celebration but an interruption.
A moment of suspension of the ritual that makes the mechanisms on which it is based legible.
Within the fourth edition of MA/Donne, a national artistic mobilization, Women 2026 takes manipulation as a field of analysis: a diffuse, structural force acting on languages, relationships, and systems of representation. Game Over, Trickster! marks the point at which a strategy loses its effectiveness because it is recognized. Visibility, in this context, is a political practice.
Studio La Via Lattea in Turin—artist Roberta Toscano’s studio and an active site of international artistic production and exchange—takes shape as an environment of critical friction. Here, art operates as a tool of exposure: it makes manifest the structures that organize reality and reveals their conditions of operation.
Within this context unfolds Kostola by Simona Ambrosini, a selection of iron sculptures that works with unveiling as a method. The title alters the word costola (rib) through the introduction of the letter K, generating a linguistic shift that signals an alteration, a distancing from the body as a given image. The works present themselves as visible load-bearing structures, exposed frameworks—not as representations, but as configurations of tension.
Iron, a material that is both resistant and subject to transformation, records processes of incision, corrosion, and penetration. The surface becomes a field of traces, a site where external forces and intentional interventions are inscribed. Sculpture does not present itself as a finished form, but as a space of reading in which physical, symbolic, and psychic structures emerge in their state of vulnerability.
Ambrosini’s practice, developed from a humanistic and psychological background and an international trajectory between Europe and Southeast Asia, is grounded in a transdisciplinary approach. The work is conceived as a critical device rather than an autonomous object: a system that makes visible the dynamics that traverse it and, in doing so, reduces their opacity.
KOSTOLA — Simona Ambrosini
Curated by Rosy Togaci Gaudiano
MA/Donne Project
February 28 ore 7.30 PM
Live performance and sound activation of the works by
PSO – Project Secret Open
(Andrea Ullucci, Flavio Ullucci, Togaci)
An intervention that extends the exhibition experience, activating the works as sensitive and relational surfaces.