| | | | | | | | | As if the world had no West © Mónica de Miranda, Polo del '900 | | | | | EXPOSED. Torino Foto Festival | | | | New Landscapes - Turin’s New International Festival of Photography | | | | | | | From 2 May to 2 June 2024 | | | the first edition with the title New Landscapes – Nuovi Paesaggi
Artistic Directors: Menno Liauw and Salvatore Vitale
Over 20 temporary exhibitions in more than 20 venues
One programme of events dedicated to photography organized with the city’s main cultural institutions and independent organizations | | | | | | | | | | | | | | | | | WHO IS AFRAID OF IDEOLOGY? Marwa Arsanios Lebanon, Syria 2019 | | | | | | EXPOSED is Turin’s new international festival of photography, which every year will bring temporary exhibitions, a specialised fair, an educational platform, a fair of independent publishers, screenings educational activities, meetings, artistic commissions and off-site events centered around a theme to the Piedmontese capital in May. Promoted by the City of Turin, the Piedmont Region, the Turin Chamber of Commerce, Intesa Sanpaolo, Fondazione Compagnia di San Paolo and Fondazione per l’Arte Moderna e Contemporanea CRT on behalf of Fondazione CRT and organised by Fondazione per la Cultura Torino, EXPOSED was created to strengthen the deep bond between Turin and photography.
The goal is to provoke contemplation regarding the transitional state of photography. Starting from a historical perspective, Exposed seeks to present various approaches, perspectives, narratives, and intersections that showcase the diverse forms the medium takes on. Simultaneously, it aims to inspire, evoke emotions, entertain, and propose new ways of interacting with, interpreting, and appreciating the work of both classic and contemporary artists.
Exposed envisions itself as a cutting-edge presence in the international photography panorama, complementing the existing offerings. Therefore, the festival’s artistic direction is focused on an inclusive approach to attract diverse audiences—both local and international—through a diverse program that encompasses different approaches to photography: from classic to contemporary, cross-media, installative and performative.
Collaboration and collectivity are key aspects highlighted by the artistic direction, emphasizing the multidisciplinary and kaleidoscopic nature of Exposed. Diverse visions, approaches, ideas, and projects make the festival—and consequently, the city of Turin—an inclusive meeting point open to the world.
MAIN PROGRAMME | | | | | | | | ANNA MARIA MAIOLINO
Entrevidas (Tra le vite / Between Lives)
from the series Fotopoemação, 1981-2010
3 black and white photographs, 88 x 56 cm each
on loan from Fondazione per l’Arte Moderna e Contemporanea CRT, 2010
Courtesy Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino
Photo Renato Ghiazza | | | 2 May — 2 June 2024
Castello di Rivoli Museo d’Arte Contemporanea
Expanded With presents works in which the photographic medium is the starting point for investigating different types of relationship with the landscape. From performative actions from the 1960s-70s, the exhibition includes works by pioneers of Land Art, Arte povera and Body Art, the use of photography as a conceptual tool and more contemporary experiences.
Expanded With is part of Expanded, an exhibition divided into three chapters curated by Marcella Beccaria and Elena Volpato with a view to enhance the photographs included in the Collection of Fondazione per l’Arte Moderna e Contemporanea CRT on a gratuitous loan to Castello di Rivoli Museo d’Arte Contemporanea and GAM Galleria Civica d’Arte Moderna e Contemporanea of Turin. The exhibition – a single coherent path set in the venues of Castello di Rivoli, GAM and OGR Torino – presents photography from three special angles.
Besides Expanded With at Castello di Rivoli, the project includes Expanded Without at OGR and Expanded – I Paesaggi dell’arte at GAM in Turin. Expanded investigates images as an expanded field, intentionally quoting the works of American art theorist Rosalind Krauss. | | | 2 May — 2 June 2024
OGR - Officine Grandi Riparazioni
Expanded Without is part of Expanded, a three-chapter exhibition curated by Marcella Beccaria and Elena Volpato conceived with the Fondazione per l’Arte Moderna e Contemporanea CRT to enhance its Collection on loan to Castello di Rivoli Museo d’Arte Contemporanea and GAM – Galleria Civica d’Arte Moderna e Contemporanea di Torino.
At OGR Turin, the exhibition project focuses on works in which the image is produced without resorting to the camera or other means of recording reality. The works presented are installations, authentic experiential fields, within which the viewer becomes part of the process of image construction. | | | 3 May — 8 September 2024
GAM — Galleria Civica d’Arte Moderna e Contemporanea
The exhibition highlights the key role of photography and the extraordinary collecting track records that GAM can boast in this field. The exhibition traces the Italian history of photography dedicated to art through some loans and the numerous photo-archives in the GAM collections, acquired by the City of Turin and the Fondazione per l’Arte Moderna e Contemporanea CRT (Foundation for Modern and Contemporary Art CRT).
It starts from the first nineteenth-century records of the architectural landscape all the way up to include Armin Linke’s shots of the Teatro Regio. It features Ghirri’s images that place the spectators’ gaze between the photographic lens and the works of art and those of Mulas, who more than anyone else knew how to portray the exhibition landscape and the studio as the artist’s thought spaces. It also includes the photos of Gianfranco Gorgoni, where work of art and horizon merge into a single significant landscape as the one created by Land Art and Minimalism. | | | | | | | | | Beninah Wanjugu Kamujeru, John Mwangi, Ndungu Ngondi (1939-2023), Joseph Gachina and Wilfred K. Maina (left to right),
MMWVA Murang’a, Kenya, 2019. From the series State of Emergency, Max Pinckers et al. (2014-2024) © Max Pinckers/MMWVA | | | 2 May — 2 June 2024
Palazzo Madama — Museo Civico d’Arte Antica
State of Emergency – Harakati za Mau Mau kwa Haki, Usawa na Ardhi Yetu is an ongoing documentary project in collaboration with Mau Mau war veterans and Kenyans who survived colonial atrocities. Through live re-enactments or ‘demonstrations’, a (re)visualisation of the struggle for independence from British colonial rule in the 1950s is created, showing past experiences in present days, with a future audience in mind. As most colonial archives have been deliberately destroyed, hidden or manipulated, the project seeks to shed light on the blind spots of history by creating new ‘imagined documents’ that fill the gaps in the historical archives.
State of Emergency weaves together fragmentary colonial archives, photographs of architectural and symbolic remains from the past, mass grave sites, demonstrations and testimonies of those who lived through and survived the war.
State of Emergency is a collaborative attempt at reconstructing and reimagining possible futures of reparation and reconciliation. With the collaboration of the National Museums of Kenya and Mau Mau War Veterans Association **members, the project provides a collective response to heal, without erasing, the still open wounds of colonial violence, creating a restorative tool that, through the medium of photography, tells the powerful the truth of those who lived through it. | | | | | | | | | | Beauty and The Beep © Simone C Niquille | | | 2 May — 2 June 2024
Gallerie d'Italia — Torino
Exploring the consequences of cohabiting with computer vision, Simone Niquille’s Beauty and The Beep follows Bertil, a chair that is trying to find a place to sit. Inspired by the enchanted household objects from the fairy tale Beauty and The Beast , the film is set in a suburban home instead of a castle, and the beast has been replaced by the continuous notification sounds of smart devices. In the film, Bertil navigates through a virtual house — a recreation of the model home built by the robotics company Boston Dynamics in 2016 to showcase their robot dog SpotMini.
Wondering who would buy an automated mechanical pet to assist and live in their home, the film explores Boston Dynamics’ datafied definition of a home or what it takes for such a personal and intimate space to be standardised for computer vision to function. Bertil — a synthetic chair inspired by IKEA’s first 3D rendered image for their print catalogue, which marked their shift to rendered imagery — wanders through this seemingly simple virtual home, interacting with its objects, in search of some answers. Navigating the home for Bertil is no easy task, as they encounter the daily life noise that is littered throughout the home. A banana trips them, they cannot sit, they get stuck on a treadmill and why is there a toy pony on the floor? Revealing how the impossibility of gathering training data in the home has led to the widespread use of synthetic data, Bertil reminds us that the home is private and not for capture. | | | | | | | | | | As if the world had no West © Monica de Miranda | | | 2 May — 2 June 2024
Polo del '900
As if the world had no West proposes the creation of new landscapes by investigating hidden, yet metaphysically present, ecologies in Angola, deconstructing Western understandings of memory, history, and land. The project enquires in the work of anthropologist Augusto Zita investigations in the Namibia desert, in which he devised a nature-oriented space/time system having light as a third dimension. De Miranda will bring forward this research , while deconstructing the understanding of land and looking at the land as a place of mutual care and liberation. | | | | | | | | | | Tomas VAN HOUTRYVE, Signature behavior, 2013. Dalla serie Blue Sky Days. Gelatin silver print, 66 x 100 cm. Courtesy Baudoin Lebon | | | James Bridle » Laura Cinti » Mario Giacomelli » Mishka Henner » Hiwa K » Tabita Rezaire » Evan Roth » Susan Schüppli » Tomas Van Houtryve » 2 May — 2 June 2024
OGR Torino
In recent years the view from above, a once exceptional point of view reserved to people in power and inhuman agents like birds, angels and gods, has become widespread and accessible. In 2011, artist and writer Hito Steyerl introduced the concept of ‘vertical perspective’ to address the “departure of a stable paradigm of orientation”, and to describe what can be seen, to all effects, as the emergence of a new scopic regime.
By replacing the stable horizon and the role played by linear perspective along modernity, vertical perspective established ‘a new visual normality’, firmly rooted in the tools of surveillance and warfare. First perceived as a liberation and a new way of seeing, vertical perspective loses its romantic grip to become identified with the point of view of the power that kills and controls when satellites and drones enter the equation. Always the outcome of a constructed, machine-aided experience of the world, the view from above delocalizes and ultimately de-humanizes the gaze, allowing a God’s eye view on reality not only in terms of position, but also in the way it captures additional information and data; it looks through reality instead of sticking to its surface, and generates ‘total images’ that are both and neither images and maps, representations and visualizations blurring the difference between place and space.
By adopting vertical perspective as its main point of view, the exhibition explores the way in which our look on landscapes through the camera eye has changed along the last decades, and how this shift in scopic regimes affected the way we control, design and shape the environment we live in. | | | | | | | | | | Ulf Nilseng © Fin Serck-Hanssen_BONO | | | 2 May — 2 June 2024
Ex Galoppatoio della Cavallerizza Reale — Paratissima
The Queer Icons project, comprising an exhibition, a book, and wide-ranging public programs, results from a series of meetings that photographer Fin Serck-Hanssen and authors Bjørn Hatterud and Caroline Ugelstad Elnæs had with queer personas that have not only contributed to structure social and cultural foundations underpinning the Norwegian society we know today, but built a more complex and nuanced understanding of sexuality to prevent forms of conscious and unconscious discrimination coming from biased societal conservatism.
The project addresses the fight for freedom and equality leading to the repeal of Criminal Law 213 in 1972 for decriminalizing homosexuality in Norway by depicting the life stories of inspiring leading individuals who actively fought in the background and the foreground against prejudicial moral jurisdiction, eventually leading to a more liberated society. It celebrates the glam of life produced outside the norm through democratic demands, parties, and activism in historical Norwegian queer underground culture, including sequins, joy, and humor. The exhibition, which, in addition, has also been presented for schools of all ages in Norway, aims to support these unwritten stories to surface in majoritarian storytelling with a widespread reach.
The exhibition and its public programs have been produced and curated by the Fotogalleriet curatorial team. The exhibition is designed by Harald Lunde Helgesen, HAiKw/. The book, available in Norwegian, edited by Bente Riise and designed by Den Luca, is published by Pitch Forlag. | | | | | | | | | | © Lebohang Kganye | | | 2 May — 2 June 2024
Palazzo Carignano
The starting point of the exhibition project is a bundle of photographs and drawings by German painter and photographer Marie Pauline Thorbecke. Thorbecke undertook an expedition to Cameroon on assignment from the German Colonial Society between 1911 and 1913, together with her husband Franz Thorbecke. For fifteen months, Marie Pauline Thorbecke wrote diary letters detailing their Cameroon trek and sent them back home in Germany. The diary letters were later published as a book: On the Savannah: Marie Pauline Thorbecke (1990, Geary, Christraud M.). 110 years later, Kganye follows her footsteps through the country and weaves together memories, impressions and narratives, all from a female perspective.
A Burden Consumed in Sips (2023) is a hybrid animation live-action film of 22 screen panels, resembling the panoramic format of the landscape illustrations. The film documents Kganye’s travel to Cameroon to piece together the trek detailed in Thorbecke’s book. Throughout the journey, she carries a diary in one hand and a heavy cloth bag in the other. The bag, made of indigo fabric, contained objects to be returned to where they originally belonged in Cameroon – this is a reference to the objects listed in the Rautenstrauch-Joest-Museum and collected by the Thorbecke’s. The act of returning the objects, the soil and the vegetation to their country of origin prompts one to think, repair and recast the past by considering restitution as an act of possibility. | | | | | | | | | | © Kalina Pulit | | | 2 May — 2 June 2024
Palazzo Birago
A film about connection in the literal and metaphorical sense – daily interactions chart the sense of loneliness and concerns of one individual. A single woman in her 30s living in London, struggles with feelings of isolation and decides to call up various customer care lines in search of connection. She pushes the boundaries of the people she speaks to, with varying results. She seeks dating advice from her bank, talks about films with her doctor, and bonds with her Internet provider over the topic of reincarnation. Call centers become a backdrop for conversations about the meaning of life and big city loneliness.
Tender Loving Care is a meditation on the sense of belonging within a multicultural metropolis. It is a critique of consumerism, the impact it has on individuals and the quality of their relationships, as well as an analysis on communication in the digital age. It is a framework of rules and roles that are there to be broken and subverted, a story of contrast and duality, swirling between what is professional and what is personal, public or private, playful or serious.
The film is an extended version of a shorter one commissioned for Straight8 Shootout that premiered at Cannes Film Festival last summer. According to Straight8 competition rules, it was shot on one roll of Super8 film, with no editing and a ‘blind’ soundtrack created separately with no preview of the film. The full version of the film (20 minutes), shot on 16mm and Super8, features a structure in three acts, an expanded narrative and an original score. | | | | | | | | | Every Story 2023
archival pigment print 711x534 cm
© Erin O'Keefe | | | 2 May — 2 June 2024
Museo Regionale di Scienze Naturali
Erin O’Keefe is both a photographer and an architect whose work speaks to both art forms. The artist’s background in architecture plays an essential role in her artistic practice. The questions raised through her work concern spatial perception and the tools she uses are rooted in the abstract and formal language she developed as an architect. As a photographer, Erin O’Keefe is interested in the study of distortions and misunderstanding caused by the camera, as she translates 3-D spaces and shapes in a 2-D image. The core of her work pivots around this inevitable misalignment.
Straddling between illusion and reality, her abstract representations have a vibrant essence, the result of a balancing act of geometrical shapes and colour. All her work consists of unique pieces that put together her compositional skills and visual aesthetics, echoing painting. Painstakingly carefully detailed and painted wooden shapes form her mise-en-scène, with legible brush marks against solid backgrounds.
Erin O’Keefe calls upon us to think about the use of space through photography, the instrument of fiction par excellence, leaving viewers in a space for contemplation in an intimate sphere. | | | | | | | | | | Seowoo Black Single © Dongkyun Vak | | | 2 May — 2 June 2024
CAMERA — Centro Italiano per la Fotografia
Heatwave is a collection of photographed objects and situations, forms and phenomena via which the artist and the viewer contemplate the relationship between nature and culture, humans and technology, the man-made and the machine-made, in the era of the Anthropocene. Exploring the tension between man, nature, and technology in the Anthropocene, Heatwave was the award-winning project by South Korean artist Dongkyun Vak for A New Gaze 3, Art Vontobel’s biannual sponsorship award.
Established in the 1970s, collecting at the Swiss private banking and investment firm Vontobel was inspired by the belief that art in the workplace presents a wonderful starting point for conversation, illustrated by Art Vontobel’s endeavours and commitment to contemporary art. Primarily dedicated to identifying and nurturing young and emerging talent, this intention is further emphasized by A New Gaze, founded in 2017 as a steppingstone for rising talent.
The term ‘Anthropocene’ refers to a new geological epoch and regards humans as the most influential species on the planet. The artist places the significance of technology for this historical turning point at the centre of his artworks. Vak seeks to compare nature’s technology with that of production which, with time, can evolve from within and, in doing so, may take on quite a different and unexpected use than the one originally intended. | | | | | | | | | Backstage from performance video “Made in Rice”.
Performer: Kuoko.
Camera: Robert Thomann. DoP: Rike Malottke.
Director: Hiền Hoàng. Photo by Julia Gaes. 2021 | | | 2 May — 2 June 2024
Mucho Mas!
“My aunt, who was the oldest daughter in my mother’s family, was the first one to come to the GDR as a contract worker. After some time, she started sending letters home. She wrote about how nice life was in Germany and so on. There was hardly any mention of sacrifice and discrimination. Later, when I visited her for the first time in 2014, I was surprised at how difficult her life actually was. Even though I remember she kept telling me to be careful during our communications because calls and messages could have been recorded. I didn’t understand why she was so obsessed with this fear until one day I discovered that, in most cases, communication between the contract workers and German citizens outside of work was strictly forbidden and controlled by both German and Vietnamese authorities. I wonder how much truth there was in the letters she sent home across the ocean, and how much of it became reality in her perception”.
The installation contains parts of the interdisciplinary project Asia Bistro – Made in Rice . The artist uses rice – a typical ingredient of her country of origin and also a symbol for what is ‘Asian’ in the Western part of the world – to address the underlying discrimination of the ‘good immigrant’. Here food becomes a metaphor for stereotypes about Asian cultures – a limitation, a mask.
The piece highlights the issue of immigration policy in Germany and Europe, and how it affects a person and often causes trauma – for a person as well as for a community. | | | | | | | | | | Magnetic Fields, Metal Wire and Iron Powder 2020 © Fabio Barile | | | 2 May — 2 June 2024
Witty Books
Works for a Cosmic Feeling is a collection of photographic works using the scientific and philosophical instruments to explore what Romain Rolland described in 1927 as an ‘oceanic feeling’ in a letter to Sigmund Freud – referring to the immersive feeling, being at one with the universe. According to the Taoist principle of the ‘valley spirit’, Barile’s works follow a number of trajectories endeavouring to behave as a complex system. His work is like a stream of consciousness, an immersive journey in the making, and interconnectivity, enshrining transformation over time as part and parcel of the work itself.
Barile’s works are an effort to examine, connect and depict a different level of the real world – within the limitations of the photographic means – whether he is observing how forest branches and leaves organize, how a two-D surface breaks into the third dimension, or the attempt to recreate the structures built by animals.
Inconsistency and imperfections are not seen as faults, but as key ingredients of evolution. Evolution is compared to craftwork creatively transforming materials and pre-existing ideas, unlike an engineer who follows the steps of a pre-established plan. Barile’s approach speaks to a vision of the world where change and imperfection are not just inevitable: they are essential to both the creative process and evolution. | | | | | | | | | | Undefined Landscape Mercedes Class E & EPY - Atacama Orange - Renault, 2023 from the series "True Colours" © Mathieu Asselin | | | 2 May — 2 June 2024
Villa della Regina
True Colors, inspired by the Dieselgate scandal, questions the contemporary industry’s deceptive ecological narrative. The project recontextualizes the industry’s own visual marketing tools, including photography, video, advertising and archival material, to reveal the stark contrast between its professed environmental narrative and actual practices. It prompts us to reexamine our relationship with cars against the backdrop of today’s pressing environmental issues and to critically evaluate the industry’s unsustainable, individualistic and production-oriented vision of the future of human mobility.
Dieselgate
In 2014, it was revealed that Volkswagen was using software to circumvent air pollution tests in certain car models, which was a major scandal in the automotive industry. When this software detected standardized emissions tests, it modified the engine to reduce emissions only during the tests. However, under real driving conditions, these vehicles emitted much higher levels of pollutants. This discovery caused great outrage and exposed similar fraudulent practices at other car manufacturers such as Audi, BMW, Renault, Fiat and Jeep. | | | | | | 2 May — 2 June 2024
Castello di Rivoli Museo d’Arte Contemporanea
2 May —15.10.2024
Pinacoteca Agnelli. La Pista 500 | | | 2 May — 2 June 2024
Fondazione Sandretto Re Rebaudengo | | | 2 May — 2 June 2024
Fondazione Merz
2 May — 2 June 2024
Recontemporary | | | 16 May — 2 June 2023
Cripta747 | | | 2 May — 2 June 2024
Fondazione Sandretto Re Rebaudengo | | | | | | EVENTS | | | | | | Shahidul Alam
Artists protesting against DSA. Courtesy of the artist. | | | Shahidul Alam, Lisa Barnard, Emma Bowkett, Marco De Mutiis, Yasmine Eid-Sabbagh, Maurizio Lazzarato, Azu Nwagbogu, Zoé Samudzi, Joanna Zylinska »
3 — 4 May 2024
The talk programme conceived for the opening days, follows four independent lines of research, including: Ethics and the politics of representation; New Landscapes: AI, technology and images; Circulation and photographic industry; and Artist Talks: In Transition. Curators and artists featured in the exhibition will discuss with professionals from the world of photography on the issues outlined, while being moderated by journalists and photo editors of national and international caliber. The purpose of the meetings is to be able to frame, from different perspectives, the ever-growing role that photography plays in today’s social, political and cultural dynamics.
exposed.photography
3 — 4 May 2024
CAMERA — Centro Italiano per la Fotografia
Performance 03 May 2024
Off Topic
Screening 2 May — 2 June 2024
Cinema Massimo – Museo Nazionale del Cinema
2 May — 2 June 2024
Cinema Massimo – Museo Nazionale del Cinema
Screening 2 May — 2 June 2024
Cinema Massimo – Museo Nazionale del Cinema
11 May 2024
MAO Museo d’Arte Orientale
EXTENDED PROGRAMME | | | | | | | © Robin Rhode | | | 3 — 5 May 2024
OGR Torino
The Phair is addressed to some of the leading contemporary art galleries – and not necessarily only to those already specialized in photography – that, on the occasion of the fair, showcase an artistic project related to the theme of the image and art works created with photographic or video material.
A careful curatorial choice guarantees the selection of an organic proposal not divided into themes and sections but as a whole exhibiting experience; equal spaces for all ensure a “tailor-made” setting, innovating the traditional fair structure and suggesting new methods of understanding and analysis of the artworks proposed. | | | | | | | | | |
| | 2 May — 5 May 2024
Cavallerizza Torino
In its intention to promote young photographic talent, Liquida Photofestival cannot avoid the need to convey as many new visual narratives as possible. This is why the "Liquida Grant" was created, which will award the best proposals among those received with a collective exhibition hosted in the prestigious Ex Galoppatoio in the Cavallerizza Complex and other partner locations. A jury of new photography professionals will select the 10 best individual shots and the best photographic project, thus conveying the power of the image in narrating the kaleidoscope of contemporaneity.
The theme of this year’s Liquida Photofestival is ’REBIRTH’, an invitation to consider one’s own existence as a second chance, an attempt to investigate the infinite possible declinations that life can put before us beyond the expectations imposed by social canons.
www.paratissima.it/liquida-2024/ | | | | | | 14 February — 2 June 2024
CAMERA — Centro Italiano per la Fotografia
02 May — 2 June 2024
MAUTO – Museo Nazionale dell’Automobile
1 March — 2 June 2024
Flashback Habitat – Ecosistema per le Culture Contemporanee
4 May—22 June 2024
Galleria Simóndi
02 May — 2 June 2024
Galleria Febo & Dafne | | | | | | | | | | Qaanaaq, Groenlandia. 2015 © Cristina Mittermeier | | | 14 March — 1 September 2024
Gallerie d'Italia — Torino
01 February — 12 May 2024
Gallerie d'Italia — Torino
12 April — 1 September 2024
MAO Museo d’Arte Orientale
— 10 June 2024
Palazzo Madama — Museo Civico d’Arte Antica
24 April — 26 May 2024
Museo Nazionale del Risorgimento Italiano | | | | | | | | | | Pastorale © Ingar Krauss | | | 3 May — 20 July 2024
QUARTZ STUDIO
A pastoral, from the Latin pastor (shepherd), is a motif in the visual arts that depicts the life of the shepherds in an idyllic rural landscape scene, as an ideal of rural simplicity and tranquility, as romantic images of closeness or return to nature. This motif of a “place of longing” for simple life in nature, which corresponds to ideas about the Garden of Eden in religious thought and feeling, reappears in the photographs of Ingar Krauss as a dreamlike inner scenery, personal and self-reflexive, referring to the rural as a metaphor. | | | | | | 2 May—23 May 2024
Galleria Roccatre
2 April—17 May 2024
Galleria FIAF Torino
19 April—29 June 2024
Weber & Weber
Mario Daniele, Pierluigi Fresia, Claudio Orlandi, Francesco Pergolesi, Edoardo Romagnoli, Gustav Willeit »
2 May—31 May 2024
Riccardo Costantini Contemporary
10 May — 2 June 2024
Fondazione MAMRE
2 May — 2 June 2024
metroquadro
03 May — 2 June 2024
Guido Costa Projects
04 May — 4 June 2024
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