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I TAROCCHI CANEMORTO
Vieni a farti leggere i tarocchi dalla profetica triade CANEMORTO per scoprire tutta la verità sul tuo passato, presente e futuro.

Venerdì 22 maggio 2026 dalle 19:30 alle 21:30
@gres_art_671 - Via S. Bernardino 141, 24126 Bergamo

Partecipazione gratuita con prenotazione obbligatoria, scrivendo a info@gresart671.org, indicando nome, cognome e numero di telefono. La prenotazione è valida per singoli o coppie. Non sono ammesse prenotazioni di gruppo. Posti limitati.

Una produzione @gres_art_671 col supporto di @matta___________ in occasione della mostra "TAROCCHI. Le origini, le carte, la fortuna" di @accademia_carrara Bergamo

#canemorto #tarocchi #tarots #gresart671 #accademiacarrara

I TAROCCHI CANEMORTO
Vieni a farti leggere i tarocchi dalla profetica triade CANEMORTO per scoprire tutta la verità sul tuo passato, presente e futuro.

Venerdì 22 maggio 2026 dalle 19:30 alle 21:30
@gres_art_671 - Via S. Bernardino 141, 24126 Bergamo

Partecipazione gratuita con prenotazione obbligatoria, scrivendo a info@gresart671.org, indicando nome, cognome e numero di telefono. La prenotazione è valida per singoli o coppie. Non sono ammesse prenotazioni di gruppo. Posti limitati.

Una produzione @gres_art_671 col supporto di @matta___________ in occasione della mostra "TAROCCHI. Le origini, le carte, la fortuna" di @accademia_carrara Bergamo

#canemorto #tarocchi #tarots #gresart671 #accademiacarrara

MAXIMILIAN ARNOLD

LISTE 2026, BASEL
15.06.2026 - 21.06.2026

MATTA presents a new body of works by Maximilian Arnold that continues and amplifies the research initiated with his exhibition Freed from Desire (2025).

“There is an inevitable connection between this practice and our present.The collection of images and their montage no longer belong only to art; they have become a daily condition, a logic embedded in the functioning of digital capitalism. Here, painting becomes a field of tension: it does not oppose the logic of recording and collage, but diverts, slows it down, jams it. White, rhythm, and fracture become strategies to free the image from its condition as mere data and reopen the space of desire. Contemporary society lives in a regime of hyper-reality, where the proliferation of images has replaced reality itself. The response to this condition does not oppose visual saturation but performs a subtle sabotage from within, creating zones of silence and suspension”.

Extracted from “Freed from Desire” text

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu.

13.04.2026 - 12.09.2026 @matta___________

Curated by @niccolo_gravina
Historical research by @babywasu
Exhibition design by @sabotagepractice

The exhibition design, by the architecture firm sabotage practice, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. It stems from research focused on the movement of bodies, serving as an experimental attempt to update the languages that govern them. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works, rendering the recursivity of the riots physically perceptible.

📷 @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu.

13.04.2026 - 12.09.2026 @matta___________

Curated by @niccolo_gravina
Historical research by @babywasu
Exhibition design by @sabotagepractice

The exhibition design, by the architecture firm sabotage practice, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. It stems from research focused on the movement of bodies, serving as an experimental attempt to update the languages that govern them. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works, rendering the recursivity of the riots physically perceptible.

📷 @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu.

13.04.2026 - 12.09.2026 @matta___________

Curated by @niccolo_gravina
Historical research by @babywasu
Exhibition design by @sabotagepractice

The exhibition design, by the architecture firm sabotage practice, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. It stems from research focused on the movement of bodies, serving as an experimental attempt to update the languages that govern them. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works, rendering the recursivity of the riots physically perceptible.

📷 @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu.

13.04.2026 - 12.09.2026 @matta___________

Curated by @niccolo_gravina
Historical research by @babywasu
Exhibition design by @sabotagepractice

The exhibition design, by the architecture firm sabotage practice, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. It stems from research focused on the movement of bodies, serving as an experimental attempt to update the languages that govern them. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works, rendering the recursivity of the riots physically perceptible.

📷 @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu.

13.04.2026 - 12.09.2026 @matta___________

Curated by @niccolo_gravina
Historical research by @babywasu
Exhibition design by @sabotagepractice

The exhibition design, by the architecture firm sabotage practice, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. It stems from research focused on the movement of bodies, serving as an experimental attempt to update the languages that govern them. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works, rendering the recursivity of the riots physically perceptible.

📷 @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu.

13.04.2026 - 12.09.2026 @matta___________

Curated by @niccolo_gravina
Historical research by @babywasu
Exhibition design by @sabotagepractice

The exhibition design, by the architecture firm sabotage practice, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. It stems from research focused on the movement of bodies, serving as an experimental attempt to update the languages that govern them. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works, rendering the recursivity of the riots physically perceptible.

📷 @marcodapino

Istruzioni per riprodurre un disegno di Marco Pio Mucci in navigazione da Chiavari a Sorrento:

Consigli e avvertenze

Imparare ad essere misurato come le manovre del capitano in porto.
Musica consigliata ( Lana del rey cod e mosters)
Sentiti un tutt’uno con il dondolare della barca, questo moto è la continuazione del tuo tratto.
Riconosciti libero, l’errore è una forma di schiavitù,è puro horror vacui, esiste solo in quel vuoto che va arginato con l’inchiostro e mai riempito
Mai dopo i pasti, meglio essere un po’ affamati.
Cerca di essere predisposto al sentimento, per disegnare come Pio Mucci devi essere Pio Mucci

Istruzioni per riprodurre un disegno di Marco Pio Mucci in navigazione da Chiavari a Sorrento:

4 Attendi il momento quando non vedi più terra e usa l’inchiostro blu per far diventare il mare profondo.
Da sinistra a destra e ritorno, tracciare diagonali che superano le orizzontali per tutta la lunghezza del foglio fino a quando l’insieme vince sulla singola riga apparendo come una bonaccia oleosa.

5 Quando arrivi a Fiumicino, e vedi che la costa diventa più antropizzata, vagheggi di volare in America: prova a contrarre il tratto e lavorare a piccole scaglie definite compatte.
La faccia di Maradona si è trasformata in quella di Lana Del Rey e avrai aspirato a morire con lei

6 verso Gaeta quando arrivi al Circeo prova a pensare che la magia ti può trasformare in un animale.Le linee blu che farai pensando alle esplosioni di gas e lava del Vesuvio saranno flussi magici di luce che sale dalla montagna

7 quando arrivi a Napoli apri nuovamente l’album di fogli e appendi i disegni nella tua cabina galleggiante, trasformerai la barca nella continuazione del viaggio. Sentiti felice di immaginare nuovi tracciati in quelli già visitati e dimenticati dove sei stato.

Istruzioni per riprodurre un disegno di Marco Pio Mucci in navigazione da Chiavari a Sorrento:

1 sali in barca a Chiavari e procedi verso l’isola di capraia. apri l’album di fogli Arches satinato 100%100 cotone gr 300 in corrispondenza dell’oblò, lasciando che il sole che lo attraversa disegni la silouette giusta sulla carta.
Con la penna segui il contorno ricalcando ogni 30” la sua presenza e ripeti l’operazione fino a quando la luce lo proietta sul foglio.
Oltre lo sfasamento percettivo dei contorni che si sovrappongono, ecco che un pezzo di navigazione rimane impresso sulla carta.Otterrai così, non solo la direzione della tua barca ma anche la forma di un frammento di cosmo mentre stai navigando.

2 verso l’isola del Giglio prova a pettinare le ombre con la penna dall’alto verso il basso interrompendo il movimento in corrispondenza dell’immagine che nei tuoi pensieri prende il sopravvento. Le isole di luce che appariranno non sono altro che carta rimasta scoperta. Senza incrociare né sovrapporre, allineare il mare di capelli blu per far apparire il volto di Maradona.

3 All’Argentario, appena il vento inclina la barca e ti troverai in diagonale rispetto all’orizzonte,cerca di disegnare il mare con linee orizzontali e la terra con linee verticali. Galleggerai nella bussolacome il sud, sospeso nel campo magnetico che ti rende immune da come il tuo corpo è disposto nello spazio.

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

THERESA BÜCHNER
CORPUS
16.04.2026 - 19.04.2026

Miart 2026
Booth E03

CORPUS (2025 - 2026)

The crypt has room for eighty graves. To the left, the monks. Beneath the altar, at their former post, the priests. To the right, the novices. They sit upright, as if en route, held in place by a stick. Their backs straight, their hands folded, still in prayer. Not so much buried as checked in and boarded, they sit on hollow bricks that form a hole to drain them of their earthly dampness. A process of natural mummification, the custodian tells me.

Above ground, bodies of commuters bend to fatigue. A woman squeaks and clatters down the aisle: “It’s not easy to keep one’s balance on these heels!” Her body flops onto one of the seats three rows in front of me. People arranging themselves in public space: some with knees wide apart and elbows lifted. Others tucked in like origami, minimizing, apologizing.

Chi vive sperando, muore cagando – Those who live hoping, die shitting, the custodian says. Posture is nothing against the body’s final shrug.

📸 @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST

Bernadette Corporation, Hannah Black, Ivan Cheng, Satoshi Fujiwara, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara,Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Historical research by Zoé Samudzi
Exhibition design by Sabotage Practice

13.04.2026 - 12.09.2026

Social Unrest is focused on contemporary riots, which have spurred a profound commotion in the analysis of forms of protest and collective violence.
By observing its history, the project identifies a link between the latest manifestations of social unrest and a
constellation of precedents, revealing their recursiveness in order to shed light on their structural causes.
The exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Bernadette Corporation, Alessandro Di Pietro and Hannah Black. The artworks are the result of a dialogue with the artists that has lasted over two years, and of historical research that has initiated their creative process.
The exhibition design, by the architecture firm SABOTAGE PRACTICE, develops as an autonomous structure built on site with found materials, such as cardboard and standard metal profiles for plasterboard structures. The construction challenges chronological linearity by preventing any overall view; configured as an obstructive barricade, it acts as a shattered device for displaying the works.
The temporal and aesthetic constellation generated by the exhibition thus outlines a heuristic system that, traversing history, alludes to the structural reasons that give rise to riots. What emerges is a fragmented and incomplete chronology that acts as a montage, testing the limits of a collective artistic effort to address political and social issues. Social Unrest illuminates the ethical and epistemological collisions of these phenomena, without omitting their more obscure and violent aspects, but contradicting their presumed irrationality.

Extracted from a text by Niccolò Gravina

📷 by @marcodapino

SOCIAL UNREST
Bernadette Corporation, Hannah Black, Ivan Cheng, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Exhibition design by SABOTAGE PRACTICE
Historical research by Zoé Samudzi

13.04.2026
Opening reception
12:00 - 21:00

Le rivolte indagate in “Social Unrest” manifestano il ritorno dalla sfera della produzione — lo sciopero che blocca la fabbrica — a quella della circolazione: le sommosse che agiscono sui flussi e sui mercati. Volgendo lo sguardo alla storia pre-industriale, la mostra rintraccia nelle sommosse dell’epoca una parentela con la contemporaneità, sperimentando nuove strategie per interpretare questa fase di transizione e la conseguente crisi dei codici estetici e politici.

Diagramma di Giovanni Arrighi, citato da Joshua Clover

-

The uprisings investigated in Social Unrest manifest a shift from the sphere of production—the strike that halts the factory—to that of circulation: riots that act upon flows and markets. Looking back at pre-industrial history, the exhibition traces a kinship between the riots of that era and the contemporaneity, experimenting with new strategies to interpret this transitional phase and the resulting crisis of aesthetic and political codes.

Scheme by Giovanni Arrighi, quoted by Joshua Clover

SOCIAL UNREST
Bernadette Corporation, Hannah Black, Ivan Cheng, Tony Cokes, Alessandro Di Pietro, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, Sung Tieu

Curated by Niccolò Gravina
Exhibition design by SABOTAGE PRACTICE
Historical research by Zoé Samudzi

13.04.2026
Opening reception
12:00 - 21:00

Le rivolte indagate in “Social Unrest” manifestano il ritorno dalla sfera della produzione — lo sciopero che blocca la fabbrica — a quella della circolazione: le sommosse che agiscono sui flussi e sui mercati. Volgendo lo sguardo alla storia pre-industriale, la mostra rintraccia nelle sommosse dell’epoca una parentela con la contemporaneità, sperimentando nuove strategie per interpretare questa fase di transizione e la conseguente crisi dei codici estetici e politici.

Diagramma di Giovanni Arrighi, citato da Joshua Clover

-

The uprisings investigated in Social Unrest manifest a shift from the sphere of production—the strike that halts the factory—to that of circulation: riots that act upon flows and markets. Looking back at pre-industrial history, the exhibition traces a kinship between the riots of that era and the contemporaneity, experimenting with new strategies to interpret this transitional phase and the resulting crisis of aesthetic and political codes.

Scheme by Giovanni Arrighi, quoted by Joshua Clover

DOMANI!

Frankenstein presenta:
ABBECEDARIO
2 libri di Marco Laudadio @marcodadadio
🎨 KIDS
Una rivisitazione del classico formato dell’abbecedario come strumento didattico epedagogico.
🔞 18+
Una versione più ironica, poetica e concettuale.
📚Books Launch + exhibition
giovedì 26 marzo
18:00 – 21:00
MATTA @matta___________
Via privata Giacomo Favretto 9, Milano

Social Unrest

Opening 13.04.26
From 12 to 21

Through a series of new artworks, the exhibition “Social Unrest” traces back through the 2019–2020 Hong Kong protests, the 2005 Cronulla riots in Sydney, the 2001 G8 violent clashes in Genoa, the 1992 Los Angeles riots, the right-wing attacks on immigrants in Hoyerswerda and Rostock in 1991 and 1992, the 1966 Compton’s Cafeteria riot in San Francisco, the 1965 Watts riots, the popular uprisings of late medieval Europe and the Red Turban Rebellion in China, 1351–1368.

Curated by Niccolò Gravina at MATTA, with the historical research of Zoé Samudzi, the exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Alessandro Di Pietro Bernadette Corporation and Hannah Black . The exhibition design has been conceived by the architecture firm Sabotage Practice.


@cokes_tony @ic_ic @satoshifujiwara.hd @hannah_quinlan_ @rosiebhastings @t1ffany4scal3 @sungtieu @alessandrodipietrow @hannah_black___@niccolo_gravina @babywasu @sabotagepractice @bernadettecorporation

Social Unrest

Opening 13.04.26
From 12 to 21

Through a series of new artworks, the exhibition “Social Unrest” traces back through the 2019–2020 Hong Kong protests, the 2005 Cronulla riots in Sydney, the 2001 G8 violent clashes in Genoa, the 1992 Los Angeles riots, the right-wing attacks on immigrants in Hoyerswerda and Rostock in 1991 and 1992, the 1966 Compton’s Cafeteria riot in San Francisco, the 1965 Watts riots, the popular uprisings of late medieval Europe and the Red Turban Rebellion in China, 1351–1368.

Curated by Niccolò Gravina at MATTA, with the historical research of Zoé Samudzi, the exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Alessandro Di Pietro Bernadette Corporation and Hannah Black . The exhibition design has been conceived by the architecture firm Sabotage Practice.


@cokes_tony @ic_ic @satoshifujiwara.hd @hannah_quinlan_ @rosiebhastings @t1ffany4scal3 @sungtieu @alessandrodipietrow @hannah_black___@niccolo_gravina @babywasu @sabotagepractice @bernadettecorporation

Social Unrest

Opening 13.04.26
From 12 to 21

Through a series of new artworks, the exhibition “Social Unrest” traces back through the 2019–2020 Hong Kong protests, the 2005 Cronulla riots in Sydney, the 2001 G8 violent clashes in Genoa, the 1992 Los Angeles riots, the right-wing attacks on immigrants in Hoyerswerda and Rostock in 1991 and 1992, the 1966 Compton’s Cafeteria riot in San Francisco, the 1965 Watts riots, the popular uprisings of late medieval Europe and the Red Turban Rebellion in China, 1351–1368.

Curated by Niccolò Gravina at MATTA, with the historical research of Zoé Samudzi, the exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Alessandro Di Pietro Bernadette Corporation and Hannah Black . The exhibition design has been conceived by the architecture firm Sabotage Practice.


@cokes_tony @ic_ic @satoshifujiwara.hd @hannah_quinlan_ @rosiebhastings @t1ffany4scal3 @sungtieu @alessandrodipietrow @hannah_black___@niccolo_gravina @babywasu @sabotagepractice @bernadettecorporation

Social Unrest

Opening 13.04.26
From 12 to 21

Through a series of new artworks, the exhibition “Social Unrest” traces back through the 2019–2020 Hong Kong protests, the 2005 Cronulla riots in Sydney, the 2001 G8 violent clashes in Genoa, the 1992 Los Angeles riots, the right-wing attacks on immigrants in Hoyerswerda and Rostock in 1991 and 1992, the 1966 Compton’s Cafeteria riot in San Francisco, the 1965 Watts riots, the popular uprisings of late medieval Europe and the Red Turban Rebellion in China, 1351–1368.

Curated by Niccolò Gravina at MATTA, with the historical research of Zoé Samudzi, the exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Alessandro Di Pietro Bernadette Corporation and Hannah Black . The exhibition design has been conceived by the architecture firm Sabotage Practice.


@cokes_tony @ic_ic @satoshifujiwara.hd @hannah_quinlan_ @rosiebhastings @t1ffany4scal3 @sungtieu @alessandrodipietrow @hannah_black___@niccolo_gravina @babywasu @sabotagepractice @bernadettecorporation

Social Unrest

Opening 13.04.26
From 12 to 21

Through a series of new artworks, the exhibition “Social Unrest” traces back through the 2019–2020 Hong Kong protests, the 2005 Cronulla riots in Sydney, the 2001 G8 violent clashes in Genoa, the 1992 Los Angeles riots, the right-wing attacks on immigrants in Hoyerswerda and Rostock in 1991 and 1992, the 1966 Compton’s Cafeteria riot in San Francisco, the 1965 Watts riots, the popular uprisings of late medieval Europe and the Red Turban Rebellion in China, 1351–1368.

Curated by Niccolò Gravina at MATTA, with the historical research of Zoé Samudzi, the exhibition presents new productions by Ivan Cheng, Tony Cokes, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, along with recent works by Alessandro Di Pietro Bernadette Corporation and Hannah Black . The exhibition design has been conceived by the architecture firm Sabotage Practice.


@cokes_tony @ic_ic @satoshifujiwara.hd @hannah_quinlan_ @rosiebhastings @t1ffany4scal3 @sungtieu @alessandrodipietrow @hannah_black___@niccolo_gravina @babywasu @sabotagepractice @bernadettecorporation