Post Scriptum. Un museo dimenticato a memoria
A cura di Luca Lo Pinto
#Post Scriptum
Tolia Astakhishvili (featuring Thea Djordjadze, Heike Gallmeier, Dylan Peirce), Absalon, Vincenzo Agnetti, Maurizio Altieri, Alex Bag, Beatrice Bonino, Victor Cavallo, Francesca Cefis, Alassan Diawara, Buck Ellison, Luciano Fabro, Hamishi Farah, Simone Forti, Pippa Garner, Alberto Garutti, Isa Genzken, Lenard Giller, Felix Gonzalez-Torres, Adam Gordon, Pierre Guyotat, Sohrab Hura, Thomas Hutton, Allan Kaprow, KUKII (aka Lafawndah), Rosemary Mayer, Sandra Mujinga, Charlemagne Palestine, Paolo Pallucco & Mireille Rivier, Lorenzo Silvestri, Diane Simpson, Lukas Wassmann, Gillian Wearing, Issy Wood.
Charlemagne Palestine, sgabelliiiii diiii tribùùùù diiii peluchessss, 2023–2024 . Mixed media. Courtesy the artist. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Charlemagne Palestine, sgabelliiiii diiii tribùùùù diiii peluchessss, 2023–2024. Mixed media. Courtesy the artist. Detail. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
From left to right: Pippa Garner. Un(tit)led (Uncle Sam on Stilts), 1972/2024; Un(tit)led (Bush Car), n.d./2024; Un(tit)led (Carpet Car), 1980/2024; Un(tit)led (3 in 1 Sunglasses), 1977/2024;
Un(tit)led (America, Love It or Leave It), 1971/2024; Un(tit)led (The Wild Thing Portrait with Nancy Reece), 1976/2024; Un(tit)led (Hot Rod Hood), 1984/2024; Un(tit)led (Surewood Portrait with Nancy Reece), 1977/2024; Un(tit)led (Bring Back Funky Women), 1971/2024; Un(tit)led (Protect the Innocent), 1990/2024; Un(tit)led (Women Should Be Free (No Charge)), n.d./2023; Un(tit)led (I’ve got SONshine in my heart), n.d./2024; Scanned Kodachrome slide, ink-jet print; Courtesy the artist and STARS, Los Angeles. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Lorenzo Silvestri, youth youth youth, 2024. 16mm film, HD video, color, sound 01’50’’. Courtesy the artist. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Vincenzo Agnetti, Dimenticato a memoria, 1972. Fire-engraved and painted felt. Courtesy Archive Vincenzo Agnetti, Milan. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
In the foreground: Issy Wood, Furni 1, 2023. Oil on velvet, upholstered modular sofa system. Courtesy the artist, Carlos/lshikawa, London and Michael Werner Gallery, New York. In the middle ground, from left to right: Pippa Garner, Un(tit)led (Self Portrait with Boat), 1986/2024; Un(tit)led (Penis Sketch on Toaster), 1977/2024; Un(tit)led (Statue of a Saint), n.d./2024; Un(tit)led (Blaster Bra), 1982/2024; Scanned Kodachrome slide, ink-jet print; courtesy the artist and STARS, Los Angeles. Felix Gonzalez-Torres, “Untitled” (Chemo), 1991, strands of beads and hanging device, courtesy Glenstone Museum, Potomac, Maryland. Rosemary Mayer, The Canephorae,1980–81 / 2024, paper, ribbons, string, cords, wooden rods, and metallic paint, courtesy Estate of Rosemary Mayer, New York and ChertLüdde, Berlin. In the background, from left to right: Charlemagne Palestine, sgabelliiiii diiii tribùùùù diiii peluchessss, 2023–2024, mixed media, courtesy the artist. Rosemary Mayer, The Canephorae,1980–81 / 2024, paper, ribbons, string, cords, wooden rods, and metallic paint. Courtesy Estate of Rosemary Mayer, New York and ChertLüdde, Berlin; Hamishi Farah, Roberto Cavalli, 2023, oil on linen, courtesy Collection Sophie Vanmoerkerke, Brussels. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
From left to right: Paolo Pallucco & Mireille Rivier, Angelo Necessario standing bookcase, 1989 (ca.), lLacquered laminated wood, lacquered steel. Courtesy Collection Daniel Lebard, Brussels; Alberto Garutti, Madonna, 2007, ceramic, electrical thermostat device. Courtesy Studio Alberto Garutti, Milan In the background: Gillian Wearing, Signs that say what you want them to say and not Signs that say what someone else wants you to say, 1994, photographic poster. Courtesy the artist and Maureen Paley, London. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Victor Cavallo, Scritti vari, anni ’70 – ‘90 Ink and pencil on paper, photocopies. Courtesy Alessandra Vanzi, Rome and Emiliano Vitolo, Savona. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
From left to right: Felix Gonzalez-Torres, “Untitled” (Chemo), 1991, strands of beads and hanging device. Courtesy Glenstone Museum, Potomac, Maryland. Rosemary Mayer, The Canephorae,1980–81 / 2024, paper, ribbons, string, cords, wooden rods, and metallic paint. Courtesy Estate of Rosemary Mayer, New York and ChertLüdde, Berlin. Issy Wood, Self Portrait 22, 2022, oil on linen. Courtesy the artist, Carlos/lshikawa, London and Michael Werner Gallery, New York. Furni 1, 2023, il on velvet, upholstered modular sofa system, courtesy the artist, Carlos/lshikawa, London and Michael Werner Gallery, New York. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
From left to right: Rosemary Mayer, The Canephorae, 1980–81 / 2024, paper, ribbons, string, cords, wooden rods, and metallic paint, courtesy Estate of Rosemary Mayer, New York and ChertLüdde, Berlin, Hamishi Farah, Roberto Cavalli, 2023, oil on linen, courtesy Collezione Sophie Vanmoerkerke, Bruxelles; Statement from Howard Kennedy LLP on behalf of their client regarding the colonisation and reappropriation of the physical body associated with Italian fashion designer Roberto Cavalli, 2023, engrossed certificate in custom frame, courtesy Collection Sophie Vanmoerkerke, Brussels. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
In the foreground: Diane Simpson, Jabot (pleated), 2017, plywood, painted steel, coloured pencil, painted industrial iron stand, courtesy the artist, Herald St, London and Corbett vs. Dempsey, Chicago. On the wall, from left to right: Pippa Garner, Un(tit)led (Family Dinner), n.d./2024, scanned Kodachrome slide, ink-jet print, courtesy the artist and STARS, Los Angeles. Diane Simpson, Drawing for Jabot (pleated), 2018, graphite on vellum graph paper, courtesy the artist, Herald St, London and Corbett vs. Dempsey, Chicago. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
In the centre: Paolo Pallucco & Mireille Rivier, Barba d’Argento Armchair, 1986 (ca.). Stainless steel, moulded plastic, courtesy Ketabi Bourdet, Paris. On the wall: Pippa Garner, Stereographic Exhibit, 1976–1977 / 2024; 42 Kodak stereo slides, viewers, wooden structure. Courtesy the artist and STARS, Los Angeles. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
From left to right: Buck Ellison, Trembling Hand #1, 2023; Trembling Hand #2, 2023; Archival pigment print. Courtesy the artist and Barbati Gallery, Venice. Sandra Mujinga, Love Language (1), 2023, aluminium, steel, velcro. Courtesy the artist and Croy Nielsen, Wien. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
In the foreground: Paolo Pallucco & Mireille Rivier, Tankette Table, 1987 (ca.)Black lacquered aluminium, rubber, collection Daniel Lebard, Brussels. Charlemagne Palestine, sgabelliiiii diiii tribùùùù diiii peluchessss, 2023–2024. Mixed media. Courtesy the artist. On the walls, from left to right: Buck Ellison, Trembling Hand #1, 2023; Trembling Hand #2, 2023. Archival pigment print. Courtesy the artist and Barbati Gallery, Venice. Sandra Mujinga, Love Language (1), 2023, aluminium, steel, velcro. Courtesy the artist and Croy Nielsen, Wien. Buck Ellison, Untitled (Banister), 2023. Archival pigment print. Courtesy the artist and Barbati Gallery, Venice. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Sandra Mujinga, Love Language (1), 2023. Aluminium, steel, velcro. Courtesy the artist and Croy Nielsen, Wien. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
In the foreground: Paolo Pallucco & Mireille Rivier, Tankette Table, 1987 (ca.), black lacquered aluminium, rubber. Collection Daniel Lebard, Brussels. On the wall: Pierre Guyotat, Untitled, 2017. Pen and coloured pencil on paper. Private collection, courtesy the artist and Xavier Hufkens, Brussels, Untitled, 2017, pencil, ink and coloured pencil on paper. Private collection, courtesy the artist and Xavier Hufkens, Brussels, Untitled, 2017, pencil, ink and coloured pencil on paper, private collection, courtesy the artist and Xavier Hufkens, Brussels. Untitled, 2017, pen and coloured pencil on paper, private collection, courtesy the artist and Xavier Hufkens, Brussels; Untitled, 2017, pen and coloured pencil on paper, private collection, courtesy the artist and Xavier Hufkens, Brussels; Untitled, 2016, ink and gouache on paper, private collection, courtesy the artist and Xavier Hufkens, Brussels; Untitled, 2017, pen and coloured pencil on paper, private collection, courtesy the artist and Xavier Hufkens, Brussels. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Pippa Garner, Un(tit)led (Self Portrait with Boat), 1986/2024; Un(tit)led (Penis Sketch on Toaster), 1977/2024; Un(tit)led (Statue of a Saint), n.d./2024; Un(tit)led (Blaster Bra), 1982/2024, scanned Kodachrome slide, ink-jet print. Courtesy the artist and STARS, Los Angeles. Felix Gonzalez-Torres, “Untitled” (Chemo), 1991, strands of beads and hanging device. Courtesy Glenstone Museum, Potomac, Maryland. Lorenzo Silvestri, Aspettando Il Miracolo a Piazza dell’Oro (Roma), 2024, acrylic, oil, oil stick on canvas, courtesy the artist. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Thomas Hutton, Monte Venere, 2024. Calcite alabaster and peperino tuff. Courtesy the artist Simone Forti. Simone and Father in Florence, 1965. Oil pastel on paper. Courtesy the artist, Foundation Sanguedolce ETS and Galleria Raffaella Cortese, Milan – Albisola. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Thomas Hutton, Monte Venere, 2024. Calcite alabaster and peperino tuff. Courtesy the artist Simone Forti. Simone and Father in Florence, 1965. Oil pastel on paper. Courtesy the artist, Foundation Sanguedolce ETS and Galleria Raffaella Cortese, Milan – Albisola. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
In the centre: Thomas Hutton, Flamen, 2024; Votive to Vulcan, 2024; Urnfield, 2024; Aule Meteli (The Orator), 2024; Standing Augur, 2024; Etrusco Scavato Caduto, 2024; Monte Venere, 2024; calcite alabaster and peperino tuff. Courtesy the artist. On the walls: Simone Forti, Adventures of Red Hat, Red Hat Between Two Figures, 1966, watercolor on paper (set of 2), courtesy the artist, Collection Silvia Fiorucci, Monaco and Galleria Raffaella Cortese, Milan – Albisola; Simone and Father in Florence, 1965, oil pastel on paper. Courtesy the artist, Foundation Sanguedolce ETS and Galleria Raffaella Cortese, Milan – Albisola.
Rubbings, 2015. 4 Graphite on paper. Courtesy the artist and Galleria Raffaella Cortese, Milan – Albisola. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Beatrice Bonino, Funny and fun, 2024. Silicone, plastic, paper, bakelite, fabric, rubber. Courtesy the artist. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Beatrice Bonino, Funny and fun, 2024. Silicone, plastic, paper, bakelite, fabric, rubber. Courtesy the artist. Alex Bag, Margiela Suicide Doll, 2020; dollparts, custom clothes, kitchen knife, electrical outlet, courtesy Private collection. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Beatrice Bonino, Funny and fun, 2024. Silicone, plastic, paper, bakelite, fabric, rubber. Courtesy the artist. Detail. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Tolia Astakhishvili (con Thea Djordjadze, Heike Gallmeier, Dylan Peirce), When the others are within us, 2024. Site-specific installation. Courtesy the artist e and LC Queisser, Tbilisi. Detail. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Tolia Astakhishvili (con Thea Djordjadze, Heike Gallmeier, Dylan Peirce), When the others are within us, 2024. Site-specific installation. Courtesy the artist e and LC Queisser, Tbilisi. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
In the centre: Absalon, Noise, 1993. Video, 3’20’’. Courtesy Absalon Estate, Pardes Hanna-Karkur. On the walls: Sohrab Hura, Snow, 2015–2019. Stampe d’archivio a pigmenti. Courtesy l’artista e Experimenter, Calcutta & Mumbai. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Sohrab Hura, Snow, 2015–2019. Archival pigment prints. Courtesy the artist and Experimenter, Calcutta / Kolkata & Mumbai. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Lenard Giller, action at a distance, 2024; 5 channel digital audio system; courtesy the artist and Petrine, Parigi / Paris. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
On the floor: Alex Bag, Not Yet Titled, 2022, found dolls, tailored clothing, electronics. Courtesy Collection Monsieur Zohore, Washington DC. On the wall: Pippa Garner, Un(tit)led (Hanging Salad Woman), 1981/2024.Scanned Kodachrome slide, ink-jet print. Courtesy the artist and STARS, Los Angeles. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Adam Gordon, Untitled, 2022, oil on Belgian linen. Courtesy Private Collection, Milan. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Pippa Garner, Un(tit)led (Doll), 1985/2024, scanned Kodachrome slide, ink-jet print. Courtesy the artist and STARS, Los Angeles. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Adam Gordon, Midtown-nyc, 2017, oil on canvas. Courtesy Private Collection, Tolmezzo. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Pippa Garner is wearing a t-shirt from the Shirtstorm series (2005–ongoing). Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Isa Genzken, Die Kleine Bushaltestelle (Gerüstbau), 2012. DVD, colour, sound 71’19’’. With Isa Genzken, Kai Althoff. Courtesy Galerie Buchholz, Cologne. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
Allan Kaprow, Yard, 1961 © Allan Kaprow Estate. Courtesy Allan Kaprow Estate and Hauser & Wirth. Post Scriptum. A museum forgotten by heart, MACRO – Museum of Contemporary Art in Rome. Exhibition view. Ph. Piercarlo Quecchia – DSL Studio.
“Dimenticare a memoria” è un’espressione coniata alla fine degli anni Sessanta da Vincenzo Agnetti (1926-1981). Il titolo della collettiva che conclude la programmazione del MACRO con la direzione artistica di Luca Lo Pinto la prende in prestito per suggerire l’approccio agli esiti di un progetto che in cinque anni ha portato l’istituzione museale a interrogarsi sulla propria identità, le proprie modalità di produzione e relazione con gli artisti e il pubblico.
Pippa Garner, Shades of Hollywood, 1982. Ph. Aaron Rapoport
Il museo si riflette in una mostra, diffusa in tutta la sua architettura, in una superficie di oltre 10.000 metri quadri. Le opere sono quelle di oltre 30 artisti italiani e internazionali, tra cui quelle prodotte per l’occasione di Tolia Astakhishvili (con Thea Djordjadze, Heike Gallmeier, Dylan Peirce), Maurizio Altieri, Beatrice Bonino, Francesca Cefis, Pippa Garner, Lenard Giller, Felix Gonzalez-Torres, Thomas Hutton, KUKII (aka Lafawndah), Rosemary Mayer, Charlemagne Palestine, Lorenzo Silvestri, Gillian Wearing.
Tra le altre opere esposte quelle di artisti storicizzati, come Luciano Fabro, Isa Genzken, Simone Forti, e di alcune delle voci più affermate della giovane scena artistica come Issy Wood, insieme all’opportunità di incontrare figure viste più raramente, come Pierre Guyotat o Absalon, o che hanno portato una prospettiva artistica nella moda, come Maurizio Altieri, e nel design, come Paolo Pallucco & Mireille Rivier, o ancora artisti emergenti come Hamishi Farah e Sandra Mujinga.
Post Scriptum. Un museo dimenticato a memoria è una mostra speculare a Editoriale, la collettiva diffusa in tutto il museo con cui nel 2020 si era aperta la programmazione dichiarandone gli intenti e le direzioni. Seguendo la metafora di un magazine, il progetto si è sviluppato per cinque anni con l’impianto editoriale di otto sezioni tematiche corrispondenti alle diverse sale del museo. Alcune hanno indagato l’idea stessa di mostra, altre l’hanno sfidata nelle sue convenzioni, includendo nella dimensione espositiva figure fuori dal sistema, e linguaggi altri, come il design, la musica, l’editoria: un palinsesto che si è composto di oltre 60 mostre, con il coinvolgimento di 250 artisti, sotto il titolo unitario di Museo per l’Immaginazione Preventiva.
Ad anticipare l’opening della mostra, sarà il 5 settembre l’inaugurazione di Yard di Allan Kaprow, environment del 1961 che è ancora oggi il manifesto di un’arte capace di fondersi con gli spazi esistenti e i contesti sociali in cui è situata, criticando l’idea del potere individuale dell’artista a favore della collettività, e negando l’idea che l’opera debba necessariamente aspirare a una condizione definitiva.