Vicolo della Penitenza 11/A
From 09 Giugno 2023 to 14 Gennaio 2024
Place: MACRO - Museo di Arte Contemporanea
Address: Via Nizza 138
Responsibles: Janice Guy
- Assessorato alla Cultura di Roma Capitale
- Azienda Speciale Palaexpo
Telefono per informazioni: +39 06 696271
E-Mail info: email@example.com
Official site: http://www.museomacro.it
The exhibition encompasses the works made by the twelve artists that were officially invited to participate in the residency programme, and also includes works by DW Fitzpatrick and Sarah Lucas, as well as Sarah Charlesworth, who visited Cindy Sherman and used her time in Rome to research for her subsequent body of work.
The works they developed at The Rome Studio are not presented in isolation but rather in relation to the city of Rome at the time, to the conditions of a residency programme that transplanted their individual practices into a new and unfamiliar context, and in relation to each of their own individual practices as a whole. Several of the artists came from and are associated with specific geographical, social and stylistic contexts whose canons were entwined with national identity, including the Young British Artists, the US based Pictures Generation and the Düsseldorf School. Thus the exhibition offers yet another layer through which to look at and interpret a generation of artists, a vignette through which to observe the Western art-world during the fall of the Soviet Union, at the end of the Cold War and during the First Gulf War. Rome, with its centuries-old reputation as a city in which artists might somehow come of age, was also at a crossroads and undergoing rapid change during those years, which saw the political upheaval that would eventually lead to the fall of Italy’s First Republic in 1994. The city’s influence is most apparent in Cindy Sherman’s subversions of Italian Old Master portraiture, Thomas Struth’s black-and-white, central-perspective views of the city’s streets, and Reinhard Mucha’s photographic loop through its train stops. Other artists were more subtle: Gary Hume made his signature door wall paintings with a local technique in use since the Middle Ages, Michel Auder and Christopher Wool were both drawn to the Italian mass media landscape, and Lawrence Weiner to the “heat of the sun”. Sarah Lucas’ video Sausage Film (1991) initiates the feminist-punk YBA aesthetic.
The exhibition presents an overview of the residency from Cindy Sherman in 1989 to Reinhard Mucha in 1991 and includes an epilogue set in New York City where Thomas Struth and Meyer Vaisman met and collaborated on the series Roma (1992) in which Vaisman interprets Roman hand gestures, captured by Struth.
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