Expositions
The project MACROwall: Eighties are Back! wants to reinterpret Italian art of the Eighties thorough a cycle of exhibitions featuring 10 artists whose different researches have characterized the production of the decade. Each artist is invited to display on the same wall two of his most representative works, an “historical” one and a more recent one, in order to allow the public to rediscover the vitality of art forms in the last years. The works are accompanied by critical reviews coming from two different generations: the younger art critic will interpret the “historical” work and vice versa.
A master of contemporary art rethinks one of the MACRO’s rooms, turning it into a space of pulsating energy and immersing the visitor in a total experience, both physically and psychically.
Thanks to a project conceived by Gilberto Zorio specifically for the rooms of the MACRO, one of the halls of the museum will be transformed into one of his great work aimed at the physical and emotional involvement of the audience. As often happens in his works, Zorio’s exhibition is a sort of work in progress, which gives the space a constantly changing identity, through the signs and the traces of different, unusual, changeable and unstable materials.
The hall on the second floor of the MACRO, which was recently renovated and is connected to the new wing of the museum, is dedicated to the Portuguese artist João Louro. A world where nothing is as it seems, a universe in which vision short-circuits with language and create original expressive works of art.
One of the halls of the Museum houses My Dark Places, a solo exhibition of the Portuguese artist João Louro (Lisbon, 1963), curated by Luca Massimo Barbero. The exhibition space showcases new works – part of the series Blind Images – created especially for the exhibition. A selection of works closely linked together, inspired by the seemingly unrelated concepts of “fear” and “pleasure” and by literary references to James Ellroy’s The Black Dahlia and the works of the Marquis de Sade.
The formal minimalism and the chromatic purity of the large monochromes contrast ironically with the quotes at the bottom of the work, which are similar to captions or subtitles. The observer does not find a simple explanation or description in these texts, but new suggestions which open the mind and the senses to different and distant worlds, full of philosophical and literary quotations.