Oct. 23, 2020 – Sept. 18, 2021
For years, Swiss artist Yves Scherer has made celebrity culture the subject of his artistic practice. But where his work used to focus on individual stardom and the obsession of the public eye with one particular being, this scope has shifted. Basement Roma
For the artist, Where is Luna? becomes the stage of a theater of the absurd, where, as an acute observer of other people’s lives, he places at the center of his research, finding a specific context, the people who dwell in it and the habits that regulate it, in a renewed orchestration of the banal daily life of a tiny pet salon. Basement Roma.
Scientists do not know how life began on Earth. As a matter of fact we cannot know for sure what happened four billion years ago. It is largely accepted that life formed in a primordial hot soup of organic chemicals and that a bacterium is the common ancestor of all life.
Nico Vascellari takes over the Roman underground spaces from February, 21 to March, 21 for a series of five evening events. The first four dates are limited to 33 participants by invitotion or booking only, while the last night will be a special event, yet to be revealed.
In the frame of Secondo Stile – the nomadic canvas-based artist-run exhibition space, conceived and founded by Paolo Chiasera in 2013 – Anagramma is a group exhibition, curated by CURA.
For La Ligne Claire, Comte introduces new meaning to Formalism, sourcing original uses for geometric and organic forms which continuously challenge the limits of abstraction.
Mythologies are dead, they have always been. But even as corpses, they’ve been used as political strategies to manipulate fiction and facts. Fictional narratives have defined culture, its historicity, its legacy. Drama. Goosebumps visible in our skin.
Papadopoulos creates environments that could be home to a dream-like, hedonistic cast of characters who are celebrating being alive every second but who cannot help but relish in the larger, darker and more complex meanings of life.
In Truth Table the gallery is converted into the provider of an experience: a new VR product that allows the viewer to occupy a changing host of bodies as they engage in a chain of sexual interactions.
MM is the image of the acronym for Mundus Muliebris, which in Latin can be translated as ‘ornaments.’ When googling the word ornament the first definition that comes up reads: “A thing used or serving to make something look more attractive but usually having no practical purpose.”
“For a moment maybe a flicker of happiness, and the next moment, again the same despair and the same race for more.”
The Caesar salad starts its history as an unlikely amalgam of disparate ingredients, but has since become a deeper cultural institution, persisting or preserved as a melange of different parts.
Figures, therefore, of a potential performance: about to move, dance, rebel against the static boundaries imposed upon them. Moreover, the fact that the scene takes place in an area of the theater normally occupied by the public, is a further promise of a subversion of rules and roles.
The ambiguous image creates a state of uncertainty regarding the scene we are looking at, a hybrid device called to respond to the issue of language, the interrupti
This exhibition brings together a cast of-object characters: artworks in which the idiosyncrasies, habits and desires of the hand have been nurtured, so that they exist on the cusp of portraiture. Faces melt into torn and lumpen clay; marks and scrawls are isolated, then mutate; ticks and traits are foregrounded; personality is evidence left behind.
A badly printed image haunts me, and it is the very reason for my being here at a table that otherwise gradually empties the more that summer gets closer.
The magnetic butler of a gadgets’ world, a small basket of plastic bananas introduces the visitor to the exhibition, going largely unnoticed, hanging on the wall close to a corner like a magnet that has nothing hold.
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