Via Nizza 138
00198 Rome
Italy
Hours: Tuesday–Friday 12–7pm,
Saturday–Sunday 10am–7pm
T +39 06 696271
info@museomacro.it
#REHEARSAL: Anna-Sophie Berger and Teak Ramos, You can have my brain
September 28, 2021–January 23, 2022
#BIBLIOGRAPHIC OFFICE: Fore-edge Painting
With Tauba Auerbach, Kerstin Brätsch, Cansu Çakar, Enzo Cucchi, Camille Henrot, Victor Man, Andrea Salvino, Andro Wekua
September 28, 2021–January 23, 2022
MACRO and Bibliotheca Hertziana – Max Planck Institute for Art History
#CHAMBER MUSIC: Sublime Frequencies, The Extra Geography
September 28, 2021–January 30, 2022
#POLYPHONY: Salvo, Autoritratto come Salvo
October 27, 2021–February 27, 2022
#IN-DESIGN: VIER5, WIN A NEW CAR
November 3, 2021–February 6, 2022
#SOLO/MULTI: Jason Dodge, Cut a Door in the Wolf
November 11, 2021–January 23, 2022
#ARRHYTHMICS: Patrizia Vicinelli, Chi ha paura di Patrizia Vicinelli
November 11, 2021–January 23, 2022
#RETROFUTURE: Notes for a Collection
Federico Antonini, Ruth Beraha, Carola Bonfili, Costanza Candeloro, Ludovica Carbotta, Alessandro Cicoria, Gianluca Concialdi, Giulia Crispiani, Giorgio Di Noto, Irene Fenara, Giorgia Garzilli, Beatrice Marchi, Diego Marcon, Margherita Raso, Real Madrid, SAGG NAPOLI, Parasite 2.0, Francesco Pedraglio and Davide Stucchi—in progress.
Ciao!
Autumn has come and I’m happy to announce the new exhibitions that will update all my sections, starting from September 28.
With You can have my brain (September 28, 2021–January 23, 2022) my REHEARSAL section hosts Anna-Sophie Berger and Teak Ramos’ first artistic collaboration. The exhibition presents a body of work conceived and made from a jointly built archive on the subject of fashion at-large, which the two artists investigate from a social and historical perspective, whilst also delving into the realm of technical garment construction. The work takes shape in the form of a series of looks which stem from the archive built by Berger and Ramos: images, text and theory on the subjects of everyday material culture and fashion, with a somewhat serendipitous focus on the early modern era (16th through 18th centuries). The looks, which are worn by ten chrome mannequins, are composed from garments made of various fabrics applied with black and white A4 print-outs sourced from the archive. Some garments focus on single historical or theoretical case studies and others take a more composite approach to the socio-cultural ramifications of bodily adornment, and its conceptualization and interpretation over time. At once visual and textual, the styled looks in the show are conceived as a single artwork, comprising both subject and object, accompanied by architectural units, as well as a video and photographs.
In BIBLIOGRAPHIC OFFICE, Fore-edge Painting (September 28, 2021–January 23, 2022) enacts a new exploration of the universe of publishing, addressing different contexts, time frames, places and practices of the contemporary and of the past. Eight international artists were invited to freely come to terms with the historical tradition of decorating the fore-edge of the pages of books with paintings and illustrations, giving rise to original works with a hybrid nature, which are sometimes invisible at first glance. The volumes selected and transformed into artworks by Tauba Auerbach, Kerstin Brätsch, Cansu Çakar, Enzo Cucchi, Camille Henrot, Victor Man, Andrea Salvino and Andro Wekua are displayed at MACRO and in the Sala del Disegno of the 17th-century Palazzo Zuccari, headquarters of the Bibliotheca Hertziana - MAX Planck Institute for Art History since 1913. Fore-edge Painting thus becomes a double exhibition, playing with the ambivalence of these works and emerging from the walls of the museum. On the one hand, it presents an unusual landscape composed of books decorated with a technique from the past, in a contemporary art museum. On the other, it brings contemporary painting into the historic spaces of one of the world’s most important libraries and research institutes on the history of art.
The Extra Geography (September 28, 2021–January 30, 2022) is the title under which the collective and independent music label Sublime Frequencies will present an overview of their work from 2003 to the present day. Music tracks from over 50 of the projects/albums released by SF will randomly play in the CHAMBER MUSIC listening room, mixing places and sounds, traditions and technologies into an unexpected, soulful experience. The Extra Geography also includes the screening of a selection of films produced by SF and a public talk with co-founders Alan Bishop and Hisham Mayet. Applying the cut-up and collage techniques of William S. Burroughs and Brion Gysin to found materials and recordings, SF pursue what they call an “aesthetic of extra geography.” One that eschews the branding strategies of corporate world music, as well as the limited scopes of academic ethnomusicology, to activate organic processes of redistribution of sound cultures and new experimental channels of listening.
Autoritratto come Salvo (October 27, 2021–February 27, 2022) is a compendium of works that offer an overview of the complex figure of Salvo in my POLYPHONY section. The artist moved to Turin in 1956, where he began to conduct more conceptual research, thanks to his direct contact with figures active within the Arte Povera movement, as well as with conceptual artists of the time. 1973 marked Salvo’s return to painting, an unconventional choice which moved against the artistic currents of the time. The central concern of his work, expressed more solidly during the second phase of his career, was a re-examination of art historical traditions. The exhibition project, which playfully takes its cue from one of Salvo’s best known works, Autoritratto come Raffaello, offers an extensive overview of his production in the context of a large picture gallery. The arrangement on the walls follows an irregular temporal pace, inserting works by artists Jonathan Monk, Nicolas Party and Nicola Pecoraro as well as the work of sound performer and musician Ramona Ponzini.
WIN A NEW CAR (November 3, 2021–February 6, 2022) is the first solo show by VIER5 in an Italian institution. The Parisian design studio founded by Marco Fiedler and Achim Reichert will occupy my IN-DESIGN section, presenting visitors with an archive of images, visual statements and productions from 2002 to the present. From publications and artist books to experimental sound projects; from the posters for CAC Brétigny – Centre d’Art Contemporain to the visual identity for documenta 14, VIER5’s practice bases itself on a classical notion of what design is, which they define as the possibility to create new avant-garde proposals within the field of visual communication.
Conceived as a single site-specific artwork, Cut a Door in the Wolf (November 11, 2021–January 23, 2022) is a new show by American artist Jason Dodge opening in my SOLO/MULTI section. Exploring systems made up of organic and inorganic matter, Dodge is interested in the stuff that human beings shed—day in, day out. The micro—and macro—landscapes made up of familiar and often discarded things, that result from our individual and collective habits, are laid out in the space. In doing so they suggest the notion that everything is indeed in everything. Gestural, avoiding subject, and placing the viewer as a subjective force and agent, Dodge investigates the potentialities resulting from the viewer as producer of meaning.
With Chi ha paura di Patrizia Vicinelli (November 11, 2021–January 23, 2022), my ARRHYTHMICS section continues its focus on the importance of linguistic and poetic experimentation. The first institutional exhibition ever held on the work of the poet from Bologna, Patrizia Vicinelli, offers an overview of this sensitive, restless personality who came to terms—in a context of forceful artistic and political activism—with the Italian literary neo-avant-gardes, from Gruppo 63 to Emilio Villa and Aldo Braibanti, and with central figures from the Italian experimental cinema scene of the 1970s.
RETROFUTURE, the column dedicated to MACRO’s collection which expands through a stratification of projects in progress by young Italian artists, will grow with the participation of Ruth Beraha (October 12), Federico Antonini, (November 16), and Irene Fenara (December 14). Their works will join those by Carola Bonfili, Costanza Candeloro, Ludovica Carbotta, Alessandro Cicoria, Gianluca Concialdi, Giulia Crispiani, Giorgio Di Noto, Giorgia Garzilli, Beatrice Marchi, Diego Marcon, Margherita Raso, Real Madrid, SAGG NAPOLI, Parasite 2.0, Francesco Pedraglio and Davide Stucchi.
Please visit my website for updates, extra content and to to explore my current exhibitions—including Daybed by Julie Peeters that opens its fourth chapter in collaboration with OK-RM on 28 September; Tony Cokes, This isn’t Theory. This is History; Friedl Kubelka vom Gröller, Songs of Experience and Mario Diacono, Diaconia. Writing and Art.
I’m waiting for you!
