This is a Domino Project, in collaboration with Collettivo Zero, is pleased to announce Queering the Myth, a one-week international artistic residency taking place from 24 to 30 November 2025 in Naples, presented as part of the inaugural cycle of the Biennale del Vesuvio.
Within this shifting and fertile environment, Queering the Myth enters as a residency dedicated to reimagining mythological, cultural, and personal narratives through queer, critical, and contemporary artistic perspectives. Developed by Domino — a Zagreb-based organization committed to questioning and transforming oppressive norms in transitional societies through art, culture, media, public policy, education, and international cooperation — the residency continues Domino’s mission to advocate for conditions in which independent, subversive, and queer artistic practices can freely manifest on an international level. Queering the Myth extends this ethos to the Vesuvian context, recognizing the region’s multilayered mythologies and socio-cultural histories as fertile ground for reconstructing inherited narratives through the bodies, voices, and experiences of contemporary queer and allied artists.
The residency is carried out in partnership with Collettivo Zero, an independent curatorial organization based in Naples. Working through a horizontal and transdisciplinary approach, Collettivo Zero is dedicated to initiatives of culturally driven regeneration. The collective engages in participatory artistic practices and community-rooted actions aimed at fostering dialogue, questioning stereotypes, and cultivating shared cultural value. Their projects — including the award-winning public art festival Viale delle Metamorfosi and the Casa di Risonanza initiative — reflect an ongoing commitment to building infrastructures for contemporary art that are deeply embedded in local communities while remaining open to international exchange. The partnership with Domino within the Biennale context creates a hybrid space in which queer methodologies, socially engaged art, and territory-based research can mutually reinforce one another.
The 2025 edition of Queering the Myth brings together three artists whose practices span performance, moving image, intermedia research, corporeal/body-based artistic analysis, and social engagement: Rada Iva Sibila, Karlo Štefanek, and Toni Mijač. Their work collectively explores how bodies, identities, and personal or collective myths are constructed, destabilized, and reimagined.
Rada Iva Sibila (born in 2002, Zagreb) graduated from the School of Applied Arts and Design in 2021 and, in the same year, enrolled at the Academy of Fine Arts in Zagreb, Department of Animation and New Media. She completed her undergraduate studies in 2024 and is currently pursuing a master’s degree at the same department. Her artistic interests are primarily focused on contemporary visual and intermedia practices, with a particular fascination for approaches rooted in feminist critique and esoteric/subconscious practices. One of her main points of exploration is corporeality — examining the body and its physical and social conditioning. She has exhibited at the Semester and Final Exhibitions of the Academy of Fine Arts in Zagreb (2021, 2022, 2024), as well as in group exhibitions such as ALU Perspektiva at HDLU Zagreb (2024), Space in Transition at Galerija Putolovac in Zagreb (2024), and ALU/MET also at Galerija Putolovac in the same year. In 2024, she presented her work at Galerija Rupa and participated in the project Intimate Spaces of Everyday Life at the Ethnographic Museum in Zagreb, as well as in the PlesAdu Festival that same year. She also held a solo exhibition in Dublin at Pallas Projects/Studios (2024) and presented her work at the ZEZ Festival in Zagreb (2024). In 2023, she received the Rector’s Award for the project Opera Amfitrion (Academy of Fine Arts, Zagreb).
Karlo Štefanek is a multidisciplinary artist whose practice explores how identity is constructed, deconstructed, and reconstructed through the mediums of self-portraiture and performance. Štefanek has exhibited at international venues such as the Croatian Pavilion at the Venice Biennale (group exhibition By the Means at Hand initiated by artist Vlatka Horvat), the Stedelijk Museum in Amsterdam, the Museum of Contemporary Art in Zagreb, and festivals including Becoming (Amsterdam), SerformanceP (São Paulo), and Perforations (Zagreb). In 2025, the artist’s solo exhibitions are scheduled at the HDLU (Osijek), KIC (Zagreb), Vagon Gallery (Banja Luka), and an upcoming presentation at the 60th Zagreb Salon, Youth Biennial (Belgrade), Okolo Around (Zagreb) and Perforations (Buenos Aires). Štefanek lives and works between Zagreb, Amsterdam, and New York.
Toni Mijač (born in 1988, Split) holds a bachelor’s degree in Film and Video from the Arts Academy in Split and a master’s degree in New Media from the Academy of Fine Arts in Zagreb. He has gained professional experience through various artistic and commercial projects, participating in numerous multimedia works, films, workshops, festivals, and happenings. For six years, he actively led film schools for elementary and high school students in Split and Zagreb. He has exhibited his work in galleries and institutions including Klovićevi dvori Gallery, the Museum of Contemporary Art Zagreb, NMGO@Praktika, Greta Gallery, GMK, Pogon Jedinstvo, KSET, GrisiaYouth, Art-Kino Rijeka, and London Metropolitan University. In his artistic practice, he primarily explores impulses of everyday life across different aspects of human experience, using the language and expressive tools of various media such as film, video, text, installation, photography, and social practice.
Three artists will spend the residency period in dialogue with the Vesuvian territory, its symbolic charge, layered histories, and living communities, while staying at Casa Tramandars in the historic village of Casamale in Somma Vesuviana (Naples). Through research, site-responsive experimentation, performative encounters, and collective inquiry, Queering the Myth seeks to open new pathways for understanding how myth functions today — not as a static inheritance, but as a living, transformative force.
