MACRO presents its summer 2022 exhibitions

Richard Serra: Animal habitats live and stuffed… Roma, La Salita, 1966
BIBLIOGRAPHIC OFFICE

Eva Barto, Sharp Smile
REHEARSAL

Julia Born, All Capitals
IN-DESIGN

Egisto Macchi, Espressionismo sociale
CHAMBER MUSIC

Lisa Ponti, Il disegno di una mostra
ARRHYTHMICS

Roberto Fassone, The Importance of Being Context
Francis Offman, Untitled
Ilaria Vinci, KEY TO IMMORTALITY
Francesco Pedraglio, Breve storia del mostrare e dell’essere mostrati
RETROFUTURE

Macro is pleased to present the summer 2022 exhibition schedule, which will be completed today with the opening of the Lisa Ponti-inspired exhibition Il disegno di una mostra, the addition of new pieces by Roberto Fassone, Francis Offman, and Ilaria Vinci to the RETROFUTURE section, and a performance by Francesco Pedraglio.

Richard Serra: Animal habitats live and stuffed. The exhibition Roma, La Salita, 1966 (on display from June 21 to October 9, 2022) recreates Richard Serra’s first solo exhibition, which made its debut on May 24, 1966, at Galleria La Salita in Rome. Thanks to the recovery of historical and photographic documentation—including a video taken from an old newsreel—the exhibition accurately recreates the American artist’s 1966 exhibition in all its immediacy and expressive freedom.

Sharp Smile (June 21–November 6, 2022)  is an exhibition project conceived by artist Eva Barto to unfold with and in contrast to its counterpart in Paris, the show Weak Tongue at Le Plateau—Frac île-de-France. Both exhibitions, which take place one after the other, continue and expand Barto’s research into the relationships that govern the codes of property and production, and in particular into the legal and economic infrastructures that regulate liaisons of philanthropy and patronage in the contemporary art world.

For All Capitals (June 21–October 9, 2022) designer Julia Born collected fragments of a multifaceted web of writings and signs disseminated across the urban landscape of Rome, transforming the walls of the exhibition space into a monumental display of inscriptions, marks, tags, footprints, scribbles, and drawings. Sculpted words on the same surface conjugate heterogeneous time frames, in conflict or combined into an everactive constellation.

Espressionismo sociale (June 21–October 23, 2022)  is dedicated to composer Egisto Macchi, 30 years after his death. Selected pieces from 1961 to 1977 trace different aspects of his multidisciplinary approach and his musical activism, from the compositions for film and documentaries, to the political commitment, to the collaboration with the Gruppo di Improvvisazione Nuova Consonanza.

Il disegno di una mostra (July 7–October 20, 2022) presents a selection of works by Lisa Ponti. Artist, editor, critic and writer, she lived through historically significant moments of the 20th century alongside artists of different generations. Her poetic and dreamy approach is still little investigated compared to the work of her father, the architect and designer Gio Ponti: her first solo exhibition only took place in 1992, at the age of 70, however she had begun developing her drawings several years earlier, in parallel to her writing practice.

Roberto Fassone, Francis Offman and Ilaria Vinci are the latest artists to enter my RETROFUTURE section, a growing exhibition aimed at creating a collection on a new generation of Italian artists. From today, July 7, their works join those of Federica Antonini, Riccardo Benassi, Ruth Beraha, Carola Bonfili, Costanza Candeloro, Ludovica Carbotta, Alessandro Cicoria, Gianluca Concialdi, Giulia Crispiani, Giorgio Di Noto, Irene Fenara, Giorgia Garzilli, Lorenza Longhi, Eleonora Luccarini, Beatrice Marchi, Diego Marcon, Margherita Raso, Parasite 2.0, Francesco Pedraglio, Real Madrid, SAGG NAPOLI and Davide Stucchi. At 6pm, Francesco Pedraglio is presenting the performance Breve storia del mostrare e dell’essere mostrati, which runs in parallel to his work already displayed in the section.