A themed exhibition that underlines the direction taken by contemporary art and society

The exhibition “Siamo foresta” at the Triennale is a real statement, a declaration of intent to indicate the urgency and the direction taken by contemporary art and society.

Agents provocateurs indigenous artists belonging to the so-called primitive arts, a polyphonic expressive chorus of creatives living in the South American rainforest.

Spotlight on one of the most influential American artists of the last decades

Being an artist “at the time was the most detestable thing in American culture. Becoming an artist in those years had absolutely no value. It was like planning your own failure”.

A provocative art, but an end in itself that applies more to the market than to its capacity for innovation

Jason Farago, critic and signature of the New York Times, in an article where the title is already a statement (Ours is the Least Artistically Innovative Century in 500 Years) explores the causes of an event given for granted from the very beginning: the death of innovation in art and, in general, in contemporary culture.

THE CHAMPIONS THROUGH THE EYES OF THE HAWAIIAN

On show 30 pieces, some of which created especially for this event

The Hawaiian artist Paul Pfeiffer (1966) presents at MOCA, on the occasion of his first retrospective exhibition ‘Prologue to the Story of the Birth of Freedom’, 30 works comprising those created so far plus others especially for this occasion.

SINCE 2016 HE HAS JOINED RIGORISM, BUT IN HIS OWN WAY. WITH WORKS THAT BLEND ZEN SUGGESTIONS WITH THE RESULTS OF THE MOST TYPICAL WESTERN CONTEMPORARY

At some point in his life, the architect Marcello Pietrantoni (who, moreover, had never abandoned the visual arts) ideally associated the structural study of a building with a sculpture capable of transferring the sense of myth and ritual to our days. He went to recover the most distant roots of our cultural essence to transplant them into a critical allegory that concerns us closely. But what relationship can exist, for example, between the design of a bank and a figure that seems generated by the night of time to plunge into our accelerated becoming?

Childhood in a still enchanted Medellín. The school for bullfighters where, instead of killing bulls, he paints them. Then in Europe to study the Masters of the Renaissance. Finally, the planetary success

We try to immerse ourselves in the Medellín of the ‘30s-’40s. A small Andean town in Colombia that looks more like a village than a metropolis for which he still feels no vocation.

“I was born on the 21st in spring / but I did not know that being born insane / opening the clumps could unleash a storm” (“Sono nata il 21 a primavera / ma non sapevo che nascere folle,/ aprire le zolle /potesse scatenare tempesta”). And Alda Merini’s life was certainly as stormy as her words - of flame, of light, of violence and pain. She died at the age of 78, “on the 1st on All Saints’ Day”, we could say paraphrasing her famous hendecasyllable. Coherent and prophetic, even in her appointment with afterlife.

Girolamo Ciulla embodies to me one of the masters who taught me the most intimate meaning of artistic creation, an understanding paradoxically impossible to convey in words.

Born in Sicily in 1952, Ciulla's artistic journey led him from Caltanissetta to Bologna and then Pietrasanta, where I had the fortune of meeting him.

On the occasion of the 60th anniversary of Piero Manzoni’s death and the 90th anniversary of his birth, it is impossible not to remember the figure of one of the greatest Italian artists who appeared in the stimulating climate of the 1950s and 1960s. Demis Martinelli and Rosalia Pasqualino di Marineo curated the “Relazioni (im)possibili.